Auction 146: Section VI

Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera

Since 1972



Auction Number 146 ­- AUCTION Closing Date: Friday, 29 May, 2015



Regarding AUCTION #146 (Closing Date: Friday, 29 May, 2015), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

Section VI: Nos. 1317 - 1376 -



1316. MINNIE NAST: FRA DIAVOLO – Voyez sur cette roch (in German) (Auber) / DER WAFFENSCHMIED - Er ist so gut, so brav und biede (Lortzing). 10½” AC dark-blue Art Label (Girl at seaside with lyre) Odeon X 52409/10 (xB 2933/32). A-/A-B, very decent copy has faintest rubs; Sd.2 only has sev.scrs, ltly audible. MB 45

“Minnie Nast made her début in Aachen in 1897. One year later she joined the Dresden Royal Opera where she remained until retirement in 1919. She is best remembered for her performance as Sophie in the world premiere of DER ROSENKAVALIER at Dresden on 26 January 1911.”


- Harold Bruder, Marston Program Notes


1317. FRANZ NAVAL: Sei mir gegrüsst / SCHWANENGESANG - Leise flehen meine Lieder (Ständchen) (both Schubert). 10½” brown & gold German Odeon 50607/26 (xB 5771/70). A to M-A, spectacular copy. MB 35

1318. FRANZ NAVAL: IL TROVATORE - Deserto sulla terra (in German) / DIE LUSTIGEN WEIBER VON WINDSOR - Horch, die Lerche singt im Hain (Nicolai). 10½” brown & gold German Odeon 50434/05 (xB 2935/36). A to M-A, superb copy has, Sd.1 only, faintest tiny nr & dust mk, barely visible & certainly inaud. MB 35

1319. FRANZ NAVAL: ALESSANDRO STRADELLA - Jungfrau Maria (Flotow) / OBERON - Vater! hör mich fleh'n zu dir! (Weber). 10½” brown & gold German Odeon 50341/47 (xB 5771/70). A to M-A, superb copy has, Sd.1 only, faintest rub, barely visible & certainly inaud. MB 35

1320. FRANZ NAVAL: MARTHA - Ach so fromm / FRANZ NAVAL & MARIE DIETRICH: Mag der Himmel Euch vergeben. 10½” brown & gold German Odeon 50344/50417 (xB 2842/61). A to M-A, lovely copy has faintest rubs & tiny scrs, inaud. MB 25

1321. FRANZ NAVAL & HERMINE BOSETTI: MARTHA - Blickt sein Auge doch so ehrlich; Letzte Rose,2s. 10½” brown & gold German Odeon 50646/47 (xB 4597/98). A to M-A, lovely copy has, Sd.1 primarily, faintest rubs, inaud. MB 25

X1322. FRANCESCO NAVARINI: LUCREZIA BORGIA – Vieni la mia vendetta / Qualunque sia l’evento. 10½” gold German Fonotipia-Odeon HRS 1023 (XPh 2397/98), POM-1 Feb., 1907, (w.Navarini’s signature embossed in shellac). Numbered Copy #25 of this very limited issue. M-A, spectacular copy of choice mid-1930s pressing. MB 55

“In 1883 Navarini made his La Scala début and sang with success at the Teatro Costanzi of Rome. In 1894 he sang at La Scala in the premiere of the revised version of Verdi’s DON CARLOS. In 1892 he took part at the Teatro Carlo Felice, Genoa in the premiere of Franchetti's CRISTOFORO COLOMBO. He made guest appearances in London (1887), Monte Carlo (1900), Prague (1901), St. Petersburg, Madrid, Barcelona, Buenos Aires, Moscow, Odessa and Seville. Navarini achieved shining success especially in Russia. In the 1898-99 season he performed at La Scala in Wagner’s MEISTERSINGER under Toscanini. In 1902 he toured the USA with an opera troupe under the direction of Pietro Mascagni and he excited sensation especially as Il Cieco in IRIS. He retired from the stage in 1912. His few rare records were made for Fonotipia in 1906-07.”


