Sappho, Signed (25 results)

SIGNED. Unusual publication by this interesting author and translator often associated with Sappho. May be inscribed on the opening flyleaf but not signed. Very good illustrated wraps with clean text.

Hardcover. Condition: Good. Original card wrap covers . 8vo. 282 pages Greek text. No annotation noted; signed by author. Signed by Author(s).

Hardcover. Condition: Good. London,Williams and Norgate,1924. Gilt vellum spine and blue boards. Square 8vo,154pp. 1/426 on handmade paper, signed by E.M.Cox. Deckled edges. Bookplate, fading of boards, bumped corners and general rubbing. Signed by Author(s).

Hardcover. Condition: Very Good. 9 x 7", vellum backed boards, 154pp, covers quite worn and soiled, forecorners bumped, top edge of front cover bashed, edges toned, scattered finger soiling. SWAF. LIMITED TO 400 NUMBERED COPIES (ON PAPER) (this is copy #260), SIGNED BY THE TRANSLATOR, E.M. COX.

Originalbroschur. Condition: Wie neu. ERSTAUSGABE. 162 Seiten ; 21 cm FRISCHES, SEHR schönes Exemplar der ERSTAUSGABE. - SIGNIERT mit WIDMUNG von SCHIRNDING für Susanne Löffler, 25. September 2013. (Wir haben zahlreiche Titel in diesem Sachgebiet auf unserer HP.) Sprache: Deutsch Gewicht in Gramm: 232.

souple. Condition: Bon. 1 vol. grand in-8 br., Flammarion, Paris, 1966, 462 pp. Bon exemplaire accompagné d'une belle L.A.S. de l'auteur adressée à l'écrivain bordelais Michel Suffran, qu'elle remercie de ses compliments, ("je me sens bien récompensée de ces années de travail solitaire avec . Sappho!") et auprès duquel elle s'excuse de ne pouvoir répondre à son invitation. Edith Mora obtiendra le prix Broquette-Gonin de l'Académie Française pour cette traduction de Sappho. Langue: Français. signé par l'auteur.

Traduit par Ilo de Franceschi. Périgueux : Pierre Fanlac éditeur, 1980. Un volume broché (24x16 cm), 63 pages. Avec un dessin de Claude Le Breton en frontispice. Edition originale tirée à 150 exemplaires "Ad personam" numérotés et réservés aux amis d'Ilo de Franceschi avec un envoi du même daté et signé. légères rousseurs sur les pages de garde sinon bel exemplaire. Livres.

Hardcover. Übersetzung von Wolfgang Stockmeier, Radierungen und Zeichnungen von Elfriede Weidenhaus. Leinen, Fadenheftung, 64 Seiten, 22,8 x 20 cm. Obere Ecke der Einbandvorderseite leicht berieben, sonst sehr guter Zustand. Nr. 86 von 140 numerierten Exemplaren. Von der Künstlerin auf der letzten Seite signiert. Gewicht: 520.

Softcover. Condition: Near Fine. First edition. Quarto. Single sheet folded in half making four pages. The fold slightly off center, and light toning, else near fine. Signed by Ned Rorem on the front cover. The program includes the text to three John Ashbery poems, "Some Trees," "The Grapevine," and "Our Youth." Ned Rorem won the Pulitzer Prize for Music in 1976.

Softcover. Condition: Very Good. First edition. Illustrated by Dwina Murphy-Gibb. Edited, translated, and with an introduction by Terence DuQuesne. Pink wrappers sunned as usual else just about fine. Nicely Inscribed to Gershon Legman on the half-title: "for G Legman- here is to 'Renaissance man,' all best from a reluctant pupil. Terrey Duquesne." An excellent association. According to his bio on the Darengo Publications website, which Duquesne founded, DuQuesne was reading Greek poetry in the original language at 13, and "one of his main motivations for learning ancient Greek, as he always said, was to be able to read Sappho in her own language. in later life he translated her works into English, having rejected earlier renditions as 'dull and distorted reflections.'".

