Porter, Cole. (1891–1964). Signed Portrait to Max Dreyfus. An attractive photograph of a portrait drawing of the great composer and lyricist, signed and inscribed by Porter in ink to the music publisher Max Dreyfus: "For the great Max with years of devotion. Cole." Signed "Baz / 40" by the artist within the image (printed) upper right. 8 x 10 inches, glued to slightly larger rigid backing, else fine.
The German-born American music publisher, arranger and songwriter Max Dreyfus played an important role in the development of the so-called Great American Songbook. He was president of Chappell & Co., Inc., the world's largest music publishing firm, and worked closely with Porter over many years, as well as with the other composers and lyricists such as Jerome Kern, George Gershwin, Richard Rodgers, and Lorenz Hart. According to Steven Suskin in The Sound of Broadway Music, "through the thirties and forties, Dreyfus had a virtual stranglehold on the Broadway musical, with almost all of the most successful songwriters (except Berlin) under contract. And the best and most knowledgeable theatrical orchestrators as well." An extraordinary association.
Porter, Cole. (1891–1964). Signed Portrait to Max Dreyfus. An attractive photograph of a portrait drawing of the great composer and lyricist, signed and inscribed by Porter in ink to the music publisher Max Dreyfus: "For the great Max with years of devotion. Cole." Signed "Baz / 40" by the artist within the image (printed) upper right. 8 x 10 inches, glued to slightly larger rigid backing, else fine.
The German-born American music publisher, arranger and songwriter Max Dreyfus played an important role in the development of the so-called Great American Songbook. He was president of Chappell & Co., Inc., the world's largest music publishing firm, and worked closely with Porter over many years, as well as with the other composers and lyricists such as Jerome Kern, George Gershwin, Richard Rodgers, and Lorenz Hart. According to Steven Suskin in The Sound of Broadway Music, "through the thirties and forties, Dreyfus had a virtual stranglehold on the Broadway musical, with almost all of the most successful songwriters (except Berlin) under contract. And the best and most knowledgeable theatrical orchestrators as well." An extraordinary association.