Enrico Caruso

Caruso, Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. U. Ostende. 90:135 mm.
$ 524 / 450 € (1053)

Enrico Caruso (1873-1921), Italian tenor. SP, 3.5 x 5.5 inch, “Enrico Caruso”, Ostende, 1920. A profile pose of the tenor. Framed. – Writing very minor faded.


Caruso Enrico

Tenor (1873-1921). Beautiful signed photograph. Stuttgart. 90:135 mm.
$ 1,547 / 1.330 € (144)

Nice portrait of the tenor as „Duke“ in „Rigoletto“. Signed in black fountain pen ink. In very fine condition.


Caruso, Enrico

Tenor (1873-1921). Rollenphotographie mit vollem Namenszug auf der Bildseite. London. 90:140 mm.
$ 814 / 700 € (1539)

Enrico Caruso (1873-1921), Italian operatic tenor. Beautiful SP, 3.5 x 5.5 inch, n. p., 1907. A composite postcard of Caruso in costume in „Rigoletto“, in „Marta“ and a smaller portrait of the tenor. With gilt edges.


Caruso Enrico

Tenor (1873-1921). Portrait photograph signed. O. O. u. D. 8vo.
$ 1,024 / 880 € (196)

The photograph shows Caruso in full length, in costume for the role of „Vasco di Gama“ from Giacomo Meyerbeer’s opera „L’Africaine“. The photograph is taken by Breitkopf & Härtel in New York. Some creasing, some wear to the margins and mounting traces on the verso.


Caruso Enrico

Tenor (1873-1921). Classic matte-finish 3.25 x 5.25 postcard photo of Caruso in a three-quarter-length pose, signed vertically in supremely bold black ink. In fine condition. O. O. u. D. 8vo.
$ 907 / 780 € (484)

Aufnahme in ¾-Figur mit Anzug und Mantel. - Die Photographie ist von Mertens, veröffentlicht von Breitkopf & Härtel, New York.

buy now

Caruso Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. U. auf der Bildseite. London. 8vo.
$ 989 / 850 € (540)

Italian operatic tenor. Beautiful SP, 3.5 x 5.5 inch, “Enrico Caruso”, London, 1907. A nice half length pose of the tenor. The upper and lower margin slightly trimmed.

buy now

Caruso Enrico

Tenor (1873-1921). Portrait postcard signed. O. O. u. D. 8vo.
$ 1,024 / 880 € (541)

A nice head and shoulders pose of Caruso wearing costume as “Don Jose“ in “Carmen”. Signed in black fountain pen ink. The upper left corner is creased.

buy now

Caruso Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. U. Wien. 1 S. 8vo.
$ 907 / 780 € (542)

Italian operatic tenor. Beautiful SP, 3.5 x 5.5 inch, “Enrico Caruso”, Vienna, 1907. A nice three quarter length pose of a relaxed Caruso.

buy now

Caruso, Enrico

Tenor (1873-1921). Signed postcard photograph. Berlin. 140 : 90 mm.
$ 931 / 800 € (73643)

Nice head and shoulders postcard of the tenor. - Stamped and addressed on the verso in a different hand.

buy now

Caruso, Enrico

berühmteste Tenor der ersten Hälfte des 20. Jahrhunderts und eine der bedeutendsten Figuren der Opernwelt (1873-1921). 2 eigenh. Karikaturen (davon 1 Selbskarikatur) mit eigenh. Unterschriften. Berlin. 4to (180 : 245 mm). 2 pp. Montiert auf Passepartout.
$ 5,235 / 4.500 € (78532)

Eine Selbstkarikatur von Caruso im Profil nach links mit Schnurrbart mit Widmung an „Madame Blumenthal“. - Die zweite Karikatur zeigt den Schriftsteller, Kritiker und Bühnendichter Oscar Blumenthal (1852-1917) von vorn. - Entstanden während eines Dinners in Berlin anläßlich einer Premiere in Berlin. - Beiliegt: 2 Zeitungsartikel.

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). 2 letters signed. New York. 4to. 4 pp. 8vo. 6 pp. with two punch holes in upper margins with minor loss to text.
$ 2,909 / 2.500 € (80579)

„Vorrei, tante volte, ritornare invietro di 25 anni e essere quel piccolo tenore al quale non si questava attenzione!“, Enrico Caruso writes to his friend James O'Connell (“Mio Carissimo D. Giacomino" or "Caro D. Giacomino"), in Italian. „Sometimes I just wish I could turn back 25 years and be that little tenor that nobody paid any attention to!“ The first letter from January 12, 1920 is written on „Hotel Knickerbocker" stationery, Caruso is explaining that he had not decided on the baptism date for Gloria, adding that the Marquis and Marquess Cappelli have offered to be the godparents, apologizing for the miscommunication when he last visited, and asking to convey his devotion to His Eminence.

