Little Brother Little Sister

Lawrence, Josephine, Illustrated By JULIA GREENE, Inner Flap DJ PriceClipped with Publishers Note to Parents , FORMER OWNER STAMP Back Blank Endpapers FOX Lightly, Orange B/W Illustrated FronTIsPiece of Little Girl with 3 Bundles: Brother and Sister Series #1 in RARE COLOR DustJacket Illustrated By JULIA GREENE, of Boy in Navy Blue Outfit with Red&White Collar Scarf & His BlOnd Sister in Dress with White Trim at Neck with Doll & Brown & White Dog Running Smiling Down Country La, New York: Cupples & Leon Company, 1921 ; fester Einband / hard cover; Schutzumschlag / dust cover; 1. Ed.

HBDJ, 1921, 1st Edition, Later Printing, VG/GOOD, AS-IS, PreText Lists Thru Brother & Sisters Holiday, Illustrations DJ light Rub, Wear Tiny Chips Tears Extemities chips affects 4 Letters in LAWRENCE name bottom, Green Red, Black Illustrated Cloth COVer of 2 Children given small biscuits to Dog , Cover Nice Condition Light Wear, Interior Nice Tight Clean Light Wear FOX, 4.5 X 6.5 IN., 130 Pgs + ADS thru LiTTLe pRudys dotty Dimple, Back DJ Small Chips tears Creases Extremities List thru Rubys Vacation First Edition Good Hard Cover; First Edition

[SW: BROTHER & SISTER CHILD SERIES BY JOSEPHINE LAWRENCE]

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Odette Elliott: My Big Brother JJ, Tamarind, September 2009 ISBN: 1848530072
Mum has to work through the half-term holidays, so big brother JJ babysits his little sister for the week. On the last day they decide to paint a mural on the garden shed. But when they're finishing, little sister has an accident and paint spills everywhere. Just then Mum arrives and is horrified by the mess... until she notices the mural.

NEW 266X4X215 4 mm x 215 mm x 266 mm

[SW: Children's Books / All Ages, Juvenile Fiction / Family / Siblings]

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Wagner, Richard: Das Liebesverbot Das Liebesverbot,

S. 592, Richard Wagner (b. Leipzig, 22 May 1813 - d, Venice, 13 February 1883) "Das Liebesverbot oder die Novize von Palermo" Grand Comic Opera in two acts (1836) Because he was concerned with drama as a whole, rather than just the composition of the music, Richard Wagner wrote both the words and the music for each of his works. After his ground-breaking works Tannhauser and Lohengrin, Wagner no longer applied the traditional term opera to describe his works, preferring the more appropriate description music drama instead. His music dramas and their productions were so innovative and important that Wagner's influence not only caused major changes in both music and opera, but also in art, literature, and staging as well. Often today opera buffs think of Der fliegende Hollander, written during 1841, as Wagner's earliest dramatic work. However, there were three complete operas that proceeded it. These earlier works are operas in the traditional sense, influenced by the popular works of the day by composers such as Weber and Donizetti. Wagner's first opera, Die Feen, was completed by the twenty-year old in December of 1833. During the following year, he had hoped to see his youthful work performed, and rehearsals had begun, but the work never reached performance. In fact, the premiere of Die Feen took place five years after Wagner's death. Soon after completing Die Feen, Wagner began thinking about a second opera. In May, 1834, while vacationing in Teplitz, he climbed the steps to the Schlackenburg, and there began the sketch for the lyric to a new work to be called Das Liebesverbot, a story of forbidden love. By the fall of 1834 he had completed the prose draft and the entire opera was finished by the beginning of 1836. While Die Feen had been written in the German opera style of Beethoven and Weber, the new work was based on French and Italian light opera. Wagner drew his subject from Shakespeare's Measure for Measure, removing the seriousness of Shakespeare's original and reshaping the material. Shakespeare's drama had been set in Venice; Wagner moved the action to Palermo. The first of the two act drama begins when the King of Sicily leaves on a trip to Naples. He places a puritanical German named Friedrich in charge during his absence. Friedrich immediately sets out on a moral crusade, closing the houses of amusement in a Palermo suburb and taking occupants, servants, and proprietors as prisoners. The people are not happy with this rampage and a mob interferes. During a riot, a rakish noble named Luzio assumes the role of the people's leader. Luzio's friend, Claudio, is arrested on a charge of indiscretion with a lady and taken to prison. The lady, however, is really Claudio's fiancee, whom he has been prevented from marrying by her parents. Fredrich uncovers a forgotten law decreeing that Claudio's crime warrants decapitation. Claudio's only hope lies with his sister, Isabella, who has become a nun. Only she, he believes, can succeed in softening the heart of the tyrant Friedrich. Luzio travels to the convent to ask for her help. When Claudio's trial commences, Isabella arrives to privately plead with Friedrich for the life of her brother. Her pleas are so impassioned that Friedrich becomes completely enamored of her and in an uncontrolled outburst, he tells her that he will grant her anything she desires in return for sexual favors. She realizes that to save her brother she must give in to this man, and she promises fulfillment on the following night. In the second act, the story becomes more complex, but basically, Isabella goes back to her convent to get Marianne, Friedrich's wife, whom he had banished during one of his tirades, and arranges for her to take Isabella's place in the sexual encounter with an unsuspecting Friedrich. The two are discovered in the act, however, and Claudio is freed from prison. In the end, the King returns to restore order. At the time of the completion of the opera, Wagner was employed at Magdeburg as the director of the theater company run by a man named Heinrich Bethmann. It was there that the premiere took place on 29 March 1836. However, the production did not go well. First of all, the Magdeburg police objected to the title, which they considered immoral, and Wagner was forced to change it for the Magdeburg performances to Die Novize von Palermo. Fortunately the police did not read the libretto, satisfied when Wagner told them that his story was based on one of the classic dramas of the great English bard, Shakespeare. Real trouble soon began, however. Wagner had assumed some expenses for the company during the previous summer, when he had toured Germany looking for singers for the upcoming season. Bethmann had told Wagner that he was entitled to two benefit performances at the end of the season to recoup these expenses, and these benefits would be performances of the young man's opera. By March, the company was seriously in debt, with salaries unpaid and singers searching for other employment. Bethmann arranged for an initial benefit performance at the end of the season to provide reimbursement for the props and scenery that had been necessary for the staging of the opera. Wagner's benefits would follow. Apparently, only because of the fondness for Wagner held by the singers and musicians, ready to abandon the sinking Bethmann barge as quickly as possible, did they agree to remain for the two benefit performances of the young director's opera. But they were so little familiar with their parts that the performance quickly turned into a complete fiasco. In fact, the tenor who played Luzio slipped into sections of Fra Diavolo and Zampa when his memory failed him. The programs describing the text of the opera were not printed in time, so the audience had little understanding of what was going on before them and at the end of the opera, they departed in bewilderment. Thus, on the night of the second performance, only three people were seated in the audience. Meanwhile, before the overture had even started, a fight broke out backstage. The husband of the soprano who played Isabella struck the tenor who played Claudio in the face. The soprano then ran out of the theater in hysterics. The performance was cancelled, Wagner tried to get the work produced in Berlin, Leipzig, and finally in 1840 he tried to gain interest in Paris, but by this time he himself, now absorbed in the writing his next opera, Rienzi, was loosing interest in the earlier work, and he will never hear Das Liebesverbot performed again. In 1866, Wagner presented his score for Das Liebesverbot to his friend and patron King Ludwig of Bavaria, apologizing for this "sin of my youth." After Ludwig's death, the score remained in limbo until 1888 when, after the first performance of Die Feen, there was talk of producing Das Liebesverbot, but the effort was dropped after the potential producers decided that the libretto was to licentious. Interest in the work fell by the wayside until 1922, when the vocal score was finally published, followed by the full score in the following year. At this time, the work was produced in several German theaters. Recordings of both Die Feen and Das Liebesverbot have been released, but availability has been rather limited. Don Robertson, 2004 Performance material: Breitkopf und Härtel, Wiesbaden

