1925 ELENA GERHARDT Acoustic Schubert Schoene Muellerin/ Das Lied Im Craxton 78
Item History & Price
| Reference Number: Avaluer:1847479 | Genre: Classical |
| Speed: 78 RPM | Record Size: 12" |
Please wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage. Welcome to my auctions of great recordsThis is my FINAL WEEK. Auctions will end on June 9 – I WILL PACK AND BILL YOUR RECORDS after the close on JUNE 9, due to the very high number of records, pls allow 48 HOUR for me to send you an invoice. PLEASE DO NOT PAY before I send you an invoice, otherwise the Ebay system will charge you a higher ...shipping charge. International shipping: approx postage 1x10"=$25: 1x12"=$25 to $35: 10"Album 4 Rec=50$: 12" Album 2 Rec=50$
HOWEVER in most cases I can get you SIGNIFICANT savings by using other services. Pls contact me for a quote.About 30% less to Canada. Pls ignore international postage displayed in Ebay, rates are too highPlease wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage.I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:Elena Gerhardt, considered a singers singer, and the pioneer of intelligent Lieder interpretation in the line of Schwarzkopf and Fischer-Dieskau is considered by critics to be the singer with greatest subtlety and variety of impression.
Her concert evenings with Artur Nikisch at the piano in the Pre WW I Berlin were the toast of townHere from her last acoustic 1925 recordings - short catalog life, therefore very rare ELENA GERHARDT acoustic Schubert Schoene Muellerin Wohin?/ Das Lied im Gruenen3-31-25 London piano acc Harold Craxton10" 78rpm
Condition: EXCELLENT pristine, plays EXCEPTIONALLY QUIET
A CHOICE COPY
Elena Gerhardt (b. Connewitz (nr. Leipzig), 11 November 1883, d. ?London, 12 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Training, and first recitals with Nikisch
Elena Gerhardt, daughter of a Leipzig restaurateur, studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Herman Goetz's Katharina, interspersed with Lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters.In 1902 Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Liszt's Entfesselte Prometheus. On graduating in 1903, and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Ysaye, Teresa Carre±o or Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend.
[edit] London, Europe, Russia and USA before 1914
Gerhardt first appeared at the Leipzig Opera as Mignon, in June 1905, and also performed Charlotte in Massenet's Werther there, under Nikisch, being coached by his student Albert Coates as Korrepetitor. Nikisch arranged and accompanied her 1906 London debut, first in a Mischa Elman concert, and then in a Lieder recital (songs of Schubert, Schumann, Brahms, Hugo Wolf, etc) at the Bechstein Hall. In April 1907 she first sang at the Royal Albert Hall, with an orchestra under Nikisch. Thereafter she returned to England annually until 1914 for autumn seasons, including regular tours of the provinces with Hamilton Harty or her loyal accompanist Paula Hegner.The partnership with Nikisch was preserved in two series of records made in 1907 and 1911, made in Berlin. A particular triumph was their appearance in the 1908 season of the Philharmonic Society in London. She sang by invitation to entertain royal guests to the Coronation of George V and Queen Mary in 1911. Nikisch introduced her into the highest circles, including the Villa Wahnfried. She sang in many European capitals - Vienna, Budapest, Prague, Copenhagen, Christiania (Oslo) - and with old musical Societies at Cologne and Frankfort, annually in Paris and London, and under Mengelberg at The Hague. Nikisch usually accompanied the first Lieder concert at each centre, after which other accompanists took over. Alexander Siloti arranged her first visit to Russia (to Moscow) in 1909, and until the War she sang there and in St Petersburg.Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. In London in 1912 she performed the angel in Elgar's The Dream of Gerontius, a role more associated with her 'rival' and friend Julia Culp. Her second American tour was in early 1913, opening with the Boston Symphony under Karl Muck, and with Karl Wolff as accompanist, who died during the tour. They visited Boston, New York, Baltimore, Washington and Texas (Baton Rouge). Next season she sang in Paris, Moscow, Scandinavia, Hungary, Austria, Holland, Italy, Scotland and England, culminating in London in July 1914 at the Queen's Hall under Richard Strauss - her last appearance there for eight years.
