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Published by London: Printed by Tho. Cotes, for Robert Allot, 1632
Seller: 19th Century Rare Book & Photograph Shop, Stevenson, MD, U.S.A.
Book
Hardcover. Condition: Near Fine. This is an excellent example of the Second Folio, the second edition of Shakespeare's collected plays. This is "incomparably the most important work in the English language" (Jackson, Pforzheimer Catalogue). The First Folio, published in 1623, was such a success that just nine years later the collection was printed again. The Second Folio venture was undertaken by a group of booksellers and rights holders, some of whom had been members of the First Folio syndicate. The massive book includes 36 plays, half of which had not been printed prior to the First Folio, as well as commendatory verses and dedicatory epistles by contemporary admirers of Shakespeare. One of these, John Milton's "An Epitaph on the admirable Dramaticke Poet, W. Shakespeare," was Milton's first appearance in print. For almost four centuries Shakespeare's transcendent genius has been recognized. In 1623 Ben Jonson wrote of Shakespeare, "He was not of an age, but for all time." In 1840 Thomas Carlyle called Shakespeare, "the chief of all poets hitherto, the greatest intellect who, in our recorded world, has left record of himself in the way of literature." And Harold Bloom recently wrote, "There is no substitute for Shakespeare . . . Shakespeare is the Western Canon." With the First Folio now commanding $10,000,000, a Second Folio in an appealing early binding is one of the most desirable books in English literature. Provenance: 18th-century armorial bookplate of the Earl of Rosebery. Folio. 13 x 8 ½ inches. Title-page with the engraved portrait of Shakespeare by Martin Droeshout, with a short tear. Paneled calf ca. 1700, rebacked preserving portions of original spine, recornered, later endpapers, red sprinkled edges. Some restoration to first and last leaves, a few paper flaws and repairs, early handwritten notes on first two and last leaves. Some spotting and staining. An excellent, tall copy. STC 22274e.3 (the reissue with the A2.5 (title and its conjugate) printed on thicker paper, with "Blacke beare" in the imprint).
Published by London: for H. Herringman, and are to be sold by Joseph Knight and Francis Saunders, 1685, 1685
Seller: Peter Harrington. ABA/ ILAB., London, United Kingdom
The fourth folio, the last of the 17th-century editions of Shakespeare's works and the most grandly produced, this issue with the imprint naming Joseph Knight and Francis Saunders, the booksellers to whom Herringman had entrusted his retail business. There were three issues, with slightly different imprints. John Macock printed the title page for Herringman's copies, "to be sold by Joseph Knight and Francis Saunders". Robert Roberts printed the title pages for the other issues from a single type setting, with either three or four booksellers named. There is no known precedence among the three issues, but Macock's title is much the rarer of the two settings; the online Shakespeare Census locates thirty-five extant copies, only five in private hands. The 1623 first folio, edited by John Heminge and Henry Condell, contained thirty-six plays, to which seven plays were added in 1664 by Philip Chetwin for the second issue of the third folio, of which only Pericles is in part the authentic work of Shakespeare. This fourth folio was a straight reprint of the second issue of the third folio, issued by Henry Herringman in conjunction with other booksellers, part of Herringman's larger project of publishing pre-Restoration playwrights in folio. The Shakespeare volume was the centrepiece of Herringman's trio completed by the Beaumont and Fletcher folio of 1679 and the Ben Jonson folio of 1692. The most immediately striking aspect of the fourth folio is its height: Herringman used a larger paper size to increase the number of lines per page and decrease the bulk of the book. Although this is the only edition in which each play does not start on a fresh page, it is in a larger font and more liberally spaced than the three earlier editions. (The two pages of sig. L1 are set in smaller type, presumably after the discovery that some text had been omitted.) The text was set from a copy of the third folio divided into three portions and sent to three different London printers. The Comedies were printed by Robert Roberts, the Histories and first four Tragedies by Robert Everingham, and the remaining Tragedies by Everingham's former master printer, John Macock; the three parts are separately paginated. The fourth folio remained the favoured edition among collectors until the mid-18th century, when Samuel Johnson and Edward Capell argued for the primacy of the first folio text. In common with the third, the fourth folio dropped the final "e" from Shakespeare's name, a spelling that persisted until the beginning of the 19th century. Bartlett 123; Gregg III, p. 1121; Jaggard, p. 497; Pforzheimer 910; Wing S-2915. Folio (360 x 232 mm). Eighteenth-century blind-panelled reversed calf, red morocco label, red edges. Engraved portrait by Martin Droeshout above the verses To the Reader on verso of the first leaf, double column text within typographical rules, woodcut initials. Joints and front inner hinge neatly repaired, frontispiece leaf neatly restored at lower outer corner and at inner margin, engraved and printed area untouched, last leaf backed, a few minor blemishes, sig. O4 with two small paper repairs in upper margin, small paper repair to outer margin of 2L2, spill-burn causing small hole in 2M2 touching two letters either side, 3B3 restored at lower corner with small portion of frame supplied in pen facsimile, small paper repair at lower margin of 3C3, a little tight in the gutter but otherwise generous margins, generally clean and fresh, a very good copy.