- Ashot Arakelyan, Forgotten Opera Singers


1323. CARLO NERO: AÏDA – Celeste Aïda / TOSCA – E lucevan le stelle. 10½” dark blue paper label H & D Pathé 2071, only form of issue,1922. A to M-A, superb copy has lt.grey on peaks; Sd.2 only has 2 wee scrs, inaud. MB 10

1324. JUSTE NIVETTE: Le Cor -Poème pittoresque (Flégier) / LE PARDON DE PLOËRMEL – En chasse, en chasse, piqueurs adroits! [Chant du chasseur] (Meyerbeer). 10½” brown & gold French Odéon 60604/45 (XP 3876/84). A, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 25

1325. JUSTE NIVETTE: LE MULETIER DE TARRAGONE — Scène (Paul Henrion) / ROBERT LE DIABLE - Noirs démons, fantômes, oublions les cieux (Valse infernale) (Meyerbeer). 10½” brown & gold French Odéon 60719/60652 (XP 3881/85). A to M-A, spectacular copy has, Sd.2 only, infinitessimal scr, inaud. MB 35

1326. JUSTE NIVETTE: FAUST – Vous qui faites l’endormie / Il était temps. 10½” brown & gold French Odéon 60643/39 (XP 3878/80). A to M-A, spectacular copy has, Sd.1 only, very few infinitessimal scrs & pressing bump, inaud. MB 35

1327. JUSTE NIVETTE: LA JUIVE – Si la rigueur et la vengeance (Halévy) / LE CAÏD - Enfant chéri des dames — Air du tambour-major (Thomas). 10½” brown & gold French Odéon 36854/55 (XP 2876/77). A to M-A, beautiful copy has very few infinitessimal scrs & rubs, inaud. MB 35

1328. JUSTE NIVETTE: LA JUIVE – Vous qui du Dieu vivant — Malédiction (Halévy) / ROBERT LE DIABLE - Pour les couvents, c'est fini! — Chanson huguenotte (Meyerbeer).10½” black, brown & beige French Odéon X 60044/45 (XP 2993/95). A to M-A, lovely copy has lt. rubs, inaud. MB 35

“A leading bass at the Paris Opéra, Nivette first appeared at the Opéra-Comique in 1892, later at the Opéra from 1900 to 1907….He sang in the world Première of Massenet’s Le Jongleur de Notre-Dame at Monté-Carlo in 1902.”


- Victor Girard, THE RECORD COLLECTOR, 1954


1329. JEAN NOTÉ: Le Chant du Départ - Chant patriotique (Méhul) / La Marseillaise - Hymne national (de l’Isle). 10½” brown & gold French Odéon 36365/32 (XP 2094/31). A-, fine copy has lt.grey & a few very lt scrs, inaud. MB 15

1330. JEAN NOTÉ: Cantique de Noël (Adam). 10½” white Test Pressing for French Odéon 33676 (XP608). A-, fine copy has occasional very lt scrs, inaud. MB 12

1331. JEAN NOTÉ: Alleluia d'amour (J. B. Faure) / Pensée d'automne (Massenet). 10½” brown & gold French Odéon 36016/10 (XP 1256/61). A to M-A, lovely copy has faintest rubs, inaud. MB 25

1332. JEAN NOTÉ: Hymne d’amour (‘Take’ 1 [of 2 issued ‘takes’]) (Lionnet) / HENRI WEBER: La Chanson des Tire-Laine (Casemajor). 10½” brown & gold French Odéon 33138/33534 (XP1183-1/xP174). A-, fine copy has lt.grey & occasional very lt scrs, inaud. MB 15

