Section X - Spoken Word 78rpm records  Nos. N1167 – N1202, plus N0988

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

Since 1972



Auction Number 151 ­-
AUCTION Closing Date: Tuesday, 26 November, 2019



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Section X - Spoken Word 78rpm records Nos. N1167 – N1202, plus N0988



N1167. SARAH BERNHARDT: La Sammartine – Je dormais … elle east impure (Rostand). 12” S/S black PW Collectors Record Shop RV-19 (RCA CS 043153),RR-1904, Edison Cylinder, 1939 pressing, with RCA spiderweb embossed on verso. M-A MB 25

N1168. SARAH BERNHARDT: L’Aiglon – Flambeau! (Rostand) [Creator, 5 March, 1900, Théàtre Sarah Bernhardt, Paris]. 12” S/S silver Gramophone Shop Varieties 2001 (R1137), RR-1903, Edison Cylinder. M-A MB 15

N1169. SARAH BERNHARDT: Un peu de musique (Victor Hugo) / CONSTANT COQUELIN: Cyrano de Bergerac – Ballade du duel (Rostand), [Creator, 28 Dec., 1897, Théâtre de la Porte Saint-Martin, Paris, in 1897]. 10” silver IRCC 3047, RRs-1896, Bettini cycinder / 1902, w.printed IRCC foldover. M-A MB 15

N1170. SARAH BERNHARDT: La Sammartine - Il dit encore (Rostand). 10” red PW Historical Catalogue #2 HMV E 326 (1552/ 1502-F), POM-1903. M-A MB 25

N1171. SARAH BERNHARDT: Phèdre - Oui, Prince, je brule (Racine) / La Sammartine - Il dit encore (Rostand). 10” red PW Historical Catalogue #2 HMV E 326 (1552/ 1502-F), POM-1903. M-A MB 25

"[Bernhardt’s] Phèdre is nature itself served by marvelous intelligence, by a soul of fire, by the most melodious voice that ever enchanted human ears. This woman plays with her heart, with her entrails."
- Francisque Sarcey


N1172. ELLEN TERRY: The Winter’s Tale – Act II, Scene I (Shakespeare). 10” Pat.’08 V 64193, only form of issue, 21 Feb., 1911. A to M-A MB 12

N1173. ELLEN TERRY: Merchant of Venice – Mercy Speech (Shakespeare). 10” Pat.’08 V 64194, Orig. ‘A’Plate Issue, POM-28 Feb., 1911, Never Doubled. M-A MB 15

N1174. ELLEN TERRY: Hamlet – Ophelia’s Mad Scene (Shakespeare). 12” Pat.’08 V 74239, Orig. ‘A’Plate Issue, only form of issue, 21 Feb., 1911. M-A MB 15

N1175. ELLEN TERRY: Hamlet – Ophelia’s Mad Scene / Romeo – Potion Scene (Shakespeare). 12” silver Victor IRCC 3, POM- 21 / 28 Feb., 1911, Numbered Copy #43 of Limited Edition. M-A MB 25

N1176. ELLEN TERRY: Romeo – Potion Scene (Shakespeare). 12” Pat.’10 Canadian V 74240, POM- 28 Feb., 1911, Never Doubled in any regular series. A to M-A MB 12

“In 1875 Terry played Portia in THE MERCHANT OF VENICE at the Prince of Wales Theatre. So remarkable was her performance that it inspired a sonnet by Oscar Wilde. [Her] obituary published in THE TIMES described the outpouring of sorrow. ‘In the history of the English stage no other actress has ever made herself so abiding a place in the affections of the nation’.”


N1177. E. H. SOTHERN: Hamlet – Speech to the players (Shakespeare). 12” Vla 74703, ‘Take’ 8, POM-14 Jan.,1921. M-A, Appears unplayed! MB 12

N1178. E. H. SOTHERN: Julius Caesar – Friends, Romans, Countrymen; If you have tears (Shakespeare). 2s. 2-12” Vla 74699/74700, POM-28 Oct.,1920. M-A MB 15, the Pair.

N1179. E. H. SOTHERN & JULIA MARLOWE: Romeo – Balcony Scene (Shakespeare), 2s. 2-12” Vla 74662/63, POM-1 Nov.,1920. M-A MB 15, the Pair.

N1180. E. H. SOTHERN & JULIA MARLOWE: Julius Caesar – Brutus and Portia (Shakespeare). 12” Vla 74706, POM-13 Jan., 1921. M-A MB 12

N1181. E. H. SOTHERN & JULIA MARLOWE: Good morrow, Kate; What is your will, sir? (Shakespeare), 2s. 2-12” Vla 74704/05, POM-13 / 14 Jan., 1921. M-A MB 15, the Pair.

