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WOMEN VIOLINISTS GROUP 3. A group of autographs of female violinists comprised of: MILANOLLO PARMENTIER, TERESA. (1827-1904). Italian violinist. ALS. (“T. Milanollo Parmentier”). 3pp. 8vo. Paris, May 10, 1889. On her monogrammed stationery thanking a lady for sending her “Le Violin de Crémone.” In French with translation which reads, in part, “Thank you, Madam, for being so kind as to send me Le Violin de Crémone; thank you also for the Pizzicato (for which, with your permission, I am sending you herewith two francs fifty centimes in postage stamps), and now let me express my recognition of the honor you are good enough to do me by the dedication of your new work, the Scherzo, which I accept with gratitude…” Teresa – “Mademoiselle Adagio” – and her sister Maria – “Mademoiselle Staccato” – were Italian child prodigies who toured Europe during the 1840s, unusual for women at the time, earning the admiration of crowned heads of state as well as Johann Strauss, Giacomo Meyerbeer, Franz Liszt, Frederic Chopin, and Hector Berlioz who wrote a favorable review of Teresa’s 1841 performance for La Revue et Gazette Musicale de Paris. After Maria’s premature death at age 16, Teresa, who had trained with Charles de Bériot, continued her career as a soloist and composer and established a series of charity concerts in France. In 1857, after marrying Theodore Parmentier, she retired from the stage, moving with her husband to a succession of military posts where she often performed for charity. “The Cremona Violin” might refer to E. T. A. Hoffmann’s gothic horror story about a fanatical collector of Stradivarius violins. Two of Milanollo’s violins were made by the esteemed luthiers of Cremona: a magnificently preserved 1728 Stradivarius bequeathed to her by Domenico Dragonetti in 1846 and a circa 1689 Rugeri that had belonged to Nicolo Paganini. Some light wear otherwise fine. MORINI, ERIKA/ERICA. (1904-1995). Austrian-born, American violinist. CS. (“Erica Morini”). 1p. 12mo. New York, October 1954. A child prodigy born into a musical Viennese family and the first female and youngest student admitted to the Vienna Conservatoire at the age of 8, Morini performed for Emperor Franz Joseph before making her public debut with the Leipzig Gewandhaus Orchestra at the age of 13. She first performed in New York three years later with New York Philharmonic at Carnegie Hall. The New York Times later described her as “probably the greatest woman violinist who ever lived.” After relocating to New York in 1938, she taught at the Mannes College of Music while recording and performing a wide repertoire of music, helping, even to restore German composer Louis Spohr’s popularity. Although she disliked being viewed as a female violinist, after her death The Strad described her as “most bewitching woman violinist of this century.” “That Morini isn’t mentioned today in the same breath with Nathan Milstein or Jascha Heifetz might have something to do with the paucity of her recorded output. Yet at a time when men played the solo violin game almost exclusively, she persevered, squaring up to a music business that was largely chauvinistic and that made her increasingly bitter over the years,” (“Out of the Closet,” The American Scholar, Bose). Since 1925, Morini had played the Davidoff Stradivarius which, in 1995, when she was on her deathbed, was discovered to be missing from a locked storage closet in her New York City apartment. Her relatives spared Morini the upsetting news and she passed away at 91 while clutching an inferior copy of her violin. “The violin is still at large, and the case remains on the FBI’s list of top 10 unsolved [art] crimes,” (ibid.). Some age-toning, otherwise fine. NEVEU, GINETTE. (1919-1949). French violinist. Signed program. (“Ginette Neveu”). 4pp. 8vo. London, March 16. 1946. A concert program from London’s Royal Albert Hall with the Royal Philharmonic Society, signed by Neveu, in which she performed Beethoven’s Violin Concerto in D, Opus 77. Born into a musical family, Neveu made her solo debut at the age of seven at Paris’ Salle Gaveau. After studying at the Paris Conservatoire with George Enescu and Natalia Boulanger, she earned international renown by beating out David Oistrakh in the Henryk Wieniawski Violin Competition at the age of 15, after which she toured internationally. Her career was cut short at the age of 30 when she died in a plane crash with her piano accompanist brother. She is buried in Paris’ Père Lachaise Cemetery near the tomb of Frédéric Chopin. Folded with some dust staining, creasing and wear. In very good condition and scarce. Neveu’s Stradivarius survived the plane crash, but not its new owner. As related in an article by Pierre Ruhe in the April 1995 issue of The Strad, “Several days after the accident, officials from Air France visited the Vatelot shop, carrying Neveu's case and two bows: one undamaged, stamped ‘W.E. Hill & Sons,’ a Fleur-de-Lys model, gold mounted with a tortoiseshell frog; the other a Chardon, badly broken. The case had deep scratches across the top, but was otherwise intact. Vatelot confirmed that these were indeed the bows of Ginette Neveu. Asked where they had been found, the visitors told of a man in the Azores village who was using the beautiful Hill & Sons bow: when questioned, he said he had found it on the mountain and promptly relinquished it. Hearing this incredible story, Vatelot asked, ‘And the violins?’ The officials replied, ‘Oh, the violin played by that man was so old, and he played it so badly, that we knew it couldn’t be important.’ POWELL, MAUDE. (1867-1920). American violinist and the first violinist from the United States to gain respect in Europe. SP. (“Maude Powell”). 1p. Tall 4to. Asbury Park, July 5, 1908. A Schervee Galleries photograph of Powell standing in profile holding her violin and bow, inscribed to “Mr. W. G. Cole.” Born in Illinois, Powell, a child prodigy, was trained at the Leipzig and Paris conservatories and the Berlin Hochschule under Joseph Joachim, becoming a superstar and the first American violinist to achieve renown in Europe. She used her fame to advocate for the inclusion of more American music in general, and woman and black composers including Samuel Coleridge-Taylor, who composed a violin concerto at her request, in particular. She was the first solo violinist to record on the RCA’s Red Seal label and was the dedicatee of Max Liebling’s Fantasia on Sousa Themes. Her hectic concertizing schedule, which included bringing music to the smallest of venues, resulted in her early death after she collapsed onstage and died from a stroke at the age of 52. Some light mat burn and surface wear around the edges. In 1907, Powell mistakenly bought what she had been told was a 1775 Guadagnini, an error, first discovered in the 1970s. TUA, TERESA. (1866-1956). Italian violinist. SP. (“Teresa Tua”). 1p. Cabinet card. Milan, December 5, 1881. A sepia studio Shemboche portrait of the 15-year-old Tua holding her violin and bow inscribed to Italian tenor DANTE DEL PAPA (1854-1923) on the lower photographer’s mount. A child prodigy, Tua was born to a poor family but the success of the Milanollo sisters inspired her parents to take her on tour through northern Italy, Switzerland and the French Riviera on foot. In Nice, she caught the ear of someone who helped her, at age 11, to enroll in the Paris Conservatory where she was sponsored by Queen Isabella of Spain, among others. Throughout the 1880s, Tua was a popular performer across Europe, winning the admiration of Joseph Joachim and Guisseppe Verdi, who called her Paganini’s spiritual heir. After playing at the home of Norwegian composer Edvard Grieg, who called her “the little fiddle-fairy on my troll-hill,” the composer was inspired to compose his Violin Sonata No. 3, his last chamber composition. She left the stage to marry and have children, who would not survive infancy, after which, in 1895, she performed in Russia with a hired 22-year-old accompanist - Sergei Rachmaninoff – and became the first female violinist to tour Siberia. She played a 1708 Stradivarius. Del Papa studied at the Milan Conservatory before making his debut in Rigoletto in Ravenna in 1879. He performed in many of Italy’s cities as well as in Croatia, Egypt and Spain, before touring in the United States in 1894 and becoming a voice teacher in New York. With file holes in each corner and some overall browning and wear. In satisfactory condition only. URSO, CAMILLA. (1840?-1902). French-born violin prodigy. LS. (“Camilla Urso”). 1½pp. 8vo., New York, January 16, 1893. To Mariani & Co., a patent medicine manufacturer. Writing to endorse the healing effects of Mariani Coca Wine for a recently experienced accidental shock resulting in a “greatly impaired nervous system,” noting that the “effects of its use has been excellent in keeping up my strength.” The first female student to be admitted to the Paris Conservatoire, Urso studied there until age 10, later becoming the first female violinist to win a prize, in 1852. That same year, she embarked on a tour throughout the United States, settling there and after playing with Boston’s Philharmonic Society and the New York Philharmonic in the 1860s, she performed around the world until retiring the New York in 1895. In 1863, Corsican chemist Angelo Mariani invented the first coca wine, Vin Mariani, an alcoholic beverage combining wine with cocaine, and a forerunner of Coca-Cola. Our letter testifies to the strain of Urso’s hectic performance schedule. Folded with normal wear. In very fine condition. WICKS, CAMILLA. (1928-2020). American violinist prodigy. Single program page, signed. (“Camilla Wicks”). 2pp. 8vo. (San Antonio, circa 1950). A program note with an image of Wicks playing her violin which she has inscribed to Richard. After studying with Louis Persinger at Julliard, Wicks enjoyed a successful recording and performing career, performing with the New York Philharmonic, Philadelphia Orchestra and Chicago Symphony Orchestra. The daughter of a Norwegian father, she won the approval of Finnish composer Jean Sibelius with her recording of his Violin Concerto in D minor (his only concerto). In fine condition. For a time, Wicks performed on the 1725 “Duke of Cambridge” Stradivarius. WILSON, MARIE. (1903-1959). Pioneering English violin prodigy. ALS with an SP. (“Marie Wilson”). 1p. 8vo. London, October 16, (1935). On her Wembley Park stationery. To Mrs. Meldrum. A letter mentioning the Proms and sending a black-and-white photograph of Wilson cleaning her violin, signed in the upper right portion of the image. (“Marie Wilson”). 1p. 12mo. N.p. October 1935. Wilson made her first public appearance at age six and studied at the Royal College of Music. While still a student, she became a member of Sir Henry Wood’s Queen’s Hall Orchestra and went on to enjoy a successful solo career, appearing regularly at the Promenade Concerts and, eventually, leading the Promenade Concert orchestra, at a time when few women held such roles. She was also an original member of the BBC Symphony orchestra, founded in 1930. In very fine condition.