Published by Printed for H. Herringman, E. Brewster, and R. Bentley, London, 1685
Seller: Heritage Book Shop, ABAA, Beverly Hills, CA, U.S.A.
"Incomparably The Most Important Work In The English Language" The Fourth Folio Edition of 'Shakespeare's Plays' A Beautiful Tall Copy, With Seven New Plays SHAKESPEAR[E], William. Mr. William Shakespear's Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, Never before Printed in Folio: viz. Pericles Prince of Tyre. The London Prodigal. The History of Thomas Lord Cromwel. Sir John Oldcastle Lord Cobham. The Puritan Widow. A Yorkshire Tragedy. The Tragedy of Locrine. The Fourth Edition. London: Printed for H. Herringman, E. Brewster, and R. Bentley, 1685. The Fourth Folio edition of Shakespeare's plays, first state of the imprint (without Chiswell's name). Tall copy. Large folio (14 1/2 x 9 1/4 inches; 368 x 233 mm). [12], 96, 99-160, 163-254, 243 [i.3. 253]-272, [1], [1, blank], 328, 303, [3, blank] pp. (page 33 is numbered 23, 107 is numbered 109, 109 is 111, 190 is 186, 191 is 187, 219 is 221, 246 is 234, 253 repeated is 243, and 67 is 76). Engraved frontispiece portrait of Shakespeare by Martin Droeshout, with ten-line poem by Ben Jonson, entitled "To the Reader," underneath. Woodcut printer's device on title-page (McKerrow 263). Decorative woodcut initials. A large copy in contemporary full mottled calf, rebacked to style. With spine label, lettered in gilt. Boards stamped in blind. All edges speckled red. With quite generous margins. Small repaired closed tear on leaf F, barely affecting text. Occasional light soiling and a few small stains to title-page. A few tiny holes to leaves G2, affecting one letter and Cccc2 affecting two letters. A light dampstain to bottom outer corner of signature F. Previous owner's bookplate on front pastedown. Overall a beautiful copy of this important book. Housed in a custom 19th-century full morocco clamshell. The Fourth Folio was the stateliest of all the folios, being printed on a Royal stock, distinctly larger than the sheets of the Third Folio, which in turn is on a larger sheet than the First and Second. The last edition of Shakespeare's plays printed in the seventeenth century and the last to be printed before the editorial endeavors of the eighteenth century. First issue, without Richard Chiswell listed in the imprint, as he was listed on the second issue (the third issue lists Herringman alone). For this fourth edition Shakespeare's text was assigned to three different printers (one of whom has since been identified as Robert Roberts), who typeset their sections simultaneously, thus shortening the time it took to get to market. When the work was finished and the three sections of printed sheets collated, there was a shortage of 17 sheets from the second section (for the full press run), which were hastily reprinted without the characteristic borders around the text. Copies have been found with these second state sheets. In the copy offered here all of the sheets are in the original settings and with the borders. A second anomaly distinguishes this edition: "The copy for this edition was divided among several shops. Some miscalculation apparently occurred so that the equivalent of about one column of additional matter had to be crowded into Sig L [pp. 123/124] which is therefore printed in a much smaller type than the rest of the volume" (Pforzheimer). Although there is no accurate census of the number of folios still extant today, it is believed that copies of each printing number only in the hundreds. Shakespeare's portrait is in the fourth state, as issued, with verses below (see Blayney, 19). The folios are "incomparably the most important work in the English language" (William A. Jackson). Because of their incalculable impact on the language, thought and literature of our world, they are among the most desirable of all English language books, the prizes of any collection. Bartlett 123A. Greg III, p. 1119. Jaggard, p. 497. Pforzheimer 910. Wing S2915. HBS 67106. $200,000.
