Kay Swift (19 results)

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc. Jane Swift (illustrator).

Unknown. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less. Jane Swift (illustrator).

Soft cover. Condition: Good. No Jacket. This is a copy of Minnesota Zig Zag Mag, volume 1, issue 1 called North Woods Patchwork, copyright December 1992, softcover, written by various authors. The booklet has some wear but in good condition with some nice black and white photographs and 70 pages. Size: 4to - over 9¾" - 12" tall. …

Condition: very_good. Used with minimal wear, no writing or markings, corners maybe bent, few crease lines. Jane Swift (illustrator).

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting. Jane Swift (illustrator).

Condition: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail. Jane Swift (illustrator).…

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority. Jane Swift (illustrator).

Board book. Condition: As New. Jane Swift (illustrator).

No Binding. Condition: VG. A VGF or better original release 11 x 14 lobby card. Size: 11" X 14". Poster.

No Binding. Condition: Very Good. A VG or better Columbia Studio release schedule which measures 6.5" x 9.5" inches when closed, 9.5" x 12.5" when open to display the wonderful movie graphic and 12.5" x 18.5" when fully open to view the schedule of upcoming releases. Studio release schedules were sent to film distribution companies in advance of a film's release and contained a listing of the main cast, director and running times of the films to be released over the next few months. Ultra rare. Size: 12" x 18". Poster.…

Condition: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Jane Swift (illustrator).

Hardcover. Condition: Good. 1st Edition. 1st Ed., 211 pp., illus, vg+ Herd #2223 20th century ranching in the Pacific NW.

paperback. Condition: Fine. Jane Swift (illustrator).

Condition: Good. 4to. 6pp., Soft Covers, Good with small tears, minor losses, loose pages, creasing, edge wear. Illustrated covers. Sheet music for songs from musical Fine And Dandy.

Hardcover. Condition: Good. No Jacket. 1st Edition. This author-inscribed first edition is a wonderful part of the history of US popular music of the early twentieth century. Kay (Katharine) Swift was an American composer of popular and classical music, the first woman to score a hit musical completely, 1930's "Fine and Dandy". One of her songs was referenced in the 1931 F. Scott Fitzgerald short story, "A New Leaf." Swift was staff composer at Radio City Music Hall where she wrote musical numbers for The Rockettes and director of light music for the 1939 World's Fair. Swift was in a relationship with composer George Gershwin for 10 years in addition to being his assistant and musical adviser, and after his death collaborated with Ira Gershwin to complete and arrange some of George's songs. The Kay Swift papers are held in the Yale University Archive. Swift met cowboy Faye Hubbard at the 1939 World's Fair and married him two weeks later. "Who Could Ask For Anything More?", her autobiographical novel about life on his Oregon ranch, was made into the 1950 movie "Never a Dull Moment", which featured Fred MacMurray as Hubbard and Irene Dunne as Kay. This copy of the book has a tipped-in newspaper clipping about Swift speaking at a club meeting about popular music and composers, from the "Redmond Spokesman" (Redmond, Oregon), December 2, 1943. The copy shows some rubbing on the corners and a small stain on the spine. A well-read copy but still in good condition. Charming line drawings of ranch life by Julian Brazelton. Julian Brazelton (illustrator). Inscribed by Author(s).…

Sheet Music. Condition: Good. Good condition with wear and markings.

