European and American Musical Instruments
New York, Studio/ Viking Press, 1966. With the ownership signature of Lucien Parent. More
New York, Studio/ Viking Press, 1966. With the ownership signature of Lucien Parent. More
[Melbourne, The Author, 1935]. Tasmanian composer. This copy bears a family ownership stamp. More
Oxford, The Clarendon Press, 1964. Provenance: the New Zealand collector and photographic historian Hardwicke Knight (1911-2008), with his bookplate on the front pastedown. More
New York, G. Schirmer, 1932/ 1903. Vocal score. Text in English and German. English translation by Frederick Jameson. With the ownership signature of T.G.H. Strehlow, and inscribed 'University of Adelaide, 28 February 1970 (bought in Melbourne). More
New York, G. Schirmer, 1925/ 1897. Vocal score. Text in English and German. English version by Rev. J. Troutbeck, DD, and Dr Theo. Baker. With the contemporary bookseller stamp of Allan's, 278 Collins Street, Melbourne. More
The subjects are German pianist Wilhelm Backhaus; Serbian violinist Milan-Yovanovitch Bratza; Russian-born American pianist Shura Cherkassky; Australian bass-baritone Peter Dawson (two photographs, with Clarence Mates in one of them); Polish pianist and composer Ignaz Friedman; Italian soprano Amelita Galli-Curci; Italian-American soprano Dusolina Giannini; Russian-British pianist Mark Hambourg; Hungarian violinist Joseph..... More
London, Constable, 1925. Eight tipped-in colour plates. Loosely inserted is a publisher's postcard (to subscribe to their monthly list). More
London, Robson Books, 2006. More
Sydney, ABC Books, 2005. More
Cambridge, Cambridge University Press, 1939. With the ownership signature (dated 1948) of Professor David Galliver, Professor of Music at the University of Adelaide, 1964-82. More
London, George Allen and Unwin, 1978. More
Adelaide, Libraries Board of South Australia/ University of Adelaide, 1966 and 1966. More
The catalyst for the discord appears to have been Hippeau's biting lampoon of Gounod in the issue of 29 October 1882. Saint-Saëns had hitherto been listed prominently on the covers as an official collaborator of the magazine; his name is absent from the issue of 13 November. His relationship with..... More
[Adelaide], Arts Council of South Australia, 1992. Signed and dated (17.10.92) by the author, and with an intriguing presentation inscription, dated the same day. More
New York, W.W. Norton, 1969. Inscribed and signed by the editor. 'Includes complete study-size orchestral scores of eight major nineteenth-century symphonies'. More
London, Novello and Oxford University Press, 1947. More
London, Thames & Hudson, 1998. More
Venice, Arsenale Editrice, 1995. More
Dublin, Town House and Country House, 1991. More
Baltimore, John Hopkins University Press, 1976. More
Washington, Smithsonian Institution, 1992 (revised edition). More
Melbourne, Novalit, 1975. More
New York, Simon and Schuster, 1976 (thirteenth edition)/ 1929. More
Nashdom Abbey, Plainsong and Mediaeval Music Society, 1934 (first edition). More
Oxford, Clarendon Press, 1972. With the ownership signature of Professor David Galliver, Professor of Music at the University of Adelaide, 1964-82. More