The second letter on personal stationary (“East Hampton“) from July 22, 1920 is describing how a bomb exploded in the Havana theater where he was to perform, briefly describing his daily routine including the four hours he spends on correspondence, dreaming of again being a young tenor with no responsibilities, hoping that he and his family are well, including His Eminence, and, in a postscript, conveying his wife's greetings and adding that Gloria says hello using her new teeth: "[...] The bomb was placed in a corner of a restroom on the top level, obviously with the idea not to cause victims but rather damage to the building since it is privately owned. To everything there is a comical side and when the explosion happened, I was in my dressing room. I ran out on the stage right away but was bodily rushed out and, dressed as I was, put in a private car, escorted by a warrior on horseback [...] to my house. That was the end of the Havana visit, a visit that gave me a lot to think about because, being Italian and being down there with all the Spanish artists, I had to fight and I won honorably. [...] Time has been passing with playing tennis and bridge, going fishing and taking care of my correspondence for about four hours a day, then studying, reading the papers, taking care of my accounts, receiving visitors, and answering telephone calls from lawyers and detectives. There is no shortage of lawyers and insurance agents giving us their advice, nor of anonymous letters of insults and blackmail. So this is my pastime, aside from being the head of the family . [...] Sometimes I just wish I could turn back 25 years and be that little tenor that nobody paid any attention to! [...]“ Encolosed is the invoice for the first letter and several photographs of other personalities by established Autograph Firm Walter R. Benjamin from April 14, 1947. Enrico Caruso (original name Errico Caruso) was born in Naples, Italy, and became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings. He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan Opera—was as Eléazar in La Juive (December 24, 1920). Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. (Source: Britannica) James P.E. O'Connell (d. 1948) was the nephew of His Eminence William Henry O’Connell, Cardinal and Archbishop of Boston..

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). Ink drawing, dated and signed by Enrico Caruso. O. O. 70 : 112 mm. Small area of faint toning at upper right touching portrait, scattered remnants of prior mounting verso.
$ 1,745 / 1.500 € (80580)

Beautiful ink drawing, dated and signed by Caruso. It is a self-caricature, showing his head in profile. Signed at lower center. Caruso was a compulsive caricaturist who made spontaneous and witty sketches of colleagues and strangers wherever he went. His doodles often captured a candid likeness of the person, but they were never cruel. Although he was proud of his sketches, he turned down offers to draw professionally. However, he did regularly contribute to an Italian-American newspaper called La Follia di New York, from which a book of drawings was eventually produced.

Nowadays his cartoons are extremely collectable. One firm even reproduced one of his self caricatures as a powder compact. Enrico Caruso who was born in Naples, Italy, became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings. Caruso made over a million dollars in his lifetime but died tragically early, aged only 48, of pleurisy. Asked what made a great singer he said: ‘a big chest, a big mouth, ninety per cent memory, ten per cent intelligence, lots of hard work and something in the heart'..

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). Signed half-length portrait. O. O. u. D. 154 : 207 mm. Small area of faint toning at upper right touching portrait, scattered remnants of prior mounting verso.
$ 1,571 / 1.350 € (80581)

Carismatic photograph of Enrico Caruso, showing the singer half-length, taken by Dupont. The photo shows him seated and gripping the ankle of a leg crossed over his knee. Signed in the image, lower center. Uncommonly good condition with a bold signature. The photo probably was taken in 1910, as a stamp „A. Dupont 1910“ on the lower right corner shows. Enrico Caruso became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings.

He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan Opera—was as Eléazar in La Juive (December 24, 1920). Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. (Source: Britannica).

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). Collection of 13 autogr. postcards, all signed. 3 with loss at upper right affecting only postage stamp. O. O. o. D. 90 : 140 mm. Small area of faint toning at upper right touching portrait, scattered remnants of prior mounting verso. 3 with loss at upper right affecting only postage stamp.
$ 4,072 / 3.500 € (80582)

Enrico Caruso was travelling a lot throughout his career. This is also documented by this group of 13 postcards, each with an Autograph Note Signed, „Caruso," „Enrico," or „E Caruso," to various recipients, including Enrico and Ada Giachetti, Selma Stieglitz Schubart, Met treasurer Frank Garlich, and others, in Italian, English, French, or German. 5 of them are showing a portrait of Caruso, mostly sending greetings from Saint Petersburg, Saint Paul (MN), Cincinnati, Niagara Falls, New York City, Key West, Florence, or elsewhere. Enrico Caruso became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings.

He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan Opera—was as Eléazar in La Juive (December 24, 1920). Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. (Source: Britannica).

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). 4 autograph letters signed. Frankfurt am Main, London, Monte Carlo, Viareggio. 4to or 8vo. 11 pp.
$ 2,327 / 2.000 € (80583)

A group of 4 Autograph Letters Signed, „Henry il Brutto“ or in full, to various recipients, in Italian or French, announcing a tour in Germany, thanking for condolences [not clear whether for death of his father?], discussing a letter from soprano Marcella Sembrich's husband, and arranging a meeting. Most on folded sheet with terminal page written vertically across internal pages; condition generally good. Enrico Caruso became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings.

