Stein, Gertrude. (1874-1946). Four Saints in Three Acts - SIGNED. New York: Random House . 1934. First.
8vo. Hardcover in dust jacket. First edition, with first printing stated on the copyright page. 57 pp. Signed and inscribed on the front free endpage "For Martin Homes / Gertrude Stein." Light speckling to the black cloth boards, moderate foxing and toning, a few tiny nicks to edges of dj, else fine.
A fine signed volume from the writer best known for her novels, poetry, and opera libretti marked by a distinctive, playfully experimental, sometimes nonsensical use of language. The Stein-Virgil Thomson opera Four Saints was first performed at the Wadsworth Atheneum in Hartford, CT on Feb. 7, 1934 and opened on Broadway 2 weeks later. Revolutionary in a number of ways, the libretto has more to do with the sounds of the words than with presenting a coherent narrative. The portrayal of the European saints by an all-black cast was the first of its kind, and the sets, designed by Florine Stettheimer, included cellophane backdrops, with costumes - also by Stettheimer - made of colorful lace, silk and taffeta. The choreography was by Frederick Ashton, after Balanchine had turned down the job.
Stein, Gertrude. (1874-1946). Four Saints in Three Acts - SIGNED. New York: Random House . 1934. First.
8vo. Hardcover in dust jacket. First edition, with first printing stated on the copyright page. 57 pp. Signed and inscribed on the front free endpage "For Martin Homes / Gertrude Stein." Light speckling to the black cloth boards, moderate foxing and toning, a few tiny nicks to edges of dj, else fine.
A fine signed volume from the writer best known for her novels, poetry, and opera libretti marked by a distinctive, playfully experimental, sometimes nonsensical use of language. The Stein-Virgil Thomson opera Four Saints was first performed at the Wadsworth Atheneum in Hartford, CT on Feb. 7, 1934 and opened on Broadway 2 weeks later. Revolutionary in a number of ways, the libretto has more to do with the sounds of the words than with presenting a coherent narrative. The portrayal of the European saints by an all-black cast was the first of its kind, and the sets, designed by Florine Stettheimer, included cellophane backdrops, with costumes - also by Stettheimer - made of colorful lace, silk and taffeta. The choreography was by Frederick Ashton, after Balanchine had turned down the job.