N1182. E. H. SOTHERN & JULIA MARLOWE: Merchant of Venice – The Casket scene / Shylock’s Speech; Mercy Speech (Shakespeare), 2s. 12” Vla 6297, POM-1 Nov.,1920 / 13 Jan., 1921. M-A MB 12

N1183. E. H. SOTHERN & JULIA MARLOWE: Twelfth Night – The Duke and Viola (Shakespeare). 12” Vla 74707, POM-15 Feb., 1921. M-A MB 12

“Edward Hugh Sothern was born in New Orleans. His first American stage appearance was at the Park Theatre, New York, in 1879. His first London appearance was at the Royalty Theatre in 1881, two years before returning to the United States. In 1900, he appeared in HAMLET, his first Shakespeare performance at the Garden Theatre in New York City….He and Julia Marlowe then toured with their productions of Shakespeare. For a short time, they introduced Shakespeare to a much wider audience by performing many of his works at affordable prices at the Academy of Music in New York….He then spent his time, beginning in 1928, traveling and lecturing on the many roles in Shakespeare that he and Julia had played.”
- Shakespeare & the Players


N1184. JOSEPH JEFFERSON: Rip van Winkle - Scene in the mountains / COLUMBIA QUARTETTE: You’re the flower of my heart, sweet Adeline (Harry Armstrong). 10” black Columbia A385 (1468/3166), POM-1903/’06, resp. M-A, remarkable copy has, Sd.2 only, faintest lams, of no consequence. MB 25

N1185. JOSEPH JEFFERSON: Rip van Winkle - Rip meets Meenie after twenty years / COLUMBIA QUARTETTE: Come rise with the larks. 10” black Columbia A390 (1469/3407), POM-1903/’06, resp. MB 25

“Joseph Jefferson, born in 1829 thus making him one of the oldest people who voice survives on a record, was an American actor and was one of the most famous of all 19th century American comedians. Jefferson was particularly well known for his adaptation and portrayal of Rip Van Winkle on the stage in 1859, reprising the role in several silent film adaptations. After 1865, he created no other major role and toured with this play for decades. Joseph Jefferson made several recordings, all of material from RIP VAN WINKLE, his best-known role. He recorded these scenes from the play in New York in 1903 when he was 74 years old.”
- Wikipedia
N1186. JAMES JOYCE: Anna Livia Plurabelle (Read by the Author), 2s. 12” white & green PW HMV The Orthological Institute CC17594-V / 95-IIT1, only form of issue, 1929. M-A MB 95

“In 1927, Charles Kay Ogden founded the Orthological Institute at Cambridge to promote Basic English and to train teachers. Realising the usefulness of voice recordings for language teaching, he equipped the Institute with what he claimed were the largest recording machines in the world, and he organised recordings by contemporary writers including Joyce and Shaw. Joyce chose to read part of the ‘Anna Livia Plurabelle’ section of his Work in Progress for Ogden’s recording. For the Orthological Institute’s recording in August 1929, Ogden had part of the text of ‘Anna Livia Plurabelle’ produced in half-inch letters on large sheets to make it easier for Joyce to read. It seems that the records were being pressed at an HMV factory, and Joyce complains in a couple of letters about how slow they are. Harry Levin, writing in his 1944 study of Joyce, remarked: ‘Everyone who has played Joyce’s captivating phonograph record from ‘Anna Livia Plurabelle’ will agree that the best introduction to his book is to hear him read it aloud. Yet even the author’s expressive brogue cannot convey all the inflections, unless it is supplemented by the text’. According to Sylvia Beach, Joyce himself was anxious to make this recording.

Given that the Gramophone Company wouldn’t produce the record under the HMV label, it seems that Joyce took the time to design his own record label. The records were not intended for sale, and most of the copies were given to Joyce who gave them away to friends and family. Beach kept a couple of records herself, and admitted that she later sold them at a stiff price when she was hard up.
- James Joyce Centre, 3 Nov., 2012


N1187. GEORGE BERNARD SHAW: Spoken English and Broken English (Recited by the Author), 4s. 2-12” PW Linguaphone S.H.1-4, only form of issue, 1927, Shaw's signature appearing in inner margin, all four sides. In original Linguaphone album, with Linguaphone booklet. M-A, exemplary copy. MB 45, the Pair.

