[Gershwin, George] Toppo, Renato, George Gershwin Making Alterations to the Score for Porgy and Bess.  Matted, stamped in red “BY: TOPPO NEW YORK’ on the verso of the mount. 25.5 cm x 20.5 cm, signed boldly in ink across the lower margin, “Sincerely, George Gershwin.” Slight creasing of three of the corners, not affecting the strong fine image. Sepia-toned silver gelatin print of George Gershwin, seated at his Steinway grand piano , pencil in hand, composing the piano-vocal manuscript score of the folk-opera, Porgy and Bess, Act I, Scene 2, when the Undertaker sings “You can all be ready tomorrow mornin’. It’s a long way to de cemetery.” The indication “Andantino quasi Marcia Funebre” is where Gershwin has his pencil. He was photographed by Renato Toppo working on the piano part under the chorus, “Oh, he’s gone, gone, gone, gone, gone.” In Toppo’s image, Gershwin’s early pencil manuscript working score shows three blank staves for an eventual four-part chorus — at the time this photograph was taken, still unwritten.
SIMON FRASER The Airs and Melodies Peculiar to the Highlands of Scotland and The Isles, Communicated in an Original, Pleasing & Familiar Style, Having the Lively Airs Introduced as Medleys, to Form a Sequence to Each Slower Movement, With an Admired Plain Harmony for the Piano Forte, Harp, Organ or Violoncello, Intended rather to preserve Simplicity, than load with Embellishments; Edited by Capt S Fraser, Chiefly acquired during the Interesting Period from 1715 to 1745, through the Authentic Source narrated in the Accompanying Prospectus.
British Melodies The Composition of Master Hughes from the Fourth to the Ninth Year of His Age with Brilliant Variations for the Piano-Forte or Harp under the Patronage of Her Majesty to Which is Affixed a Collection of the Most Favorite Cambrian Melodies Harmonized by Master Hughes, and a