1333. JEAN NOTÉ: Hymne d'amour (‘Take’ 2 [of 2 issued ‘takes’]) (Lionnet) / L' AFRICAINE - Adamastor, roi des vagues profondes (Meyerbeer). 10½” brown & gold French Odéon 33936/33722 (XP 1183-2/611). A to M-A, lovely copy has faintest rubs, inaud.; very beg.Sd.1 has greyed grooves, positively audible during initial turns. MB 15

1334. JEAN NOTÉ: Les bœufs — Chanson rustique (Dupont) / JOCELYN - Cachés dans cet asile — Berceuse (Godard). 10½” brown & gold French Odéon 36363/35 (XP 2092/34). A to M-A, superb copy has faintest rubs, inaud.; Sd.2 only has tiny cluster of cosmetic dust scrs. MB 25

1335. JEAN NOTÉ: Hosanna — Chant de pâques (Jules Granier) / LA COUPE DU ROI DE THULÉ – Il est venu ce jour de lutte (Eugène Diaz de la Peña). 10½” brown & gold French Odéon 36021/14 (XP 1255/45). A to M-A, spectacular copy has, Sd.2 only, 2 faint rubs, inaud. MB 35

1336. JEAN NOTÉ: HAMLET – Chanson bachique / Comme une pâle fleur (Thomas). 8¼” etched label H & D Pathé 2744/48, center start, announced. A to M-A, superlative copy. MB 25

1337. JEAN NOTÉ: HENRI VIII Qui donc commande? (Saint-Saëns) / LE ROI DE LAHORE – Promesse de mon avenir (Massenet). 9 ½” etched label H & D Pathé – A.P.G.A. P.103, center start, announced. A to M-A, lovely copy has hint of grey on peaks. MB 25

1338. JEAN NOTÉ: HÉRODIADE – Vision fugitive / LA FAVORITE - Léonor, viens, j'abandonne. 10½” brown & gold French Odéon 33999/36006 (XP 1259/60). A to M-A, spectacular copy has, Sd.2 only, 2 faint rubs, inaud. MB 35

1339. JEAN NOTÉ: LA TRAVIATA – Di Provenza il mar / IL TROVATORE - Il balen del suo sorriso (both in French). 10½” brown & gold French Odéon 36334/47 (XP 2033/91). A to M-A, superb copy has faintest rubs, inaud.; Sd.2 only has tiny cluster of cosmetic dust scrs. MB 25

1340. JEAN NOTÉ: GUILLAUME TELL – Prière (Rossini) / HENRY VIII - Aria (Saint-Saëns). 10½” brown & gold French Odéon 33137/33185. A-, fine copy has lt.grey & occasional very lt scrs.; Sd.2 has wee nr. MB 10

“After studying at the Ghent Conservatory, Jean Noté made his concert début in 1883; his opera début followed in Lille in 1885. Noté sang for several years in the provinces, then won a contract with the Paris Opéra, where he made his début in the spring of 1893, in the title role of RIGOLETTO. For the next twenty-nine years, he was a versatile pillar of that company. On 31 May 1904, he sang the Comte de Luna at the Palais Garnier premiere of LE TROUVÈRE. Noté reached Covent Garden in 1897 and sang seven major roles there. During his single season at the Metropolitan Opera, he appeared in ten consecutive Sunday concerts and twenty opera performances. His assignments included FAUST and MANON; he was Escamillo in CARMEN on the night of Maria Gay’s début, in a production that included Geraldine Farrar as Micaëla and Caruso as Don José, with Toscanini conducting. Frances Alda was the Gilda to Noté’s Rigoletto, which had Louise Homer as Maddalena and Alessandro Bonci as the Duke. He sang at the Opéra until just three weeks before his death, with the RIGOLETTO of 11 March 1922 as his last performance. He died on 1 April.”


