DESCRIPTION :  Up for auction is s NICELY and BOLDLY HAND SIGNED original  AUTOGRAPH- AUTOGRAMME - SIGNATURE ( With a black fountain pen ) of the beloved conductor of Russian - Ukrainian descent IGOR MARKEVITCH  ( Also Markevich )  which is beautifuly and professionaly matted beneath a vintage ca 1950's reproduction ART PHOTO of heart breaking handsome young MARKEVITCH gently leaning on his piano .  The ORIGINAL AUTOGRAPH and the reproduction ART PHOTO are nicely matted together , Suitable for immediate framing or display .  ( An image of a suggested framing is presented - The frame is not a part of this sale - An excellent framing - Buyer's choice - is possible for extra  $ 70).  The size of the mat is around 12.5 x 8 " . The size of the reproduction photo is around  7 x 5 " . The size of the original hand signature -autograph is around 1.5 x 3.5 " .  Very good condition of the reproduction action photo and the decorative mat . The hand signed autograph is slightly creased. ( Pls look at scan for accurate AS IS images )  Authenticity guaranteed.  Will be sent inside a protective rigid packaging .  
 
PAYMENTS : Payment method accepted : Paypal & All credit cards .

SHIPPMENT :SHIPP worldwide via registered airmail is $ 29  . Will be sent inside a protective packaging. Handling around 5-10 days after payment. 

Igor Markevitch (Ukrainian: Ігор Маркевич, Ihor Markevych; July 27, 1912 – March 7, 1983) was a Ukrainian-born composer and conductor who later became both an Italian and a French citizen. Markevitch was born in Kiev, Ukraine, that time a part of the Russian Empire, to an old family of Ukrainian Cossack starshyna ennobled in the 18th century. One of his ancestors was a Jewish merchant who converted to Eastern Orthodox Christianity in the 17th century.A son of pianist Boris Markevitch and Zoia Pokitonova, young Igor moved with his family to Paris in 1914 and Switzerland in 1916. Pianist Alfred Cortot, perhaps the greatest French pianist of his time, recognized his talent and advised him in 1926 to go to Paris for training in both composition and piano at the École Normale, where he studied under both Cortot and Nadia Boulanger He next gained important recognition in 1929 when choreographer-impresario Serge Diaghilev discovered him, commissioned a piano concerto from him and invited him to collaborate on a ballet with Boris Kochno. In a letter to the London Times, Diaghilev hailed Markevitch as the composer who would put an end to 'a scandalous period of music ... of cynical-sentimental simplicity' The ballet project came to an end with Diaghilev's death on 19 August 1929, but Markevitch's compositions were accepted by the publisher Schott and he continued to produce at least one major work per year during the 1930s. He was rated among the leading contemporary composers of the time, even to the extent of being hailed as "the second Igor", after Igor Stravinsky. Markevitch collaborated on the ballet score Rébus with Leonid Massine in 1931 and another, L'envol d'Icare, in 1932 with Serge Lifar. Neither was staged, but both scores were performed in concert. L'envol d'Icare, based on the legend of the fall of Icarus, which Markevitch himself recorded in 1938 conducting the Belgian National Orchestra, was especially radical, introducing quarter-tones in both woodwinds and strings. (In 1943 he recomposed the work under the title care, eliminating the quarter tones and simplifying the rhythms and orchestration.) Béla Bartók once described Markevitch as "...the most striking personality in contemporary music..." and claimed him as an influence on his own creative work. An independent version of L'envol d'Icare for two pianos and percussion which Bartók heard is believed to have influenced the latter's own Sonata for 2 Pianos and Percussion.Markevitch continued composing as war approached, but in October 1941, not long after completing his last original work, the Variations, Fugue and Envoi on a Theme of Handel for piano, he fell seriously ill. After recovering, he decided to give up composition and focus exclusively on conducting. His last compositional projects were the revision of L'envol d'Icare and arrangements of other composers' music, of which the version of J. S. Bach's Musikalisches Opfer (Musical Offering) is especially notable.He had débuted as a conductor at age 18 with the Royal Concertgebouw Orchestra. After presiding at the Dutch premiere of Rébus, he studied conducting with Pierre Monteux and Hermann Scherchen. As a conductor, he was well respected for his interpretations of the French, Russian and Austro-German repertory, and of twentieth-century music in general. He settled in Italy, and during the Second World War was active in the partisan movement. He married and settled in Switzerland in 1947, but pursued his conducting career worldwide. He became permanent conductor of the Orchestre Lamoureux in Paris in the 1950s, conducted the Spanish RTVE Orchestra in 1965 and was also permanent conductor of the Monte Carlo orchestra. In 1970, after ignoring his own compositions for nearly 30 years, Markevitch began to conduct his own music frequently, triggering its slow revival. His last concert was in Kiev, his birthplace, and he died suddenly from a heart attack in the Antibes on March 7, 1983, after a concert tour in Japan.Yves Debraine was born in 1925 in Paris. Always interested in photography, he joined the Paris photographic agency France-Presse in 1948 as a news photographer. A few years later Debraine moved to Lausanne, Switzerland and took up work as a freelance photographer for various publishing and photo agency clients such as Time-Life, Paris-Match, and Black Star. Debraine also specialized in the high quality photography of artwork for museum catalogs. In 1953 Debraine met Ami Guichard, a young publisher in Lausanne, and together they created the idea for what became the famous automotive annual l’Année Automobile (Automobile Year). This introduced Debraine to a completely new field. Thus began many years of touring the major motor racing circuits of Europe such as Le Mans, Monza, the Nürburgring, and Spa-Francorchamps, chasing cars and drivers. It was a friendly community, often full of joy but never lacking for drama. These were years which started with drivers wearing caps and short-sleeved shirts, eventually transformed into racers swallowed by their cars, leaving to helmet and goggles the only possible identification. With ever-increasing concerns for safety, photographers were moved to ever greater distances from the passing cars and their movement around the circuits became much more restricted. This required longer and heavier lenses each year and made it more difficult to obtain photographs which showed the personality of the drivers. Motor racing in the 1970s was fun no more for one who had enjoyed the romance of its early postwar years and Yves Debraine went on to other subjects. Yves Debraine passed away at his home in Lausanne, Switzerland on March 31, 2011.   ebay2440 - 4111 ebay 5224 folder 193