Published by Printed for H. Herringman, E. Brewster, and R. Bentley, at the Anchor in the New Exchange, The Crane in St. Paul's Church-Yard, and in Russel-Street Covent-Garden, London, London, 1685
Full morocco. Condition: Near fine. 4th folio, 1st issue of Shakespeare's plays, the heart of English literature. 19th century full black morocco, fine condition and unrestored, beautiful beyond good fortune and with all of the visual satisfaction so prized by the parts of us that are superficial, a particularly appropriate and resonant antique. That said, these folios should be valued from the inside out and that is where this one's merits excel. Flaws first: The portrait has some light foxing (mostly at the margins), the title page and 5% of the text pages have intermittent stains, there are a few small chips and tears at the edges (all of them confined to the blank margins), some of them closed, and some of them left alone, tiny rust holes of no impact, and half a dozen margins are very slightly miscut, but don't be deceived by my fussy attention to details. This book is complete and authentic, every letter of text is genuine, and better still (remarkably so), no leaves are remargined or extended, and other Shakespeare folios, offered over many years, cannot, honestly, make these claims, including those offered these days for more money. A 336-year old ideal, tall and wide, an exemplary and glorious copy of what continues to prevail as the book of books. Ex-Elizabeth Young, the initial owner, with her ink signature to the title page. Ex-Thomas Jefferson McKee (bookplate) sold at his auction (Anderson's, NY, April 29-30, 1901, lot 2602), and the McKee sale was a spectacular one, featuring rarities that have become impossibilities (for example, he had 529 English quarto plays printed before 1700). So, this folio is of a quality standard that was high 120 years ago, and it was once part of the greatest American library auctioned up until that time. Collation: O2, A4, A-Y6, Z4, BB-ZZ6, *AAA- DDD6, EEE8, AAA-ZZZ6, AAAA-BBBB6, CCCC2, 458 leaves with the usual mispaginations. References: Greg III 1119. Pforzheimer 910. Bartlett 123. Wing S 2915. Jaggard 497. We've been selling these heirlooms since 1980, and look at 10 for every 1 we buy, and the folios available these days are offered with descriptions that harken real estate advertising jargon. Average copies, presented with unwarranted praise, and covered in worn, repaired or rebacked bindings, or worse yet, new bindings, with their veneer of glitter, like some farm girl sculpted from marzipan, may sell near our price when made lifelike by morticians in the guise of conservators, and may sell for even less when lost text or pages have been replaced in facsimile. But you can't make a wit out of 2 halfwits, and a chicken sent traveling does not come back an eagle, so if you want a stalwart folio, that will bring lasting pride of ownership in the most urbane and cultivated of libraries, this is it. Better copies are unavailable and here are 2 timeless realities about Shakespeare folios in this condition. Unequivocal immortality is a given, and on those unpredictable occasions when copies like this one are offered for sale, the zaniest inversion of inevitability, is to fantasize that the next one will be finer and cheaper.
Published by London Printed by Isaac Jaggard and Edward Blount and Thomas Cates 1623 & 1632, 1632
Seller: James Pepper Rare Books, Inc., ABAA, Santa Barbara, CA, U.S.A.
First Folio & Second Folio. This separately bound play consists of eight original leaves which are from the First Folio (1623) and three original leaves (qq4, rr2, and ss3) supplied from the Second Folio (1632). The play is comprised of leaves qq2 through ss2 inclusive. A mended tear in qq2, else excellent copy bound in half brown calf leather with marbled boards.