He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance — his 607th performance with the Metropolitan Opera — was as Eléazar in La Juive (December 24, 1920). Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. (Source: Britannica).

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). Small 8vo. 3 pp. Minor loss to two corners, pinholes in upper margin. On „Hôtel de Paris" stationery. With the original envelope, with cancelled 25-centime postage stamp. Monte Carlo. Small 8vo. 3 pp. Minor loss to two corners, pinholes in upper margin. On „Hôtel de Paris" stationery. With the original envelope, with cancelled 25-centime postage stamp.
$ 1,745 / 1.500 € (80584)

„[...] I have already given two performances of Aida with spectacular success. Life is very busy, despite all the wounded soldiers in the streets. The impresario from the Colon in Buenos Aires who is negotiating with me came by boat from Napoli to Genoa, and within two days I signed a contract for 10 performances at 35,000 francs each. [...]." The autograph letter signed, „Caruso," is addressed to cellist Enrico M. Scognamillo, in Italian, thanking for the clothing sent to Caruso's son Enrico (“Mimmi").

The letter is written on a folded sheet with third page written vertically across interior pages with minor loss to two corners, pinholes in upper margin. With the original envelope, with cancelled 25-centime postage stamp. In the letter Caruso is reporting two successful performances in Aida, noting the presence of wounded soldiers in the streets, stating that he has been contracted to perform in Buenos Aires, and giving travel dates. Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. Enrico Scognamillo was a close friend of the tenor. In December 1923 New York newspapers are reporting on a legal battle, Scognamillo’s widow fought a legal battle with against Caruso’s manager, for a third of the profits received by Mr. Coppicus from the Caruso engagements..

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). Half-length portrait, signed. O. O. 170 : 234 mm. Uncommonly good condition, signature bold.
$ 1,745 / 1.500 € (80585)

Carismatic half-length portrait by Rizzo. It is showing Enrico Caruso seated and grasping a cigarette holder and looking into the camera. Signed in the image, lower center. Uncommonly good condition, signature bold. Enrico Caruso became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings. He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word.

World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan Opera—was as Eléazar in La Juive (December 24, 1920). Caruso became the highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness..

buy now

Caruso, Enrico

Italian operatic tenor (1873-1921). Autograph Letter Signed, "Caruso," to his private secretary Bruno Zirato ("Dear Zirato"), in Italian. East Hampton. Small 8vo. 3 pp. folds.
$ 1,745 / 1.500 € (80586)

This letter was written one year before Caruso’s death, signed, „Caruso," to his private secretary Bruno Zirato (“Dear Zirato"), in Italian, sending a check for expenses [not present], declining to read articles because he is engaged in other things at the moment, complaining of pain, reporting that he has read about the success at the stadium: "[...]. Articles -- I am not in such a hurry since I have only to do Mexico and begin the Metropolitan [...] [H]ere it is rather cool, and I suffer terribly with pain all over.

I have read about the immense success at the stadium and so many congratulate me about it. [...]“ Bruno Zirato (1884-1972) was Enrico Caruso's private secretary and managing director of the New York Philharmonic from 1956 to 1959. Only a few months after this letter, Caruso’s health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on 24 December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema. Caruso was the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness..

buy now

Caruso, Enrico

Tenor (1873-1921). Autograph picture postcard, unsigned. St. Petersburg. 1 S. Qu.-8vo. Mit eh. Adresse.
$ 291 / 250 € (33211/BN28116)

To Enrico Giachetti in Milano: "[...] Oggi 2 non ò recevuto niente perche? Avvisami quando hai finito [...] Siamo sempre da capo con la storia dei giornali, perche non me la spedisce giorno per giorno [...]". - Traces of mounting on reverse.

buy now

sold

 
Caruso, Enrico

Eigenh. Selbstkarikatur mit U.
Autograph ist nicht mehr verfügbar

Enrico Caruso (1873–1921), Tenor. E. Handzeichnung mit U. Berlin, 1904. 140:92 mm. – Karikierendes Portrait seiner selbst im Profil. – Alt auf Trägerkarton montiert, der seinerseits auf ein weiteres Trägerpapier montiert ist.


Caruso, Enrico

Portraitphotographie m. e. U.
Autograph ist nicht mehr verfügbar

Enrico Caruso (1873-1921), ital. Tenor. Porträtfotografie m. Widmung u. vollem Namenszug auf der Bildseite, New York, 1919, 13,5 x 18 cm. Hübsches Brustbild im Halbprofil nach links. „To Miss Harriette Brower | Very Sincerely | Enrico Caruso | N. Y. 1919”. Fotografie: Mishkin, New York. Leichte Gebrauchsspuren.