Soft cover. Condition: Good. No Jacket. In French "Cambodia's premier performing art form is Khmer classical dance, or Robam Preah Reach Trop, a highly stylized dance form originating from the royal courts. Originally performed and maintained by attendants of the royal palaces, Khmer classical dance was introduced to the general public in the mid-20th century and became widely celebrated as iconic of Cambodian culture, often performed during public events, holidays, and for tourists visiting Cambodia."(Wikipedia) Book is in very good condition view its age. All pages are intact with no interior markings. Illustrated by the author. Dedication to previous owner by author, written with a quill pen in black ink on first page. Does not affect content or readability. Slight tear to spine edge. Fascinating look into traditional dance. Inscribed by Author(s).

Hardcover. Condition: New. Julie Mehretu (illustrator). The format is 14-1/2 x 9-3/4 inches, 112 pages. The introduction was set in 12-point Garamont Monotype. The English translations were handset in 18-point Garamont. Garamont is a type by the prolific American designer Frederic W. Goudy, based on the sixteenth-century Garamond rendered in the later style of Jannon and more recent French versions. The Greek was composed on computer in digital Adobe Garamond Greek type, printed from polymer plates. The book contains 20 double-page Mehretu prints in black and white printed from polymer plates. On the title page, introduction, and colophon are 23 wood engravings cut by Anita Cowles Rearden in the 1880s, intended as illustrations for a book on Sappho and Alcaeus by her husband Judge Timothy Rearden, now printed for the first time (at the time the book went unpublished due to the author's unexpected death). All printing is by letterpress. The paper is Revere, an Italian mould-made sheet. The sections are handsewn with linen thread over vellum tapes, that are laced through the joints of the spine, which is also of vellum, stamped in gold with the poet's name. The boards are covered with a fine binding cloth manufactured in Germany, of a light green color, imprinted with a portion of an image from the extra suite of prints in darker green. The book is presented in a cloth and paper covered slipcase with spine stamping similar to the book's. The edition is limited to 400 numbered copies for sale. All copies are signed by the artist. In addition to the prints in the book, Julie Mehretu has made four additional prints, images not in the book, that are offered as an extra suite in a portfolio. Three of the four have been hand colored. The suite of prints by Julie Mehretu is entitled Sapphic Strophes. The individual prints are titled Sapphic Strophe 1 through 4, in a printed statement of limitation on the back of each print. The prints are relief, printed by letterpress from polymer plates, all four from negatives scratched by the artist with an etching needle, two with overlay plates made from negatives of scans of ink drawings on Mylar. The paper is Italian mould-made Revere, 15 x 20 inches. The prints are signed by the artist and numbered 1/40 through 40/40 for sale. In "Poetry of Sappho" painter Julie Mehretu has created prints for her first artist book, one of Arion's most beautiful and ambitious publications. Twenty prints by Mehretu alternate with pages of poetry in Greek and in English. Four additional prints with hand coloring are presented in portfolio. The new English translations were commissioned for this edition from poet John Daley and classicist Page duBois. Sappho is the supreme lyric poet of antiquity. Celebrated by Plato as the "Tenth Muse", she left a literary monument comparable to the other precious ruins of the ancient world. As with its time scarred architecture, mutilated statues, and partial inscriptions, what remains of her poems are fragments of a vanished whole, and all the more resonant for being so. The only woman whose poetry has come down to us from antiquity, Sappho wrote more than two and a half millennia ago, a century after Homer, but before the great age of Greek drama and philosophy. Her subject is not war and the state, but individual emotion and the enjoyment of beauty, expressed in unforgettable images. The theme of lost civilizations implicit in Sappho made the ancient Greek poet a fruitful subject for Mehretu. Julie Mehretu is one of the most admired artists working today. An Ethiopian-American painter known for her densely-layered abstract images, she lives in New York City and works there and in Berlin. She received the 2005 MacArthur Fellowship. Julie Mehretu has made twenty double-page prints for the book, to be viewed between the facing pages of Greek texts and English translations, alternating throughout. The printmaking process began with the artist scratching the emulsion side of negative film with an etching needle. Light passing through the lines allowed the negative to serve as the direct matrix for a polymer platemaker. The plate, of thin steel, with raised plastic areas for the image, was then mounted on a magnetic base, making the printing surface the same height as type for letterpress printing. The linear effect is that of an etching, though the print is relief, not intaglio. The artist used different gauges of etching needles so that the line width varies and a layering effect is created. For some images, Mehretu drew with pen and ink on mylar over proofs of the images created with the scratched negatives to add yet another