Results (1 - 30) of 1936697

Stevens, Wallace

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From: Elliot's Books Since 1957 (Northford, CT, U.S.A.)

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Item Description: The collection consists of twenty-seven works of art that Wallace Stevens purchased, starting in 1931, while living in Hartford, Connecticut, mostly through the Parisian bookdealers Anatole and Paule Vidal. Included are the still life by Tal-Coat that inspired "Angels Surrounded by Paysans" and Marchand's "Les Oliviers", alluded to in "Connoiseur of Chaos". The collection also contains a Georges Braque color lithograph "Nature Morte III: Verre et Fruit", pulled by Braque himself, an oil painting by Bombois, entitled "Le Loiret a Olivet", a Kandinsky lithograph, a pair of 19th century miniature jade-like carvings of Pekingese dogs, a Chinese woodcarved "Shouxing", and a Korean scroll "Flowers and Birds" and a "Portrait of Emperor Chenghua". In addition there are two portraits of Stevens. In addition to the original art belonging to Wallace Stevens, his very own over-sized walnut bed and matching armoire, his mahogany writing desk and chair, his ornate writing secretary, an exquisitely carved bedside stand, plus additional personal furnishings are included in this offering, including lamps with Asian motifs, Chinese tea tins and many other objects, including his pocket watch and pillbox. Our hope is that a research institution/museum will acquire this monumental collection and will dedicate an entire room for a permanent exhibition of the art that inspired his poetry, which in turn, inspired many great American artists of the mid-Twentieth Century. See references to Stevens' art purchases in "Letters of Wallace Stevens" edited by Holly Stevens. See "The Modernist Response to Chinese Art: Pound, Moore, Stevens" (Virginia, 2002) by Zhaoming Qian for Stevens' interest in Asian art in the article "Stevens as Art Collector" pp. 155-166 which includes photographs of the carving, the scroll, and the Portrait of Emperor Chenghua. Included, too, is a copy of nearly every book that Stevens wrote and the very rare "Stevens Family Portraits" and "Stevens Family" which he had commissioned to be done for him. Also refer to MacLeod's "Wallace Stevens and Modern Art: From the Armory Show to Abstract Expressionism" (Yale,1993). Provenance: Wallace Stevens-Elsie Stevens-Holly Stevens. IMPORTANT NOTE! ! The correct price for this collection is $2,200,000. Bookseller Inventory # 2556

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Comedies, Histories and Tragedies. Published according to: SHAKESPEARE, William

SHAKESPEARE, William

Published by Tho Cotes, for Robert Allot, London (1632)