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DUNMORE, Murray Alfred [Lord Dunmore], attributed to: [The Buffalo Hunt]

[?Manitoba, Canada: circa 1859-1862]. Watercolour on paper. Sheet size: 8 3/4 x 13 1/2 inches. Laid down onto a larger ruled sheet. Unsigned, title and attribution on Kennedy Galleries labels. In excellent condition, with bright colors and sharp detail. Neatly repaired tear. Matted and glazed within a decorated gilt frame. Provenance: Kennedy Galleries; Collection of Edward Eberstadt & Sons. A dramatic watercolour of British 'dudes' hunting Buffalo: a superb depiction of the West at an early date. This graphic image of a buffalo hunt, probably near Fort Ellice, Manitoba, in western Canada, was painted by an English nobleman visiting the West on an exotic sporting adventure. A hunter, carrying a buffalo rifle, has dismounted from a horse to inspect a fallen buffalo bull, while behind him three mounted hunters pursue more buffalo, cut from a large herd seen grazing on the horizon, with a mountain range as a backdrop. Close attention is paid to the rather formal attire of the hunters, who sport buckskin jackets, stiff white shirts, and broad-brimmed hats. The buffalo and horses are drawn quite well, with their power and speed clearly delineated. Kennedy Galleries attributed this painting to 'Lord Alfred Dunsmore' [sic], but it was actually executed by the Honourable Alfred Murray, who used the courtesy title Lord Alfred Dunmore. He was the younger brother of the 7th Earl of Dunmore, and first visited Canada with his future brother-in-law of James Carnegie, the ninth Earl of Southesk (1827-1905). 'In 1859 Southesk undertook in search of health a prolonged hunting expedition in Western Canada. He traversed some of the wildest and least known parts of the Rockies about the sources of the rivers Athabasca and Saskatchewan. He returned home in 1860' (DNB), marrying Dunmore's sister Lady Susan Murray on 29 November 1860. 'Lord Dunmore' whose great-grandfather had been the last colonial governor of Virginia, was in his late teens at the time of the expedition with Southesk. That he enjoyed the experience is confirmed by the fact that he was back in Canada again by the end of August 1862. According to Marshall Sprague in A Gallery of Dudes (Boston & Toronto: Little Brown, 1966), Dunmore delayed the expedition of fellow countrymen Viscount Milton and Dr. Walter Butler Cheadle, first by supposed illness and then by his sporting proclivities: 'It was August 23 when [Milton & Cheadle] set out finally, up the lovely Assiniboine valley toward Fort Carlton... They dawdled two days later so that Milton could attend a country wedding ... Then Cheadle was summoned off their route by Lord Southesk's brother-in-law, Lord Dunmore, whose messenger said he was dying of jaundice. After two days of fatiguing forced march, Cheadle reached Fort Ellice, near the junction of Assiniboine and Qu'Appelle Rivers, to be told that his lordship felt very much better and was off hunting buffalo.' Cf. James Carnegie, 9th Earl of Southesk. Saskatchewan and the Rocky Mountains (Edinburgh, 1875); Cf. A.G. Doughty & G. Lanctot (editors) Cheadle's Journal of a trip across Canada, 1862-1863 (Ottawa, 1931); cf. William Wentworth Fitzwilliam, Viscount Milton & Walter Butler CheadleThe North-West Passage by Land (London:1865); Marshall Sprague A Gallery of Dudes (Boston & Toronto: Little Brown, 1966), pp. 73.

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