layer with a different linear quality, drawn rather than scratched. These elements are heavier yet and seem to rise above the surface of the etching-like imagery. Please note that, while the prints in the suite are new and in fine condition, the portfolio which contains them has a few spots of light wear. ___POSTAGE: Please note that additional postage may apply as the book with the extra suite is unusually heavy; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condition: New. Julie Mehretu (illustrator). Limited Edition. The format is 14-1/2 x 9-3/4 inches, 112 pages. The introduction was set in 12-point Garamont Monotype. The English translations were handset in 18-point Garamont. Garamont is a type by the prolific American designer Frederic W. Goudy, based on the sixteenth-century Garamond rendered in the later style of Jannon and more recent French versions. The Greek was composed on computer in digital Adobe Garamond Greek type, printed from polymer plates. The book contains 20 double-page Mehretu prints in black and white printed from polymer plates. On the title page, introduction, and colophon are 23 wood engravings cut by Anita Cowles Rearden in the 1880s, intended as illustrations for a book on Sappho and Alcaeus by her husband Judge Timothy Rearden, now printed for the first time (at the time the book went unpublished due to the author's unexpected death). All printing is by letterpress. The paper is Revere, an Italian mould-made sheet. The sections are handsewn with linen thread over vellum tapes, that are laced through the joints of the spine, which is also of vellum, stamped in gold with the poet's name. The boards are covered with a fine binding cloth manufactured in Germany, of a light green color, imprinted with a portion of an image from the extra suite of prints (sold separately) in darker green. The book is presented in a cloth and paper covered slipcase with spine stamping similar to the book's. The edition is limited to 400 numbered copies for sale. All copies are signed by the artist. In "Poetry of Sappho" painter Julie Mehretu has created prints for her first artist book, one of Arion's most beautiful and ambitious publications. Twenty prints by Mehretu alternate with pages of poetry in Greek and in English. The new English translations were commissioned for this edition from poet John Daley and classicist Page duBois. Sappho is the supreme lyric poet of antiquity. Celebrated by Plato as the "Tenth Muse", she left a literary monument comparable to the other precious ruins of the ancient world. As with its time scarred architecture, mutilated statues, and partial inscriptions, what remains of her poems are fragments of a vanished whole, and all the more resonant for being so. The only woman whose poetry has come down to us from antiquity, Sappho wrote more than two and a half millennia ago, a century after Homer, but before the great age of Greek drama and philosophy. Her subject is not war and the state, but individual emotion and the enjoyment of beauty, expressed in unforgettable images. The theme of lost civilizations implicit in Sappho made the ancient Greek poet a fruitful subject for Mehretu. Julie Mehretu is one of the most admired artists working today. An Ethiopian-American painter known for her densely-layered abstract images, she lives in New York City and works there and in Berlin. She received the 2005 MacArthur Fellowship. Julie Mehretu has made twenty double-page prints for the book, to be viewed between the facing pages of Greek texts and English translations, alternating throughout. The printmaking process began with the artist scratching the emulsion side of negative film with an etching needle. Light passing through the lines allowed the negative to serve as the direct matrix for a polymer platemaker. The plate, of thin steel, with raised plastic areas for the image, was then mounted on a magnetic base, making the printing surface the same height as type for letterpress printing. The linear effect is that of an etching, though the print is relief, not intaglio. The artist used different gauges of etching needles so that the line width varies and a layering effect is created. For some images, Mehretu drew with pen and ink on mylar over proofs of the images created with the scratched negatives to add yet another layer with a different linear quality, drawn rather than scratched. These elements are heavier yet and seem to rise above the surface of the etching-like imagery. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Second edition. [2], xvi, 213pp, [1]. With a half-title, an engraved frontispiece and one further engraved plate. Original publisher's gilt-stamped vellum, lettered in red and black. A trifle rubbed, lightly discoloured, spine dulled. Scattered spotting. Limited edition, inked inscription to verso of title page: 'Twenty-five copies of this book have been printed on Large Paper. Each one is numbered and signed by me, this Copy being No. XXIII. Henry T. Wharton. May 3. 1887'. The second, strictly limited, edition of the book (first published in 1885) for which Henry Thornton Wharton (1846-1895) is best remembered, an admirable work on Sappho containing a life of the poet and a selection of translations of her verse. This copy, inscribed by the author, is marked as 'No. XXIII", or 23, of 25. Noted for restoring feminine pronouns to Sappho's verse, Wharton provided the first translation rendering the subject in the Ode to Aphrodite as undoubtedly female. Size: Quarto.