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Item Description: Tho Cotes, for Robert Allot, London, 1632. Hardcover. Book Condition: Very good. "A DRAMATIST'S COPY Folio, pp (xx) 303 (i) 232, 419 (i). Text in double column, prefatory matter single, Roman and Italic letter. Ionic head & shoulders engraved portrait of Shakespeare by Martin Droeshout on t-p in unusually fine impression (the author’s best known representation), woodcut initials and headpieces. Address "To the Reader" by Ben Jonson) inlaid on blank. Lower outer corner of first 3 ll. slightly soiled. Wine (?) stain to blank outer corner of next three, reappearing very occasionally in text, a few marginal tears and spots, light age yellowing, last leaf dusty. A very good, clean, well margined copy (taller than Pforzheimer's and the same width) in handsome late C17 calf, spine with gilt compartments, morocco label, arms of the 2nd Duke of Newcastle gilt stamped in central panel on covers, joints repaired, directions to binder on rear pastedown. (C17?) Autograph of Thomas Wright in red chalk on fore margin of t1, autograph of Edward Filmer (1717) at head of fly and address to reader, and of Viscount Mersey (1938) on fly. In folding box. A handsome and important copy of the 2nd folio edition of Shakespeare’s plays in the first variant issue and the second authoritative version of the Shakespearian canon. Published 16 years after the authors death it differs very significantly from the quartos and is largely reproduced from the first fol.(1623). It is from this version of the text that all modern versions derive. Were on easked to nominate the two most important works in the English language, culturally, historically and linguistically the Shakespeare folio and the King James Bible would be the obvious choices. As Printing and the Mind of MAn 122 (on the first folio) puts it "the magic of Shakespeare’s poetry is potent only in his own tongue; but the great theatrical scenes, the great dramatic figures are universal. Hamlet’s doubts, the doomed love of Romeo and Juliet, Brutus’ dilemma, the Falstafian image, the characters of Jago, Petruchio and Lady Macbeth are part of the fabric of western (and not only western) civilisation .they are more real to us than the history books." This edition is also notable as containing the first appearance in print of any work of John Milton’s - his prophetic 16 line epitaph on the author that his great lasting monument will "not a starre-y pointing pyramid" but his "unvalued book". A very nice association copy. Filmer was a playwright and author whose tragedy "The Unnatural Brother" was first performed at the theatre in Little Lincoln’s Inn Fields, a place well known to Shakespeare, whom Filmer much admired. When Collier attacked the English stage (including Shakespeare) in print, Filmer defended both in a sensible and well written treatise entitled "The Defence of Plays or the Stage Vindicated" (1707) to which Collier was compelled to reply. It was one of the first significant literary controversies immortalised in print. Henry Clinton 2nd Duke of Newcastle (1720-1744) was one of the great Whig magnates of his day. Though he played no direct part in politics his huge influence in so many parliamentary constituencies meant his political support could not be ignored. For his cousin Sir Henry Clinton he procured the ill fated command of the British forces in North America during the Revolution. At Clumber in Nottinghamshire he created one of the most beautiful parks in England. The house there was demolished in 1938 and the present volume sold from the splendid library the previous year alond with a great Audubon "America" and the Lamoignan Hours. Viscount Mersey formed a remarkable collection of important early books during the mid c.20. Every volume was chosen with care and he recognised the importance of original condition with appropriate binding long before that became common. STC 22274 a. Pforzheimer III 906. PMM 122 (1st). Greg III pp1113-1116. Todd vol V (1952) pp81-108 English". Bookseller Inventory # K1

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PLINIUS SECUNDUS, Gaius.

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Item Description: Hard cover. Edited by Philippus Beroaldus. Roman type, double column, 50 lines per page. Numerous initials & rubrics supplied in red & blue alternately, illuminated with 37 large initials in gold and colors, and a painted border heightened with gold & including a coat of arms on fol. 23. 358 leaves (without first and final blank). Folio (298 x 206 mm.), Italian 17th-century brown morocco (some worming to spine, some wear to joints & top of binding), covers richly gilt with three different borders with floral tools and rosettes at the corners, the second frame decorated with tools forming fans in the corners, in the centre an empty shield formed of two fillets enclosing a painted brown listel with gilt dots, all surrounded by small tools and helmet on top, a.e.g. Treviso: Michael Manzolus, "25 August 1479" [but not before 13 October]. Sixth Latin edition, the second edited by Filippo Beroaldo, of the greatest general scientific and encyclopedic work of antiquity, a storehouse of physical, geographical, and historical knowledge which profoundly affected the Western world’s thought for more than 1500 years. It deals with mathematics, physics, geography, astronomy, medicine, physiology, zoology, botany, geology, mineralogy, anthropology, philosophy, history, agriculture, the arts and letters, etc. The Historia naturalis was especially popular among the humanists. One of them was the philologist Filippo Beroaldo the Elder (1453-1505), the most important exponent of humanism in Bologna. He taught rhetoric and poetry at the University of Bologna, and he edited and commented the works of numerous classical authors, as for example, Apuleius, Suetonius, Aulus Gellius, Propertius, and others. The edition of Pliny’s Historia naturalis is one of his first major works, first published in Parma 1476 by Stephanus Corallus. The present edition, printed at Treviso by Michele Manzolo or Manzolinus (born in Parma 1420-ca. 1482), is a reprint from the Parma edition. However, it contains on the first two leaves an Apologia of Pliny and a poem by Filippo Beroaldo that are not to be found in earlier editions. The colophon is dated 25 Aug. 1479 but the poem (fol. a3v) is dated "Tarvisii tertio idus Octobres Mcccclxxix" (13 October 1479).ILLUMINATION: Our copy has been splendidly illuminated by a contemporary Italian artist in the distinct tradition of Italian humanist manuscripts of the 15th century, with letters surrounded by "white vine scroll," a form of interlacing plant scroll in which emphasis is on the branch, not on the leaves. The finely drawn and colored decoration comprises an initial with a full border on leaf c1, the beginning of Pliny’s text (Book II), and 36 large initials opening the other books. The elaborate border is composed of intricate white vine-scroll on red and green grounds on a blue surround with white triple dots. The lower border incorporating a coat of arms painted on a blue ground with a green frame; it shows a black eagle on gold ground above a red and white (silver) checkerboard pattern (see our Provenance note). The large initials in burnished gold are decorated in the same style, several with extensions into the margins. Interestingly, this decoration is found in several Bolognese manuscripts and incunabula in the period of 1468 until 1500 (see for several examples: Guernelli 2006). Could it be that the editor Beroaldo was somehow instrumental in the link between Treviso, where the book was printed and his hometown Bologna, where the decoration was added?PROVENANCE: The coat of arms inserted in the border on the beginning of Pliny’s text shows a black imperial eagle or surmounting chequy argent gule. These are the arms of the counts Ottoni, rulers of Matelica, near Macerata (The Marches). Members of this celebrated Italian family excelled, with the papal army, at the wars of the Papal State against the Italian states and foreign powers. In particular, the illumination of the present Historia naturalis might have been made for Al. Bookseller Inventory # JHABES4794