- Mary Jane Phillips-Matz, Marston Program Notes


1341. GIUSEPPE PACINI: PAGLIACCI – Prologo / ANDREA CHÉNIER – Un dì m’era di gioia. 10½” Milano Fonotipia 39002/08 (XPh 12/17). A-, very decent copy has lt. rubs & few superficial mks, inaud.; Sd. 1 has rim chip into ¼”, affecting only very beginning of performance. MB 25

“A big-voiced and important baritone, who created roles in Mascagni’s GUGLIELMO RATCLIFF and SYLVANO, [Pacini] is shown to advantage in this version of [the Giordano aria]. The tone is dark and voluminous, with broad sweeping phrases in this satisfying rendering.”


- Alan Bilgora


1342. REGINA PACINI: Povera mamma (Tosti) / LA BOHEME – Mi chiamano Mimi. 10½” Milano Fonotipia 39770/69 (XPh 2060/20452). A to M-A, beautiful copy has, Sd.2 only, very few superficial scrs, inaud. MB 15

1343. REGINA PACINI: BARBIERE – Una voce poco fà, 2s. 10½” U.S. Fonotipia 39783/84 (XPh 2053/54). A to M-A, a spectacular copy. MB 15

1344. REGINA PACINI: LA PERLE DU BRÉSIL – Charmant oiseau / MIREILLE – O légère hirondelle (both in Italian). 10½” U.S. Fonotipia 39236/39774 (XPh 2055/286). A to M-A, a spectacular copy. MB 15

“Pacini’s début came on 5 January, 1888 performing Bellini's LA SONNAMBULA in the San Carlos Theatre in Lisbon. She performed in London, Saint Petersburg, Moscow, Buenos Aires, Warsaw, Madrid, Naples, Montecarlo, Florence and other cities in Europe. Between 1905 and 1906 she recorded arias and songs in Milan with Fonotipia Company. In 1907 she married Dr. Marcelo Torcuato de Alvear, who would become President of Argentina in 1922-1928. From then on she abandoned the stage. In 1934 she instigated the opening of the Casa del Teatro in Buenos Aires.”


- Aria Recordings


1345. ARMIDA PARSI-PETTINELLA: CARMEN – En vain pour éviter / Je vais danser (in Italian). 10½” US-Fonotipia 92037/94 (XPh 2919-2/2933). A to M-A, superb copy has few faint rubs, inaud. MB 15

1346. ARMIDA PARSI-PETTINELLA: ORFEO – Che farò senza Euridice (Gluck). 10½” pink Milano Fonotipia Test Pressing for 92579 (XPh 3970). A to M-A, beautiful copy has faintest rubs, inaud. MB 20

1347. ARMIDA PARSI-PETTINELLA: MIGNON – Connais-tu le pays? (1905 Version) (in Italian). 10½” US-Fonotipia 39394 (XPh 464). A to M-A, a spectacular copy. MB 15

1348. ARMIDA PARSI-PETTINELLA: IL TROVATORE – Condotta all’era in ceppi; Il figlio, giunsi a rapir del Conte, 2s. 10½” Milano Fonotipia 92549/50 (XPh 3962/63). A to M-A, lovely copy has lt. rubs & few lt. mks, inaud. MB 15

1349. ARMIDA PARSI-PETTINELLA: LA GIOCONDA - Voce di donna (2nd 1907 Version) / LE ROI DE LAHORE – Serenata di Kaled (in Italian) (Massenet). 10½” US-Fonotipia 92118/19 (XPh 3014/15-2). A to M-A, beautiful copy has faintest rubs, inaud. MB 20

1350. ARMIDA PARSI-PETTINELLA: GIULIETTA E ROMEO – Ah! Se tu dormi (Vaccai) / IL TROVATORE – Stride la vampa. 10½” Milano Fonotipia 39072/39115 (XPh 124-2/122). B, decent copy has lt.rubs, very lt scrs & lt.grey. MB 10

1351. ARMIDA PARSI-PETTINELLA: NORMA – Deh! Proteggimi, o Dio! / FAUST – Le parlate d’amor. 10½” Milano Fonotipia 92060/61 (XPh 2846/51). B/A to M-A, Sd.1 only has lt.rubs & very lt scrs . MB 10