Published by 1908, 1908
Seller: Peter Harrington. ABA/ ILAB., London, United Kingdom
Signed
Published within Rackham's edition of A Midsummer Night's Dream in 1908. The watercolour depicts Puck leading Lysander away from Demetrius in Act 3, scene 2. The piece appears opposite page 86 and is one of the 40 colour plates. The board has the title added in the artist's hand, together with identification of the book and the artist's signature. This powerful illustration shows Rackham's thorough knowledge of the text of the play. Although simply entitled "Up and down, up and down", Rackham adds the "damned spirits all" to his composition and therefore depicts a passage from Puck's previous speech. In his biography of the artist, James Hamilton notes that Rackham's "interpretations of A Midsummer Night's Dream and The Wind in the Willows. have become definitive, and continue to challenge later illustrators to find new approaches". Writing about "Rackham's Best Book Illustrations", Fred Gettings states that in the artist's illustrations for A Midsummer Night's Dream "he created. among his finest colour images and almost all the plates echo perfectly the mysterious interweaving of lightness and depth in this great work. Many of the formal plates are exquisite." Exhibited: Leicester Galleries, London, October - November 1908, item 19; Santa Barbara Museum of Art, 5 January - 17 February 1974, item 23. Original drawing (265 x 183 mm) on card, laid down on board, fine ink and watercolour, signed and dated ("Arthur Rackham 08") lower right, inscribed with title and additionally signed below mount, mounted, framed, and glazed (framed size: 480 x 372 mm). Fine and unfaded.
Published by Debols!Llo, 2013
ISBN 10: 9875669865ISBN 13: 9789875669864
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Debols!Llo, 2013
ISBN 10: 9875669865ISBN 13: 9789875669864
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Condition: Fine. Number of books: 1 book.
Published by [D]esigned, written out, and illuminated by Alberto Sangorski [Colophon], [London], 1920
Seller: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.
Signed
255 x 212 mm. (10 1/8 x 8 1/2"). 25, [3] pp. ELEGANT LIGHT OLIVE GREEN CRUSHED MOROCCO, GILT AND INLAID [by Riviere] for London bookseller Charles J. Sawyer (stamp-signed "Chas. J. Sawyer, Ltd., London" on front turn-in), upper cover with inlaid mahogany-brown morocco lyre at head, "strung" with gilt fillets and surrounded by dense gilt stippling, six gilt fillets emanating from the top of this ornament and curling extravagantly below it, with inlaid green morocco leaves at the tips of its extensions, and inlaid red dots accenting the perimeter, raised bands, spine compartments with gilt and inlaid leaf sprig, gilt titling, turn-ins framed with five gilt fillets, stippled and inlaid cornerpieces, ivory moiré silk doublures and endleaves. In a fine full morocco plush-lined box with raised bands and gilt titling. ILLUSTRATED THROUGHOUT, WITH EIGHT LARGE MINIATURES within extraordinarily elaborate illuminated borders, FIVE FINE ROUNDELS, FOUR LARGE HISTORIATED INITIALS (a portrait of a young woman, a leaping stag, a skull, and a landscape with a castle tower), AND 25 ILLUMINATED INITIALS, all with burnished gold. New, expertly matched silk guards. SIGNED by Sangorski in the colophon, following the statement: "This manuscript will not be duplicated." With an early typescript list of the contents laid in at front. Ratcliffe, "Alberto Sangorski" SJR 338 (attributing the binding to Riviere). âSpine slightly sunned to olive brown (just a hint of sunning to head and fore edges of boards), spine with half a dozen barely perceptible tiny dark spots, but A VERY FINE COPY OF AN EXTRAORDINARILY BEAUTIFUL MANUSCRIPT, the binding unworn and lustrous, and the interior pristine, with vellum clean and bright and the paintings perfectly preserved. Written out, decorated, and painted by one of the most accomplished illuminators of the modern era, this attractively bound work celebrates some of Shakespeare's best-known plays with sumptuous miniatures that are in a perfect state of preservation. Songs from "The Tempest," "As You Like It," "Hamlet," "A Midsummer Night's Dream," and other works provide the inspiration for the many delightful miniatures seen here, which display an impressive variety of portraits, outdoor views, and figural scenes--everything from reclining nudes to a particularly lush scene in which a group of spirited hunters return from the woods. The illustrations are all painted with exquisite attention to detail and demonstrate the artist's innate understanding of color, rendering each composition delicate, yet vigorous and vibrantly hued. All Sangorski manuscripts with miniatures are painted with great skill, but this one is particularly arresting. Alberto Sangorski (1862-1932) started his professional life as secretary to a goldsmith's firm, became attracted to the book arts at the age of 43, and began doing illuminated manuscripts that were then bound by his brother Francis' firm, Sangorski & Sutcliffe. Sometime around 1910, Alberto and Francis had a falling out, and the artist went to work for Riviere, the chief competitor to his brother's firm. The gracefully tooled binding here was commissioned by London bookseller Charles J. Sawyer (1876-1931), who opened his shop in 1894. According to Brown and Brett's "The London Bookshop," Sawyer provided "anything suitable for a gentleman's library" with specialties in "rare items, early English literature, fine bindings and sporting and colour-plate books." While the binder fulfilling the commission did not sign this work, Sangorski bibliographer Stephen Ratcliffe attributes it to Riviere & Son, and there are examples of Riviere bindings decorated in this Art Nouveau style. But the design here, with its delicate, curving lines creating uncommon shapes, also resembles the work done by members of the Guild of Women Binders. Whoever the artisans involved, the binding is attractively designed and executed using premium materials, and it provides a pleasing cover for the glorious illuminations within.