[edit] The First World War
Returning from Ostend to Leipzig in August 1914, her English tours were impossible to fulfil, but she sang from Hamburg to Vienna and Budapest and returned triumphantly to America in 1915, and that winter sang in Denmark and Norway. In August 1916 she sang to German troops on the Western Front at Laon, through efforts of her brother the singer Reinhold Gerhardt, a pupil of Karl Scheidemantel. Meanwhile in late 1916 she returned to the USA to give the east coast tour with Karl Muck, and in April 1917 was singing in Los Angeles and San Francisco. As America entered the war she was shipped back to Germany with many other artists. She visited the Front again in summer 1918 with Wilhelm Backhaus (in uniform) as accompanist and concert partner. She continued to tour, from Norway to Hungary, through the chaos following the armistice, and was in Munich when Kurt Eisner was assassinated.
[edit] Between the wars
In early 1920 she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad van Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with van Bos. She was then singing Schubert's Winterreise which, as a female singer, she made particularly her own. At the start of 1929 she became head teacher of singing at the Leipzig Conservatory, and after October 1930 she discontinued her American tours, though still touring intensively in Britain and Europe.In 1928 she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutsche Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and the Kindertotenlieder of Mahler. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power Kohl was arrested and imprisoned, and not until June 1935 was he released, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[1]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in Holland, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils.
[edit] Wartime recitals in England
With the outbreak of war, Gerhardt expected that her singing career was at an end as there should be no taste for German music in Britain, especially as she would only sing in German, and the broadcast of the German language was forbidden on the BBC home programmes. However, Myra Hess insisted upon involving her in the National Gallery mid-day concerts, where she first appeared in December 1939, and afterwards in twenty-two concerts with Myra Hess or Gerald Moore, being very greatly appreciated. With Myra Hess and Lionel Tertis she sang the Brahms viola songs and other Lieder recitals in many parts of England and Scotland, including a complete Winterreise in Reading, and in 1942 gave BBC Lieder broadcasts to Argentina. Her teaching picked up again after 1941. With Myra Hess she sang at Haslemere for Tobias Matthay and his pupils. She gave a sixtieth birthday concert in the Wigmore Hall in 1943, and further National Gallery and Wigmore Hall concerts in 1944. News of the destruction of Leipzig and Dresden, of course, filled her with deep sadness.
[edit] Late career
In 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including Lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded the Frauenliebe und -leben in that year. She made a broadcast on Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947, and the remainder of her professional life was devoted to teaching in London. She managed to arrange the escape of her brother Reinhold and his family from Eastern Germany, and he joined the staff of the Guildhall School of Music.Gerhardt was one of the very great interpreters of German Lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953 and died in 1961. A series of great Records about Dixie, the Civil War, early One Step, Cakewalk and Blackface performers
issued first in 1901 Record No 485 on rare COLUMBIA CONDITIONS RECORDNO 485 Here take 4 without performers namedANNOUNCED Edward Favor What do you of Think O'HOOLIHANEdward Favor singing w piano, a second person shouting comments
10" 78 rpm recordCondition:VERY GOOD PLUS, plays w hissy swish, light fuzziness on topMore Great Records on sale right now:http://shop.ebay.com/carsten_sf/m.htmlhttp://shop.ebay.com/carsten_sf/m.html====A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS.If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING.Quick note on grading:The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separatelyWhen I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
"SUPERQUIET" is basically noiseless, like a vinyl pressing.
"VERY QUIET" is an exceptionally quiet record for a given pressing.
"Quiet" is a record that is a great example without undue noise for a give pressing.These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment.Multiple item shipping: I am happy to combine items for shipment in one parcel. If you win multiple items, pls send me an INVOICE REQUEST to calculate the correct postage. Ebay check out will not give you the correct multiple item discount! Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment.Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost.I charge actual postage plus a small fee for packing materialsAs always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I encourage pick-up in person.US Domestic Shipping:Here is a guideline for US Media Mail Shipping:Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment)1 record: 4.75 – 5.50$2 records: 6.50$5 records: 8.00$10 records: 12.00$MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 35$.Please send me a message if you would like to lower your shipping rates!I am very happy to ship records worldwide.Please use the EBAY shipping cost only as a guideline. My actual charges are usually lowerOne record usually ships for 25$ for 10" 25-35$ for most 12" records (Less for Canada). For certain destinations I can get SIGNIFICANTLY LOWER rates from FedEx and the US Postal service for any kind of parcel weight, and will make use of all the cost-saving shipment methodsPls contact me for a shipping estimate, or send me an invoice request after close of auction. AND AGAIN -THANK YOU FOR YOUR INTERESTAs you can see from my feedback, I take great care in presenting, grading and shipping your items. I really want you to be happy with the purchase. If you feel that anything is wrong with the item or the shipping, contact me and we will work it out !!! As always, I would appreciate any suggestions and corrections from you, pls contact me with any question.