1352. ARMIDA PARSI-PETTINELLA: GLI UGONOTTI – Nobles seigneurs, salut! / Non, non, non,vous n’avez j’amais (in Italian). 10½” Milano Fonotipia 39645/46 (XPh 1749/1818-2). A to M-A, lovely copy has, Sd.2 only, tiny nd, ltly audible. MB 25

1353. ARMIDA PARSI-PETTINELLA: LA FAVORITA – O mio Fernando, 2s. 10½” Milano Fonotipia 92054/55 (XPh 2813/14). A-/A, lovely copy has, Sd.1 only, lt,.rubs & long scr, positively inaud. MB 15

1354. ARMIDA PARSI-PETTINELLA: LA FAVORITA – O mio Fernando (Part 1) / LA GIOCONDA - Voce di donna (1st 1907 Version). 10½” US-Fonotipia 92054/39395 (XPh 2813/463). M-A, spectacular copy. MB 15

1355. ARMIDA PARSI-PETTINELLA & MARIO SAMMARCO: LA FAVORITA – Ah! L’alto ardor, 2s. 10½” Milano Fonotipia 39683/84 (XPh 1930/31). A to A-, lovely copy has very faint rubs, inaud. MB 15

"[Armida Parsi-Pettinella's] is the kind of voice that we long to her again in our theatres, even though the style in which she sings has gone out of fashion. She is a genuine contralto, happy also in mezzo-soprano roles because she has fully developed all three registers: her chest tones are rich and full, properly supported and not barked or forced in any way, her medium register is warm, her head register beautifully rounded and, if she is not pushing for too big a sound, bell-like and almost of soprano quality."


- Michael Aspinall, THE RECORD COLLECTOR, 2015


1356. LINA PASINI-VITALE & ORESTE LUPPI: FORZA – Venite fidente, 2s. 10½” Milano Fonotipia 92527/28 (XPh 4013/14). M-A, beautiful copy has hint of grey on peaks. MB 15

1357. LINA PASINI-VITALE & GIUSEPPE KRISMER: FAUST – Il se fait tard (in Italian), 2s. 10½” Milano Fonotipia 92485/86 (XPh 3866/67). A to M-A, spectacular copy. MB 15

1358. LINA PASINI-VITALE & GIUSEPPE KRISMER: TOSCA – Non la sospiri / GIUSEPPE KRISMER: O dolce mani. 10½” Milano Fonotipia 92483/84 (XPh 3864/65). A-, lovely copy has few insignificant rubs & mks, inaud. MB 15

1359. LINA PASINI-VITALE & FERRUCCIO CORRADETTI: MADAMA BUTTERFLY – Ora a noi, 2s.. 10½” Milano Fonotipia 92523/24 (XPh 3975/76). A-, lovely copy has few insignificant rubs, inaud.; Sd.2 only has tiny pap.scr, inaud. MB 15

“After study in Rome Lina Pasini-Vitale made her début at the Teatro Dal Verme, Milan, as Cecilia in Cilea’s LA TILDA (1892). Early in her career she was successful at La Scala and in Rome and Turin as Pietro Mascagni's Iris and Suzel (L᾽AMICO FRITZ), Micaëla, Mimi and Gretel. In 1897 she married the conductor Edoardo Vitale. From 1914 she was widely known in Wagnerian operas, singing Kundry in the South American premiere of PARSIFAL at Buenos Aires, and appearing as Bruünnhilde at Rome in 1926. She retired in 1928, after singing Kundry at Naples. Her sister Camilla Pasini was also a singer.”


