Love for Three Oranges

Maurice SENDAK   |   Frank CORSARO

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Item#: 123794 price:$550.00

Love for Three Oranges
Love for Three Oranges
Love for Three Oranges


CORSARO, Frank. The Love for Three Oranges: the Glyndebourne Version. Stage and Costume Designs, Maurice Sendak. New York: Farrar, Straus & Giroux, (1984). Slim quarto, original russet cloth, mounted cover illustration, pictorial endpapers, original illustrated slipcase. $550.

Signed limited first American edition of Corsaro’s account of his and Sendak’s production of Prokofiev’s opera, number 167 of only 200 copies, illustrated with Sendak’s designs and signed by both Corsaro and Sendak.

Corsaro's plot summary of his and Sendak's version of Prokofiev's opera L'Amour des Trois Oranges, as produced for the 1982 Glyndebourne Festival, is punctuated by the creative dialogue between Corsaro and Sendak as their version took shape. The endpapers contain Sendak's complete storyboard, with three revisions to the desert scene. Illustrated with details from the storyboard and numerous finished drawings of costumes and sets. Hanrahan A118. The former owner of this book was Maurice Sendak's neighbor, Andrew, from Ridgefield, Connecticut. Sendak bought a home and studio in Ridgefield in 1972 with his longtime partner, Eugene Glynn, and lived there until his death. Andrew first encountered Sendak in 1975 during one of his daily dog walks. (Sendak owned many dogs throughout his life, and they often starred in his books.) Andrew was immediately taken with Sendak, who reminded him of his recently deceased father. One day, Andrew called Sendak at home and asked if he could join him on his walks. Andrew and Sendak thus embarked on a 37-year friendship that also included the Andrew's mother, Betty, as well as Andrew's brother. Sendak went on long walks and hikes with Andrew and his family regularly, discussing general life events, opera, and books. He also invited them into his studio to show off works in progress. Andrew's mother, Betty, was an avid reader and collector and she and Sendak would talk late into the night about books. Sendak offered Betty advice about how to find and authenticate rare children's books, which she used to build her collection. Additionally, he frequently bartered for autographs (i.e. a cake for an inscribed drawing). In inscriptions, Betty is often referred to as "Elizabeth"; Sendak felt that her name was "common" and didn't suit her. The many inscribed drawings, along with first editions, signed books, limited edition books, and other valuable items grew into one of the country's premier Sendak collections.

A fine copy.

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