“’If what you hear is very disappointing and you feel instinctively 'that must be a horrid man', explains Shaw in his precise diction, ‘You may be quite sure the speed is wrong. Slow it down until you feel that you are listening to an amiable old gentleman of seventy-one, with a rather pleasant Irish voice - then that is me. All the other people who you hear at the other speeds are imposters - ‘sham Shaw’ - phantoms who never existed!’"
- George Bernard Shaw


N1188. GERTRUDE STEIN: The Making of Americans (Read by the Author), 2s. 12” PW Erpi Picture Consultants 8066/67, POM-1934-45. M-A MB 45

N1189. GERTRUDE STEIN: A Valentine to Sherwood Anderson / Madame Recamier – an Opera (both Read by the Author), 2s. 12” PW Erpi Picture Consultants 8068/69, POM-1934-45. M-A MB 45

N1190. GERTRUDE STEIN: Matisse / If I told him; A Completed Portrait (both Read by the Author), 2s. 12” PW Erpi Picture Consultants 8070/71, POM-1934-45. M-A, pristine copy has, Sd.2 only, faintest rub, inaud. & hardly worth mention. MB 45

“Sometimes it comes out of me I am filled full of knowing and it bursts out from me, sometimes it comes very slowly from me, sometimes it comes sharply from me, sometimes it comes out of me to amuse me, sometimes it comes out of me as a way of doing a duty for me, sometimes it comes brilliantly out of me, sometimes it comes as a way of playing by me.”
– Gertrude Stein


N1191. BERTHE BOVY: La Voix Humaine (Jean Cocteau), 4s. 2-12” PW French Col. DFX 40/41, POM-1930. [Creator, Théâtre de la Comédie-Française, Paris, 17 Feb., 1930]. M-A MB 45, the Pair.

”Berthe Bovy was a Belgian actress who appeared in theatre, films and television programmes for over 60 years. She enrolled in the Koninklijk Conservatorium in Brussels following a meeting with Sarah Bernhardt. She joined the Comédie-Française in 1907. She created LA VOIX HUMAINE at the Comédie-Française 17 Feb., 1930, shortly after which she made the above recording.”


N1192. EDNA ST VINCENT MILLAY: RENASCENCE; The Ballad of the Harp-Weaver; THE HARP-WEAVER - Return from town; FATAL INTERVIEW - This beast that rends me; Not in a silver casket; Love is not all; Sorrowful Dreams; Oh, Sleep Forever; SECOND APRIL - Travel; Elegy; WINE FROM THESE GRAPES - Childhood is the Kingdom; Where can the heart be hidden in the ground; FIGS FROM THISTLES - Recuerdo; I shall forget you presently, my dear; Portrait by a Neighbor; THE BUCK IN THE SNOW - To Pao-Chin; The Anguish; MAKE BRIGHT THE ARROWS - I Must not die of pity; The Maid of Orleans (all Recited by the Author), 8s. 4-12” V 18275/78, POM-1942, in Orig. Album DM-836, w.Brochure. Highly Elusive M-A, albeit Sds. 1 & 2 have faintest superficial scrs. MB 45, the Set.

N1193. RALPH BELLAMY: Leaves of Grass – Excerpts (Walt Whitman), 8s. 4-12” V 11-8524/27, POM-1943, in Orig. Album M-955. M-A, as unplayed. MB 35, the Set.

N1194. RALPH BELLAMY, w.Marrow Cond. The Rubaiyat of Omar Khayyam (trans. Fitzgerald), 4s. 2-12” RCA 11-9184/85, POM-1946, in Orig. Album DM-1055, w.Elaborate Brochure. MB 35, the Set

“During his career which spanned 62 years, Ralph Bellamy toured with road shows before finally landing in New York City. He began acting on stage there and by 1927 owned his own theater company. In 1931, he made his film debut and worked constantly throughout the decade both as a lead and as a capable supporting actor. Bellamy appeared as Roosevelt in the 1958 play SUNRISE AT CAMPOBELLO by Dore Schary, for which Mr. Bellamy won many honors, including the Tony and Drama Critics best-actor awards. Despite his many film roles, he was passed over by Hollywood for the film versions of his first three plays. But his luminous stage performance so dominated SUNRISE AT CAMPOBELLO that he won the part in the 1960 movie. In 1983, he played Roosevelt once again in the television miniseries THE WINDS OF WAR. Mr. Bellamy prepared carefully for every assignment, but he was more careful than ever in readying himself for SUNRISE AT CAMPOBELLO, which dealt with Roosevelt's 1921-24 battle with polio and his struggle to resume an active life.”
- Peter B. Flint, THE NEW YORK TIMES, 30 Nov., 1991


N1195. ILKA CHASE. Poems of Dorothy Parker, 4s. 2-12” RCA 11-8605/06, POM-1944, in Orig. Album M-971. M-A, appears unplayed, albeit faintest superficial scrs, Sd.2, inaud & barely visible. MB 35, the Set

“Chase’s reputation as an acidulous critic of her contemporaries derived equally from the roles she played and from the books she published. She said, ‘I would not say that in conversation Clare Boothe Luce tossed off witticisms at the rate of Dorothy Parker. I wouldn't say that of Dorothy Parker, either’.”
- THE NEW YORK TIMES, 16 Feb., 1978


N1196. HERBERT READ, PHELPS PUTNAM, JOHN BERRYMAN, HORACE GREGORY & DELMORE SCHWARTZ reading their own poems, 10s. 5-12” red vinyl Library of Congress LC 1770/79, in Orig. Album P-7. M-A, appears unplayed! MB 35, the Set.