Published by Printed for H. Herringman, E. Brewster, and R. Bentley, at the Anchor in the New Exchange, The Crane in St. Paul's Church-Yard, and in Russel-Street Covent-Garden, London, 1685
Seller: Clarel Rare Books, Los Angeles, CA, U.S.A.
Book
Panelled Calf. Condition: Very Good. The fourth and final of the 17th century Folios in which Shakespeare's plays were first collected. First State, without Chiswell's name in the publisher's imprint on the title-page. Contemporary full paneled calf, expertly rebacked in period style. The boards are scuffed and worn at the edges [most pronounced at the lower corners]. The first leaf, with the frontispiece portrait on the verso over a few lines of verse, is provided in facsimile. The title-page has been laid down with loss in the upper left corner to the first five letters of 'Comedies' and all but four or five letters of the Author's name [all of which were supplied long ago in manuscript facsimile]. The upper left corner of the dedication leaf [A1 of the preliminaries] has been similarly repaired with loss on the recto of only 10 or so letters in the first line [again supplied]. The top quarter of the page has been reinforced with paper on the verso, covering up the last eight lines of the Dedication [which have been rewritten in ink]. A repaired tear to the upper left corner of A2 affects only the typographical border on the recto. There is a one-inch square section of loss to the lower fore corner of the preliminaries and the first five leaves of text. On the preliminaries, it has been repaired with loss only to the typographical border. On the rectos of A1 through A5 of the text, there is loss to four-and-a-half catchwords only. On the versos just a handful of letters are affected [9 touched on A1, 10 lost on A2, 5 touched on A3 and 6 lost on A4] all, again, supplied in ms. facsimile. There are a few other scattered marginal repairs, occasionally affecting the typographical border only, and the final leaf has been laid down without loss. There is an occasional old ink annotation or correction, and the same hand has added page numbers to the list of plays, along with the titles of the seven added plays which the publisher had omitted. Otherwise, apart from a few instances of minor spotting or soiling and an odd tiny rust hole or two, the book is in very good condition. Shakespeare Folios are often found with entire pages of text missing and supplied either in facsimile or from other copies [detectable because they are almost always of a different size]. That's not the case here as all text pages are present and original, making this a very desirable copy.