First Edition. GERSHWIN, George. Porgy and Bess. An Opera in Three Acts. By George Gershwin. Libretto by DuBose Heyward. Lyrics by DuBose Heyward and Ira Gershwin. Production Directed by Rouben Mamoulian. New York: Random House, 1935. Folio, original full red morocco, raised bands, black leather label on front cover, top edge gilt. Housed in a custom clamshell box. $48,500.Deluxe limited edition of the piano-vocal score of Porgy and Bess, number 103 of only 250 copies signed by George Gershwin, Ira Gershwin, DuBose Heyward, and director Rouben Mamoulian, additionally inscribed by Gershwin to his lover Kay Swift, who was intimately involved in the composition of the piece: ÒFor Kay Ñ/ Best Ñ/ George / Nov. 1 1935.Ó According to Ohl, Òbest,Ó their code word for Òlove,Ó allowed them to be discreet.This deluxe edition of the piano-vocal score (according to Fuld, no orchestral score has ever been published) was published in 1935, the year of Porgy and Bess premiere, almost simultaneously with the first edition, and is boldly signed on the limitation page (at the rear) by George and Ira Gershwin and the other principal creators of Porgy and Bess: librettist DuBose Heyward and director Rouben Mamoulian. Fuld, 539. The recipient, Kay Swift, met Gershwin in 1925. A highly educated beauty of prominent social position, she was not yet known as a songwriter (her first big hit would be in 1929, with "Can't We Be Friends"). "If one measures by the dedication of his Song-Book to her, his generous gifts of paintings, manuscripts, and other keepsakes that betokened affection, plus the many hours he spent with her, Gershwin obviously had a special place in his heart for Kay SwiftÉ With Kay, Gershwin probably came as close to settling down with one woman as he ever did" (Schwarz, 190). Swift was extensively involved with the composition of Porgy and Bess, almost from the beginning: Swift was Gershwin's guest at the premiere of the play version (by Heyward's wife). When composing the operaÑmuch of which occurred at a cottage on Swift's country estateÑSwift was often (in her words) Gershwin's "soundboard" for new ideas. "'He'd call me and tell me to rush over to play the orchestra part of a song. He couldn't sing. Neither could Ira. But we'd all sing Ira's or DuBose Heyward's lyrics, sounding like a chorus of crowsÉ Each day, as the work grew, a few of usÑBill Daly, his close friend and favorite conductor, and myself, Ira, of course, and DuBose Heyward, who wrote the libretto as well as some of the lyrics, were probably present much of the time. It was thrilling to hear the themes develop, the recitatives build into such an inevitable part of the score that they flowed as naturally as spoken words would. The whole sparkled with a fantastic quality of imaginationÉ She also had an even more direct part in the opera's development. In addition to listening, singing, and playing the work in progress, Swift sometimes notated portions of pieces for Gershwin, evidently to expedite his later work on the compositions. He believed she wrote faster and more neatly than she could." Extensive portions of the original manuscript (now in the Gershwin collection at the Library of Congress) are in Swift's hand, demonstrating "her role as an assistant to the composer and signify the trust he must have placed in her and her notational and musical abilities" (Ohl, 95-96). During actual production, Swift attended most rehearsals and was present at many of the casting decisions. After the preview run in Boston, it was clear that the four-hour opera was too long, so "Gershwin, Mamoulian, composer Alexander Steinert, and Kay Swift walked the Boston Common in the early hours of the morning deciding which portions to cut"; one month later, at the premiere in New York, "Swift was seated between George and Ira". Later Swift would deliver lectures throughout the country as part of the promotion of Porgy and Bess. "Ira recalled that she had memorized the entire 559-page score and would be ill. Signed.…

Folio. 6 pp. Age toning, expected wear. Inscribed by Swift to Constance For Constance, with love - Kay Swift". Swift was the first woman to score a hit musical completely. Written in 1930, the Broadway musical Fine and Dandy includes some of her best known songs; the song "Fine and Dandy" has become a jazz standard. "Can't We Be Friends?" (1929) was her biggest hit song.Swift also arranged some of the music of George Gershwin posthumously, such as the prelude "Sleepless Night" (1946).Provenance: From the estate of Gerswin's longtime companion Kay Swift.…

No Binding. Condition: Very Good. ("Kay Swift" & "Edward Heyman") in black fountain pen ink, New York City, June 23, 1933. 8 1/2" x 13 3/4", 2 pages (1 leaf, recto and verso). Signed by Swift and Heyman at the bottom of page 2. Royalties agreement on Standard Uniform Popular Songwriters Contract form, between Heyman, Swift and T.B. Harms Co., for the musical composition "A Moonlight Memory." Signed, with holograph addresses, by both Heyman and Swift. Signed by Author(s).…