Hardcover. Condition: Fine. With three divisional title pages, all featuring the Aldine dolphin and anchor device. Bound in contemporary blind-tooled pigskin (lightly soiled, corners bumped, small hole in pigskin at head of spine, wear at extremities), signed "A.S.K." and dated 1562 on the upper board. Title page lightly soiled, intermittent mild foxing, light marginal staining in places. A few manuscript notes and underscores. The binding: decorated with blind-stamped images of Apollo (with harp)and the Muses: Caliope (with zither), Thalia (with lute), Euterpe (with horn), Terpsichore (with viola). The Euterpe stamp is signed "S.N.", that of Terpsichore is dated "1549". The binding is probably the work of the Wittenberg binder Conrad Neidel (active 1542-15602), see Haebler, Vol. I, p. 308. This edition marks the second appearance of the celebrated commentary of Marc Antoine Muret, "the most important commentary on Catullus since that of Parthenius in 1485."(Gaiser). Muret, who had fled France to avoid trial for homosexuality, prepared his commentary while taking refuge in Italy with Paul Manutius. Muret was the first commentator to pair Sappho's Greek poem "Phainetai moi kênos îsos theoisin"(Sappho 31) with Catullus' poem 51, "Ille mi par esse deo videtur", which Catullus based on Sappho's poem. "In 1552 Muret lectured on Catullus and other Latin poets in Paris, perhaps at the College du Cardinal Lemoine or the College de Boncourt. Included in his large and enthusiastic audiences were several poets of the Pléiade -most notably Ronsard, his friend and near contemporary. Muret's lectures created a fashion for Catullan poetry. His own neo-Latin collection, Juvenilia (1552), contains several Catullan imitations, but Catullus is still more important in the poetry of the Pléiade, much of which appeared close on the heels of his lectures."(Gaiser) Late in 1553 Muret was forced to leave Paris, where he was persecuted for being a homosexual. Earlier in the year he had been accused of "unnatural vice" and imprisoned at the fortress of Châtelet "and would have died of starvation had his friends not intervened to secure his release. Disgraced at Paris and reduced to poverty, he fled to Toulouse, where he eked out a living by giving lessons in law. He was accused a second time of having committed sodomy, in this instance with a young man named L. Memmius Frémiot, and on the advice of a councilor he absconded once more. He was sentenced to death in absentia and burned in effigy with Frémiot in the Place Saint-Georges as a Huguenot and sodomite. He crossed the Alps in disguise and was warmly received for a time in Venice, while in France his memory was ceaselessly vilified." (Warren Johansson) Soon after arriving in Venice, in May 1554, Muret was befriended by Paul Manutius, who, learning of his enthusiasm for Catullus, persuaded him to produce a commentary. Muret went to work and completed the task in a little less than three months, as he says in the dedication, dated October 15, 1554. "Since Muret had been in Venice only a few months, his commentary on Catullus was no doubt largely drawn from the Paris lectures. His notes display a combination of learning and poetic sophistication that would have appealed to the Pléiade. More than any of his predecessors except Valerianus, he discusses the artistic qualities of Catullus' work and the details of vocabulary and meter that work together to secure an effect. He appends a poem of his own in galliambics to his discussion of the meter in Cat. 63, discusses the appropriateness of the similes in Cat. 68 (which he regards as perhaps the most beautiful elegy in Latin) and discourses on the delight of studying Catullus' 'translations' in close conjunctions with their Greek models. He is the first commentator to print Sappho's poem with Cat. 51 (see folio 57), and he laments the loss of Callimachus' 'lock of Berenice' in the discussion of Cat. 66 and prints all the fragments of that poem known to him. "Muret is interested in the text, but he is cautious about emendations and adamant in refusing to admit modern conjectures and supplements, no matter how apposite. Muret's commentary was the first to be published since that of Guarinus in 1521 and the most important since that of Parthenius in 1485." (Gaisser, "Catullus", CTC Vol. VII, pp. 260-261) "Previous writers, Parthenius, Palladius, Avancius, Guarinus, had concerned themselves only with the elucidation of textual and grammatical difficulties. Muret pays far more attention to the literary and aesthetic side of Catullus' poems than any other commentator of the period. It is clear that he is professionally interested, as a poet himself and the teacher of poets, in Catullus' mastery of his art. He makes quite a number of literary and aesthetic judgements and these, sporadic and unsystematic though they are, form precious evidence of the sixteenth century attitude to Catullus "On Catullus LI, the translation of Sappho's ode, Muret remarks: 'What man is there, at least amongst those who have some feeling for literature and culture, who does not derive the keenest pleasure in comparing the lines of that woman who far surpasses all men in this genre, and those of the most voluptuous of all the Latin poets?' ("poetae Latinorum omnium mollissimi.") Similarly on Catullus' Coma Berenices (LXVI) he bewails the loss of Callimachus' elegy on the same theme, which deprives posterity of the pleasure of comparing the great Greek poet with Catullus 'Latinorum poetarum sine controversia politissmus'." (Fitzgerald, Catullus and the Reader, the Erotics of Poetry). SECOND EDITION WITH MURET'S COMMENTARY (1st 1554).