Thank you very much, and good luck bidding !!!</FON
00011
HOWEVER in most cases I can get you SIGNIFICANT savings by using other services. Pls contact me for a quote.About 30% less to Canada. Pls ignore international postage displayed in Ebay, rates are too highPlease wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage.I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:Elena Gerhardt, considered a singers singer, and the pioneer of intelligent Lieder interpretation in the line of Schwarzkopf and Fischer-Dieskau is considered by critics to be the singer with greatest subtlety and variety of impression.
Her concert evenings with Artur Nikisch at the piano in the Pre WW I Berlin were the toast of townHere from her last acoustic 1925 recordings - short catalog life, therefore very rare ELENA GERHARDT acoustic Schubert Schoene Muellerin Wohin?/ Das Lied im Gruenen3-31-25 London piano acc Harold Craxton10" 78rpm
Condition: EXCELLENT pristine, plays EXCEPTIONALLY QUIET
A CHOICE COPY
Elena Gerhardt (b. Connewitz (nr. Leipzig), 11 November 1883, d. ?London, 12 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Training, and first recitals with Nikisch
Elena Gerhardt, daughter of a Leipzig restaurateur, studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Herman Goetz's Katharina, interspersed with Lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters.In 1902 Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Liszt's Entfesselte Prometheus. On graduating in 1903, and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Ysaye, Teresa Carre±o or Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend.
[edit] London, Europe, Russia and USA before 1914
Gerhardt first appeared at the Leipzig Opera as Mignon, in June 1905, and also performed Charlotte in Massenet's Werther there, under Nikisch, being coached by his student Albert Coates as Korrepetitor. Nikisch arranged and accompanied her 1906 London debut, first in a Mischa Elman concert, and then in a Lieder recital (songs of Schubert, Schumann, Brahms, Hugo Wolf, etc) at the Bechstein Hall. In April 1907 she first sang at the Royal Albert Hall, with an orchestra under Nikisch. Thereafter she returned to England annually until 1914 for autumn seasons, including regular tours of the provinces with Hamilton Harty or her loyal accompanist Paula Hegner.The partnership with Nikisch was preserved in two series of records made in 1907 and 1911, made in Berlin. A particular triumph was their appearance in the 1908 season of the Philharmonic Society in London. She sang by invitation to entertain royal guests to the Coronation of George V and Queen Mary in 1911. Nikisch introduced her into the highest circles, including the Villa Wahnfried. She sang in many European capitals - Vienna, Budapest, Prague, Copenhagen, Christiania (Oslo) - and with old musical Societies at Cologne and Frankfort, annually in Paris and London, and under Mengelberg at The Hague. Nikisch usually accompanied the first Lieder concert at each centre, after which other accompanists took over. Alexander Siloti arranged her first visit to Russia (to Moscow) in 1909, and until the War she sang there and in St Petersburg.Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. In London in 1912 she performed the angel in Elgar's The Dream of Gerontius, a role more associated with her 'rival' and friend Julia Culp. Her second American tour was in early 1913, opening with the Boston Symphony under Karl Muck, and with Karl Wolff as accompanist, who died during the tour. They visited Boston, New York, Baltimore, Washington and Texas (Baton Rouge). Next season she sang in Paris, Moscow, Scandinavia, Hungary, Austria, Holland, Italy, Scotland and England, culminating in London in July 1914 at the Queen's Hall under Richard Strauss - her last appearance there for eight years.
[edit] The First World War
Returning from Ostend to Leipzig in August 1914, her English tours were impossible to fulfil, but she sang from Hamburg to Vienna and Budapest and returned triumphantly to America in 1915, and that winter sang in Denmark and Norway. In August 1916 she sang to German troops on the Western Front at Laon, through efforts of her brother the singer Reinhold Gerhardt, a pupil of Karl Scheidemantel. Meanwhile in late 1916 she returned to the USA to give the east coast tour with Karl Muck, and in April 1917 was singing in Los Angeles and San Francisco. As America entered the war she was shipped back to Germany with many other artists. She visited the Front again in summer 1918 with Wilhelm Backhaus (in uniform) as accompanist and concert partner. She continued to tour, from Norway to Hungary, through the chaos following the armistice, and was in Munich when Kurt Eisner was assassinated.