(Sankt Petersburg, 1748). 8vo. Bound with five other tragedies/dramas in a slightly later (late 18th century) full calf binding with gilt line-borders to boards and richly gilt spine with red and blue title- and tome-labels. Spine with some wear and corners bumped. Upper capital worn. Internally generally nice and clean and on good paper, but "Hamlet" - which has clearly been well red and presumably used for a stage set-up - has some light pencil-annotations and pencil-crossovers, occasional brownspotting, a few paper restorations - no loss of text, a tear to one leaf - no loss, and one leaf slighly loosening at the bottom. Hamlet: 68, (2) pp. - separately paginated. 26pp. + 79, (1) pp. + 62 pp. + 68, (2) pp. + 78 pp. + 1 f. blank + 29 pp. Extremely rare first edition of the first Russian translation/adaptation of Shakespeare's Hamlet. The first edition is incredibly scarce and deemed virtually unobtainable. A second appearance, which is also of the utmost scarcity, came out in 1786, in a collection of plays in Russian. The seminal first rendering of "Hamlet" in Russian constitutes a milestone in Russian literature and cultural history. It deeply penetrated Russian culture, and in many ways Sumarokov's "Hamlet" came to epitomize the Russian spirit. "The first Russian adaptation of Shakespeare's "Hamlet" was made by the founder of the Russian classical theatre Alexander Petrovich Sumarokov (1717-1777). The play was written in 1748 by the 31-year old ambitious statesman and poet.Some researchers suggest that this work was commissioned to legitimise the power of Peter the Great's daughter Elizabeth through cultural discourse. Elizabeth took the Russian throne as a result of a court coup against an infant great grandson of Peter's elder brother. Ivan VI was barely two months old when he became Russian Emperor and "reigned" for eleven months. For the rest of his short life he lived in exile and, from the age of 16, in solitary confinement. Elizabeth's actions might be seen as avenging her father by returning power to his successors.Translated from French, Shakespeare in Sumarokov's version was also turned into a classist play, where people represented functions, such as order and chaos, good and evil, wisdom and stupidity. According to this pattern, the state could not be left without a legitimate ruler. Therefore, Sumarokov wrote a happy end with Claudius and Polonius punished by death and Hamlet, Ophelia and Gertrude victorious and content.Although this version was rarely staged, the image of an outcast prince was often referred to. For example, Catherine the Great's son and heir Paul tried on this role - his father was assassinated and overthrown by his mother's lover to get her the throne.In the 20th century the story of Russian Hamlet continued. As the Russian poet of the Silver Age Maksimilian Voloshin put it, "Hamlet - is a tragedy of conscience, and in this sense it is a prototype of those tragedies that are experienced by the "Slavonic soul" when it lives through disintegration of will, senses and consciousness"." (Katya Rogatchevskaia, for the British Library exhibition "Shakespeare in Ten Acts").Sumarokov created the Russian "Hamlet" in 1748 and might have acquainted himself with the character of Hamlet through French sources" However, it is quite probable that his translation was actually done from English, as it is registered that he borrowed a copy of it from the Academic library in the period from 1746 to 1748.It came to play a seminal role in both Russian literature, culture, and politics in the centuries to come. "Soon after its arrival in a Russia in 1748, "Hamlet" and its chief protagonist became inseparable parts of Russian national identity, prompting such remarks as William Morris's: "Hamlet should have been a Russian, not a Dane". However, at the outbreak of the Second World War, the play seems to have disappeared for more than a decade from the major stages of Moscow and Leningrad. Thus was born the 'myth' of Stalin and Hamlet. Today virtually every mention of Hamlet in the Stalin era refers to the dictator's hatred for this tragedy and his supposed banning of it from all Soviet stages. Notwithstanding the efforts of theatre directors such as Sergei Radlov with his heroic production of Hamlet in 1938, there is no doubt that Hamlet was problematic in the context of the paradigm of Socialist Realism. And it was certainly not the most suitable play for a war-stricken country. Moreover, from Stalin's own pejorative reference to 'an indecisive Hamlet' in connection with Eisenstein's ill-fated depiction of Ivan the Terrible (Part II), it is evident that for the dictator the character of Hamlet had negative connotations. The chequered history of Hamlet in the Soviet Union from the outbreak of the War to the death of Stalin in 1953 and the flood of new productions almost immediately after this date, together with the myth of Stalin's 'ban', deserve more nuanced and broadly contextualised study than they have received to date, based on concrete historical facts, memoirs and official documents. (Michelle Assay :What Did Hamlet (Not) Do to Offend Stalin?)."Reforms initiated by Tsar Peter the Great (1672-1725) had far reaching effects on all spheres of life in eighteenth-century Russia, including the cultural sphere. Profound changes also occurred in Russian literature. As Russian literature was becoming increasingly secular and new literary genres evolved there began an intensive search for aesthetic principles and an ideological platform that would be suitable for the demands of the post-Peter the Great epoch. Alexander Sumarokov (1717-1777) was among those Russian writers who considered adopting ethical principles and aesthetic norms of French classicism the most appropriate path for the development of an emergent secular Russian literature. In his rendering of Shakespeare's Hamlet into the Russian language, Sumarokov subscribed to the rules and traditions of French classicist.