OHalbpergament, 155 S. Eines von 400 (gesamt 438) Exemplaren auf Bütten. Im Druckvermerk von Cox signiert. Die Bibliographie verzeichnet die Ausgaben ab 1470. Deckenbezug teils etwas eingerissen, sons gutes Exemplar.

23 cm. 64 Seiten mit 27 ganzseitigen Zeichnungen, 35 Vignetten und drei Schablithos; Papier: Römerturm-Bütten, 150 g/m ., Römerturm Feinstpapier Poensgen& Heyer KG. Leinen, sehr gutes Exemplar. . Druck der Zikadenpresse Bd. 3. Bei Bestellungen auf Rechnung bleibt Vorkasse vorbehalten. SHIPPING ONLY TO DELIVERY ADDRESSES IN GERMANY! VERSAND NUR AN LIEFERADRESSEN IN DEUTSCHLAND!

1971-1972. 229, 107 S. Oktn. Gr.8° (Einbände bestossen, Kanten etwas berieben). Beide Bände mit Widmung des Verfassers.

Atelier de Pierre Fanlac. 1980. In-8. Br. couv. à rabats. Version Française d'Ilo de Franceschi avec un dessin original de Claude Le Breton. 63 p. Exemplaire N° 58. Dédicace d'Ilo de Franceschi. Très bon état malgré la couverture insolée.

30 x 20,5 cm. Mit 1 farbigen Orig.-Radierung von Eberhard Schlotter. Graue Orig.-Brs. mit Titelaufdruck. - Einblattdruck LXII der Bear Press in der Cochin-Kursiv. Gedruckt in 120 numerierten Exemplaren. Der Druckvermerk vom Künstler signiert. Tadellos erhalten.

London: Turrett Books. 1972. Tall 4to. Original printed card wrappers over flexible red card; two black leaves at either end; pp. [22]; fine. Presentation copy to celebrity newsreader "Reggie" Reginald Bosanquet and his late wife. Both Bosanquet and Durrell were regulars at Bernard Stone's Turret bookshop. Numbered 126 of 226 copies (200 numbered copies signed by the author). Includes signatures of Durrell and his daughter Sappho.