- Ashot Arakelyan, Forgotten Opera Singers


1360. GINO M. PATTI: CAVALLERIA - Siciliana / ANTONIO PEROTTI: Viva il vino. 10½” dark blue paper label H & D Pathé 2076. A to M-A, spectacular copy. MB 15

1361. PAUL PAYAN: BARBIERE – La Calunnia (in French) / L’ÉTOILE DU NORD – O jours herux. 10½” H & D Aérophone 908/911. A-, lovely copy has hint of grey on peaks. MB 12

1362. PAUL PAYAN: MANON – Épouse quelque brave fille / HÉRODIADE – Astres étincelants. 10½” brown & gold French Odéon 97474/75 (XP 4857/61). M-A, spectacular copy has, alas, long hlc. MB 10

“Paul Payan studied with Jacques Isnardon (Opéra-Comique), Léon Melchissédec (opera) and Auguste de Martini (singing). Albert Carré, Director of the Opéra-Comique, engaged Payan and he made his début there on 6 September 1907 as the First Philosopher in Louise. His lengthy career at the Comique encompassed dozens of secondary roles including 16 creations. Less regularly, he appeared in important roles such as Sarastro (DIE ZAUBERFLÖTE), Lothario (MIGNON), Vulcain (PHILÉMON ET BAUCIS), and Basilio (IL BARBIERE DI SIVIGLIA). Payan also sang at many French provincial opera houses where he had great success. His work outside of France included the Chicago Opera (1921–1922), the Colón (1924), and Covent Garden (1928–1929).”
- Ward Marston


1363. ELISA PETRI: Sogno (Tosti) / Occhi turchini (Denza). 10½” Milano Fonotipia 39823/24 (XPh 241/42). A to M-A, superb copy has very occasional faintest rub, inaud. MB 25

1364. ELISA PETRI: L’ideale (Tosti) / L’Ombra di Carmen (Tirindelli). 10½” Milano Fonotipia 39449/39023 (XPh 118/1508). A–B, lovely copy has very lt.rubs, hint of grey on peaks & 2 wee scrs, inaud.; microscopic nd, Sd.1. MB 15

1365. ELISA PETRI: BARBIERE – Il vecchietto cerca moglie / BALLO – Re dell’abisso. 10½” Milano Fonotipia 92907/08 (XPh 4790/4803). A to M-A, superb copy has lt.rubs, inaud.; Sd.1 only has insignificant scr, inaud. MB 15

1366. ELISA PETRI & FERRUCCIO CORRADETTI: L'ELISIR – Io son ricco e tu sei bella / Veneziani Cond. Coro di Donne: MACBETH – Coro delle Streghe. 10½” Milano Fonotipia 39890/39924 (XPh 2206/2243), (although XPh 2218 is embossed, Sd.2!). A to M-A, superb copy. MB 15

1367. ELISA PETRI & FERRUCCIO CORRADETTI: FORZA – Ah! que’ sublimi cantici … Chi siete? / LINDA DI CHAMOUNIX – Ah, che il ciel vi bendica. 10½” Milano Fonotipia 39842/43 (XPh 2194/2155). B/A-B, lovely copy has lt. rubs & lt. scrs, inaud.; both labels have neatly written cyrillic. MB 10

“Elisa Petri débuted in 1889 at the Teatro Costanzi in Rome as Raffaela in the Italian premiere of Paladilhe’s PATRIE. In South America as well she often appeared in the 1894-95 season and again in 1899 at the Teatro de la Opera in Buenos Aires, at the opera houses of Rio de Janeiro and Montevideo as well as in the concert hall. In Italy she appeared practically in all leading theaters with success (Teatro Argentina, Teatro Costanzi in Rome (in among other things the premiere of Pietro Vallini’s IL VOTO, 27 Nov., 1895), Teatro Pagliano and Teatro della pergola in Florence, Teatro San Carlo in Naples (among other roles in 1895 as Sieglinde in DIE WALKÜRE, in 1896 as Mimì in the premiere there of Puccini’s LA BOHÈME, in 1911 as Amneris in AÏDA and as Laura in LA GIOCONDA), Teatro Carlo Felice in Genoa and La Scala, Milan). At La Scala she sang in 1902 as Marguerite in Berlioz’s LA DAMNATION DE FAUST, in 1907 as Brangäne in TRISTAN UND ISOLDE. In May, 1897 she appeared in Verdi’s FALSTAFF in the opening of the newly-built Teatro Massimo in Palermo. In 1912 she guested at the Teatro Comunale in Bologna as Brangäne, in 1912 in the same house as Ortrud in LOHENGRIN.”