Published by Ediciones Cátedra, 2014
ISBN 10: 8437633338ISBN 13: 9788437633336
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Cideb Editrice, 2008
ISBN 10: 8853001542ISBN 13: 9788853001542
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Ediciones Cátedra, 2013
ISBN 10: 8437631289ISBN 13: 9788437631288
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Editorial Vicens Vives, 2015
ISBN 10: 8468233099ISBN 13: 9788468233093
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Editorial Vicens Vives, 2012
ISBN 10: 8468210579ISBN 13: 9788468210575
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Editorial Vicens Vives, 2012
ISBN 10: 8431689498ISBN 13: 9788431689490
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Jacob Tonson & Edmund Curl, 1709
Seller: Cedar Tree Antiques, Upland, CA, U.S.A.
Book First Edition
Hardcover. Condition: Very Good. No Jacket. 1st Edition, Illustrated Edition. THE WORKS OF MR. WILLIAM SHAKESPEAR IN SIX VOLUMES: ADORN'D WITH CUTS was published in 1709 by Jacob Tonson & edited by Nicholas Rowe. They are the 1st edition of Shakespeare's plays published after the four folios. These are the first illustrated edition of Shakespeare's plays, 1st edition to indicate acts, scenes & dramatis personae, 1st to provide stage directions, 1st to include a formal biography of Shakespeare. Also includes THE WORKS OF MR. WILLIAM SHAKESPEAR. VOLUME THE SEVENTH. CONTAINING VENUS & ADONIS, TARQUIN & LUCRECE AND HIS MISCELLANY POEMS published in 1710 by Edmund Curll. "The significance of the 'volume the seventh' as has been generally understood, is in the fact that the book was intended as a supplementary volume to be sold to purchasers of the set of Rowe's Works of Shakespeare" (Alden, 1916). This octavo set is bound in full calf, with gilt & blind tooled covers, gilt tooled spines with five raised bands, gilt titles to spines. Frontispiece & plates present all volumes. The text block (19 cm) is laid paper. Endpapers are wove, indicating the set was bound after 1759. An owner's inscription on volume 5's title page reads "ex libris Georgii Trenthas(?) Talbot". The 14th Earl of Shrewsbury (George Talbot 1719-1787), lived about the same time these volumes were bound. The father of the Earl (George Talbot 1675-1733) died before these volumes were bound, given the use of wove paper. It seems likely that this set was owned by the 14th Earl. CONDITION - In all seven volumes there are no missing pages, no page tears, corners not bumped, hinges are sound, binding is tight. Calf on all boards in fine condition. Top & bottom edges of spines rubbed. Light toning throughout. No markings at all except as noted below in Vol 1 & 5. Vol 1: old bookseller's price in pencil on front pastedown & ink gift inscription on free front endpaper. Vol 2: occasional foxing. Vol 3: small scuff to spine, small stain pg. 1087, some foxing. Vol 4: 3/8" worming bottom of front hinge, ¼" spots pp. 1561-1562, some foxing. Vol 5: title page has ink in old hand "ex libris Georgii Trenthas(?) Talbot" . Plate facing Hamlet Play Title page has been hand-colored. Small scuff to spine, ¼" stain pp. 2182 & 2183, small ink stain on fore-edge of pp. 2383-2391 doesn't affect text, areas of foxing pg 2573 & 2641-2647. Vol 6: foxing on pp. 2661, 3771, 3185. Vol 7: worming like Vol 4, stain in dedication pages, some foxing. Overall a gorgeous set in very good condition. DISTINGUISHING POINTS: Vol.1-5 are first editions, conforming to ESTC T138294 for signatures, pagination & plates, and to Ford's "Shakespeare, 1700-1740" first issue criteria regarding collation & pagination errors. Vol. 6 conforms to ESTC T138297 & to Ford's Second Issue criteria. ESTC T138297 refers to this edition as a 'lineatim reprint (possibly surreptitious) of the ESTC T138294 edition of the same year'. However, UCLA Clark rare book library states "H.L. Ford in 'Shakespeare 1700-1740', Oxford, 1935, claims that there were 2 printings of Tonson's 1709 ed. However, a comparison of sets of this ed. with Ford's distinguishing points of the 2 printings reveals that each set is composed of sheets from both printings, and that in many cases individual vols. are also composed of sheets from both printings. Possibly the printings were not discrete." Vol. 7 (Poems) is described in ESTC T138298 as "Intended to accompany the 6v. Rowe edition of 1709." It conforms to ESTC T138298, which states: "Editor's dedication signed: S.N. The 'critical remarks' and 'An essay' are by Charles Gildon." Vol. 7 contains the same Dedication by Charles Gildon. According to Alden, "There has been considerable uncertainty as to the editor of the volume, some authorities referring it to Charles Gildon, known to be the author of the essays it contains, others to a mysterious 'S. N.,' because in some copies those initials are attached to the Dedication." SHIPMENT: free, via US Postal Service Registered mail only.