First edition, number 215 of 426, numbered and signed by Mehretu, who created the 20 abstract etchings that accompany the side-by-side translations. The introduction is illustrated with 23 unpublished wood engravings created in the 1870s by Anita Cowles Rearden (1861-1944), which depict coins from Mytilene and images of Sappho, Alcaeus, and Aphrodite. The volume was inspired by Arion Press's discovery of a manuscript biography on Sappho, created jointly by Rearden and her husband, lawyer Timothy Henry Rearden (1839-1892). The publishing house first found the text at the University of California, Berkeley, and later identified Rearden's illustrations at the library of the Swedenborgian Church in San Francisco. The couple arranged for their work to be published, but the project never materialized at the time. Since 1974, Andrew Hoyem's Arion Press has been producing fine limited editions in the heart of San Francisco, using letterpress equipment dating from the 1910s. Overseeing every aspect of book production in-house, they are the only unified hot-metal type foundry, letterpress workshop, and book bindery in the United States. Hoyem won the San Francisco Living Treasure Award in 2010 for his decades of contribution to both book arts and the city. Quarto. With 43 illustrations. Quarter vellem, spine lettered in gilt, green cloth sides with dark green decorations, fore edge untrimmed. With slipcase, as issued. A fine copy.

Second and expanded edition, signed limited issue, number 9 of 25 large paper copies signed by the translator, and with the limitation hand-written by him "Twenty-five copies of this book have been printed on Large Paper. Each one is numbered and signed by me, this copy being No. IX. Henry T. Wharton, May I, 1887". Unsurprisingly uncommon thus. This highly influential and comprehensive translation of Sappho notably restored the feminine pronouns to her work, and includes "a compilation of explanatory notes, various appendices, and a bibliography that lists editions, translations, and imitations if Sappho over the centuries" (Prins, p. 53). Significantly Wharton attempted to portray Sappho, "as a poet who loved women 'purely'", never sexually, "construing her as a schoolmistress for young women" (Prins, p. 59). Wharton's translation was first published in 1885 in both a trade issue and a signed issue such as here. Yopie Prins, Victorian Sappho (1999). Octavo. Text in English and Greek. Engraved frontispiece with tissue guard, engraved head- and tailpieces. Original vellum, spine and front cover lettered in red and black, gilt lyre vignette to front cover, top edge gilt, others untrimmed. 20th-century auction cataloguing neatly pasted to front free endpaper verso. Lettering to spine rubbed with slight loss, vellum soiled and a little rubbed, front board starting to bow, inner hinges cracked with gauze just visible, browned free endpapers neatly stabilised, small chip to fore edge of front free endpaper, book block firm; remaining a very good copy.

4to. Mit 12 rad. Illustrationen von René Sintenis. Handgezeichneter gest. Text von E. R. Weiß. 3 w. Bl., 18 gest. Seiten u. 1 Bl. Impressum auf starken Büttenpapier. Späteres Hpgt. m. roten Holzdeckeln. Gelber Kopfschnitt, sonst unbeschnitten. Rodenberg 371, 31. - Schauer II, 113. - Eines von 185 arab. numer. Ex. (Gesamt: 250), von beiden Künstlern im Impressum signiert. - 31. Druck der Marées-Gesellschaft unter Aufsicht von Julius Meier-Gräfe. - Wunderschöne Gemeinschaftsarbeit des Künstlerehepaares Sintenis/Weiß, vielleicht eines der schönsten Bücher des 20. Jahrhunderts. "E. R. Weiß fand für die Lyrik der sagenumwobenen griechischen Dichterin und für die freinen Umrißzeichnungen der Illustrationen von Renée Sintenis den adäquaten Ausdruck in der feinen Radiernadel, die auch dem Duktus der Schrift das Intime eines Briefea verleiht." (Schauer). - Wohlerhalten. gr.

Paris, Les Heures Claires, 1982. Edition juxtalinéaire due à André Marty, illustrée de 93 compositions originales d'Amandine Doré. Tirage limité à 450 exemplaires numérotés, celui-ci est un des 25 ex. sur vélin de Rives (deuxième papier après un exemplaire unique) avec l'état définitif des illustrations, une suite des ill. en noir, une suite de 4 planches libres en coul. et un dessin original en noir signé. Exemplaire enrichi d'un second dessin original dédicacé et signé à l'encre bleue. Très bon état Collation : 33,5 x 25,5 cm, [8]-120-[12] p. En feuillets sous couv. imprimée, rempliée, chemises titrées et étuis d'éd. (dont 1 pour la suite des illustrations). Quelques rousseurs éparses.