- Ashot Arakelyan, Forgotten Opera Singers


1368. ALBERT PICCALUGA: Le Chant du patre (Lemaire) / Les Larmes (Reyer). 10½” A.P.G.A 2277/80, only form of issue, 1907, both sides announced. A to M-A, exceptional copy has,very beg.Sd. only, greyed grooves. MB 15

“Among those ‘minor’ companies that flourished in France before the end of the first decade, there is one that stands out above all the others for its originality of organization and its technical excellence. A.P.G.A. (L’Association Phonique des Grands Artistes) was founded in May, 1906…with a group of ten artists: Agustarello Affre, Charlotte Agussol, André Gresse, Jean Noté, Alice Verlet, Henri Weber, Bergeret, Dranem, Mayol & Polin….The records were uniform in size: 27cm. or about 10½ inches….All A.P.G.A. records play at an average speed of 86 r.p.m., and I know of many that go well over 90. These extraordinary speeds might have accounted for the lack of sales….However, when pitched properly, these records are astoundingly good – I might venture to say better than any other needle-cut record of the period.”


- Victor Girard, THE RECORD COLLECTOR, 1954


1369. NINO PICCALUGA: ANDREA CHÉNIER – Come un bel dì di maggio. 10½” Milano Fonotipia K 152001 (XPh 5274),(w.Fonotipia logo embossed on verso). B, very decent copy has lt. rubs & scuffs, possibly ltly audible. MB 10

1370. NINO PICCALUGA: TOSCA – E lucevan le stelle. 10½” Milano Fonotipia K 152003 (XPh 5279), (w.Fonotipia logo embossed on verso). B, very decent copy has lt. rubs & scuffs, possibly ltly audible. MB 10

1371. ALFRED PICCAVER: Mattinata (Leoncavallo). 10½” black, beige & gold German Odeon Lx 99943. (xB 6541), (w.Odeon logo embossed on verso). M-A, spectacular copy. MB 20

1372. ALFRED PICCAVER: Mattinata (Leoncavallo) / Torna a Surriento (de Curtis). 10½” black, beige & gold German Odeon Lx 99943/47. (xB 6541/45). A-/B, very decent copy has few lt.rubs, inaud.; Sd.2 only has visible scuffs, also inaud. MB 12

1373. ALFRED PICCAVER: CARMEN - La fleur que tu m'avais jetée (in German). 10½” dark blue US Odeon 72901 (xB 5664). A to M-A, beautiful copy has a few faint rubs, inaud. MB 15

1374. ALFRED PICCAVER: CARMEN - La fleur que tu m'avais jetée / IL TROVATORE - Ah! sì, ben mio (both in German). 10½” black, beige & gold / brown, beige & gold German Odeon 99929/32 (xB 5664/59-2). A to M-A, choice copy has a few faint rubs & mks, inaud. MB 15

1375. ALFRED PICCAVER: ROMÉO - Ah! lève-toi, soleil! 10½” brown, beige & gold German Odeon X 99943. (xB 6541), (w.Odeon logo embossed on verso). A to M-A, superb copy has lt.rubs & insignificant scr, inaud. MB 15

1376. ALFRED PICCAVER: RIGOLETTO - Parmi veder le lagrime / Questa o quella (in Italian). 10½” brown, beige & gold German Odeon X 99930/33 (xB 5663/57), Sd.2 label AUTOGRAPHED by Piccaver. A-, lovely copy has faint rubs, inaud. MB 20