N1197. RICHARD BLACKMUR, STEPHEN SPENDER, ELIZABETH BISHOP, THEODORE ROETHKE & WITTER BYNNER reading their own poems, 10s. 5-12” red vinyl Library of Congress LC 1780/89, in Orig. Album P-8. M-A, appears unplayed! MB 35, the Set.

N1198. ROBERT FITZGERALD, MARYA ZATURENSKA, ROBERT LOWELL, CONRAD AIKEN & WILLIAM EMPSON reading their own poems, 10s. 5-12” red vinyl Library of Congress LC 1790/99, in Orig. Album P-9. M-A, appears unplayed! MB 35, the Set.

N1199. ARCHIBALD MACLEISH, MURIEL RUKEYSER, HOWARD BAKER, LÉONIE ADAMS & JANET LEWIS reading their own poems, 10s. 5-12” red vinyl Library of Congress LC 1800/09, in Orig. Album P-10. M-A, appears unplayed! MB 35, the Set.

N1200. ORSON WELLES, etc.: JULIUS CAESAR (Shakespeare) – Abridged Version by Mercury Theatre, 10s. 5-12” Col. 11224/28-D, POM-1938, in paper sleeves. M-A, appears unplayed. MB 35, the Set.

“Orson Welles,still in his early 20s, was catapulted to fame by his ‘anti-fascist JULIUS CAESAR produced at the Mercury Theater. In 1938 he memorialized that production in a five-record set. It was not a recreation of the stage production. The performers were assigned different parts from those they had on the stage, and the play was greatly condensed. A piece of speech in one act was combined with a line from another act and another part; the entire murder scene from ‘The ides of March’ have come’ to ‘Et tu Brute’ lasted only 15 seconds. This was the first recording of a complete play in condensed form; it treated the recorded play as a new art form.”
- Robert O’Brien, Encyclopaedia of Recorded Sound


N1201. RONALD COLEMAN, etc.: LOST HORIZON (James Hilton) – Abridged Version by George Wells, 6s. 3-12” black Decca 29188/90, POM-1944, in Orig. Decca Album DA-402, w.Brochure. M-A, appears unplayed. MB 35, the Set.

N1202. RONALD COLEMAN, etc.: A TALE OF TWO CITIES (Dickens) – Abridged Version by George Wells, 6s. 3-12” black Decca 29253/55, POM-1947, in Orig. Decca Album DA-696. M-A, appears unplayed. MB 35, the Set.

“Ronald Coleman’s first major talkie success was in 1930, when he was nominated for the Academy Award for Best Actor for two roles – CONDEMNED and BULLDOG DRUMMOND. Colman has been mentioned in many novels, but he is specifically mentioned in Ralph Ellison's INVISIBLE MAN because of his charming, well-known voice. Along with his charming voice, Colman had a very confident performing manner that helped make him a major star of sound films.”
- Wikipedia


Plus -

N0988. ADOLF HITLER: AUFRUF AN DAS DEUTSCHE VOLK, Nur als Bestandtell des Buches: Czech-Jochberg, Vom 30.Januar zum 21 Marz - Ansprache de Reichskanzlers Adolf Hitler bei Ubernahme der nationalen Regierung am 31 Jan., 1933. (Speech by the German Chancellor Adolf Hitler on taking over the national government), 4s. 2-10” dark-blue NS-Schellackplatten Qu 553-556, POM-31 Jan., 1933. A to M-A, beautiful copy has faintest rubs, inaud. Exceedingly Rare! MB 195, the Pair.

“Hitler explains the ideological reasons for the Nazi rise to power and their main political aims. He announces the indictment of the politicians responsible for the evils of the Weimar Republic and promises to 'resurrect' a Neue Deutsche Reich [new German Empire] undivided and rooted in 'healthy' soil. He does not openly address the Jewish question. Hitler closes with the last words of the Lord's Prayer and Amen. The audience of civilians and uniformed SA and SS rises, cheers, shouts 'Heil', and gives the Nazi salute (several times).”