[edit] Between the wars
In early 1920 she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad van Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with van Bos. She was then singing Schubert's Winterreise which, as a female singer, she made particularly her own. At the start of 1929 she became head teacher of singing at the Leipzig Conservatory, and after October 1930 she discontinued her American tours, though still touring intensively in Britain and Europe.In 1928 she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutsche Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and the Kindertotenlieder of Mahler. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power Kohl was arrested and imprisoned, and not until June 1935 was he released, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[1]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in Holland, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils.
[edit] Wartime recitals in England
With the outbreak of war, Gerhardt expected that her singing career was at an end as there should be no taste for German music in Britain, especially as she would only sing in German, and the broadcast of the German language was forbidden on the BBC home programmes. However, Myra Hess insisted upon involving her in the National Gallery mid-day concerts, where she first appeared in December 1939, and afterwards in twenty-two concerts with Myra Hess or Gerald Moore, being very greatly appreciated. With Myra Hess and Lionel Tertis she sang the Brahms viola songs and other Lieder recitals in many parts of England and Scotland, including a complete Winterreise in Reading, and in 1942 gave BBC Lieder broadcasts to Argentina. Her teaching picked up again after 1941. With Myra Hess she sang at Haslemere for Tobias Matthay and his pupils. She gave a sixtieth birthday concert in the Wigmore Hall in 1943, and further National Gallery and Wigmore Hall concerts in 1944. News of the destruction of Leipzig and Dresden, of course, filled her with deep sadness.
[edit] Late career
In 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including Lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded the Frauenliebe und -leben in that year. She made a broadcast on Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947, and the remainder of her professional life was devoted to teaching in London. She managed to arrange the escape of her brother Reinhold and his family from Eastern Germany, and he joined the staff of the Guildhall School of Music.Gerhardt was one of the very great interpreters of German Lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953 and died in 1961. A series of great Records about Dixie, the Civil War, early One Step, Cakewalk and Blackface performers
issued first in 1901 Record No 485 on rare COLUMBIA CONDITIONS RECORDNO 485 Here take 4 without performers namedANNOUNCED Edward Favor What do you of Think O'HOOLIHANEdward Favor singing w piano, a second person shouting comments
10" 78 rpm recordCondition:VERY GOOD PLUS, plays w hissy swish, light fuzziness on topMore Great Records on sale right now:http://shop.ebay.com/carsten_sf/m.htmlhttp://shop.ebay.com/carsten_sf/m.html====A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS.If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING.Quick note on grading:The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separatelyWhen I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
"SUPERQUIET" is basically noiseless, like a vinyl pressing.
"VERY QUIET" is an exceptionally quiet record for a given pressing.
"Quiet" is a record that is a great example without undue noise for a give pressing.These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment.Multiple item shipping: I am happy to combine items for shipment in one parcel. If you win multiple items, pls send me an INVOICE REQUEST to calculate the correct postage. Ebay check out will not give you the correct multiple item discount! Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment.Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost.I charge actual postage plus a small fee for packing materialsAs always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I encourage pick-up in person.US Domestic Shipping:Here is a guideline for US Media Mail Shipping:Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment)1 record: 4.75 – 5.50$2 records: 6.50$5 records: 8.00$10 records: 12.00$MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 35$.Please send me a message if you would like to lower your shipping rates!I am very happy to ship records worldwide.Please use the EBAY shipping cost only as a guideline. My actual charges are usually lowerOne record usually ships for 25$ for 10" 25-35$ for most 12" records (Less for Canada). For certain destinations I can get SIGNIFICANTLY LOWER rates from FedEx and the US Postal service for any kind of parcel weight, and will make use of all the cost-saving shipment methodsPls contact me for a shipping estimate, or send me an invoice request after close of auction. AND AGAIN -THANK YOU FOR YOUR INTERESTAs you can see from my feedback, I take great care in presenting, grading and shipping your items. I really want you to be happy with the purchase. If you feel that anything is wrong with the item or the shipping, contact me and we will work it out !!! As always, I would appreciate any suggestions and corrections from you, pls contact me with any question.
Thank you very much, and good luck bidding !!!</FON
00011
![[ex 7 Lp Box] The Hugo Wolf Society, The 1931 - 1938 Recordings, Elena Gerhardt](https://pic-h.avaluer.net/imgstmb/h/f/c/f/x/-ex_7_lp_box_the_hugo_wolf_society__the_1931___1938_recordings__elena_gerhardt-1_40_tmb.jpg)