Published by INTERZONA EDITO, 1900
ISBN 10: 9877900440ISBN 13: 9789877900446
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Editorial Vicens Vives, 2018
ISBN 10: 8468259667ISBN 13: 9788468259666
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by BRUGUERA, 1900
ISBN 10: 9876277758ISBN 13: 9789876277754
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
ISBN 10: 9876277928ISBN 13: 9789876277921
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by by H[enry]. H[ills]. Jun. for Hen Herringman and R Bentley, and sold by Joseph Knight and Francis Saunders, London, 1691
First Edition
hardcover. Condition: Near fine. First Edition. 2nd or 3rd separate edition, an internally fine copy of it and other copies are not fine. As rare as any of the 17th century editions of Julius Caesar including the 1st of 1684 (census data is vague). That said, the glory of this copy is its quality. Early 20th century full red morocco by Rivière & Son, spine gilt titled, ruled in gilt with a French fillet, intricate gilt inner dentelles, gilt edges. Small paper flaw to the blank margin of page 21, else fine and rare in this condition, with large margins all around (8 7/8" X 6 1/2"), but most important, the pages are fresh and unrepaired. And it is also much finer than the other copies of it at auction in the last 40 years, all defective, or with repairs, or trimmed, and/or in poor condition, with only one copy at auction, of any 17th century Caesar separate edition, in condition close to ours ($33,750, at Sotheby's, in 2011). Cloth case. No edition of Julius Caesar was published during Shakespeare's lifetime, the posthumous collected works in folio being the sole authority for the play. It was revived by Thomas Killigrew's King's Company in 1672, using the original text, with Charles Hart initially playing Brutus, but no edition was published. Thomas Betterton took the part in later productions and is here named in the cast listed in our edition, with his boyhood friend Edward Kynaston as Antony. The 1st separate edition was published by Herringman in 1684 (the most common of the quarto editions), the year he turned over the retail side of his business to Francis Saunders and Joseph Knight, and the year before he published Shakespeare's 4th folio. It was followed by 4 undated editions with closely similar imprints, and a 1691 dated edition with an imprint mentioning only Herringman and Bentley. No data positively ordering them is known, but in 1969 John Velz superseded Henrietta Bartlett's 1913 bibliography. He thinks the 1691 edition was an authorized one, and identifies our edition as the first (QU1) of 3 unauthorized editions printed by Henry Hills Junior, the printer of the 1684 edition, and was issued in direct competition to Herringman's 1691 edition, for which Hills was not re-employed as printer, so my guess is 1691, or it would not have been competitive, but we may never know for certain, because the data is so thin, and though the data for rarity seems firm, it would surprise no one if new discovery reordered them. Ref: John W. Velz, "Pirate Hills" and the quartos of Julius Caesar, BSA Papers, v. 63 (1969) 177-193.
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by La Otra H, 2017
ISBN 10: 8416763089ISBN 13: 9788416763085
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Cambridge University Press, 2014
ISBN 10: 1107615534ISBN 13: 9781107615533
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Cambridge University Press, 2014
ISBN 10: 1107615518ISBN 13: 9781107615519
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Cambridge University Press, 2014
ISBN 10: 1107615399ISBN 13: 9781107615397
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.