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De Senectute, De Amicitia, and Paradoxa Stoicorum.: CICERO, Marcus Tullius.

CICERO, Marcus Tullius.

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Item Description: Hard cover. Illuminated manuscript, written in Latin on vellum. Italy, Florence, ca. 1450-1460. 241 x 171 mm. (justification: 157 x 96 mm.), vellum, 42 leaves & modern pastedown with flyleaves in front and back. Collation: I-III10, IV10+2 (added bifolium, fols. 40-41), perpendicular catchwords in lower margin; one column of 28 lines (ruled in blind), written in black ink in a fine Littera Humanistica. The hand tends to write smaller in the 2nd text (see fol. 22 and ff.), rubrics in red by the same hand, in texts and in margins (fol. 3, citations in Greek), 8 three- to five-line golden initials on a field painted in blue, red and green, one penwork initial (fol. 36v) added later, four large, four- to eight-line white vine-scroll initials in gold on red, green and blue grounds (fols. 1r-v, 17r, 32v, on fol. 1: 2 butterflies and a full lower border with 2 deer and a lion in gold, possibly an unidentified coat of arms). Some contemporary annotations and corrections, several different probatio pennae added on final leaves. Binding: modern cedar wood covers, executed by Jean de Gonet (b. 1950), innovative French binder who was honored in exhibitions (New York and Brussels, 1987), most recently, in Paris, Bibliothèque Nationale de France (2013, see Literature, below).PROVENANCE:1. The coat of arms of the first patron, a golden lion on an azure field is unidentified.2. In the 16th century owned by Antonio Lanza of Padua.3. Monogram MF.4. Later collection note "no. CLXXXVI" (fol. 1r, headed by: IC XRI).CONTENTS:Fols. 1-16v: Marci Tullii Ciceronis, De Senectute or Cato Maior de Senectute. Liber feliciter incipit: O Tite, si quid ego adiuero curamve levasso quae nunc te coquit et versat que in pectore fixa,et qua de primeris enquid erit premii? Licet enim Explicit: Haec habui de senectute quae dicerem, ad quam utinam veniatis, ut ea, quae ex me audistis, re experti probare possitis!The text is divided in three main parts: Preliminary or Prohemium, dedication to Titus Atticus, fols. 1r-v; Introductory conversation, fols. 1v-3r; Cato’s Defence of Old Age, fols. 3r-16v.Fols. 17r-32r: M. C., De Amicitia feliciter incipit: Quintus Mutius Augur Scaevola multa narrare de C. Laelio socero suo memoriter et iucunde solebat nec dubitare illum in omni sermone appellare sapientemExplicit: Haec habui de amicitia quae dicerem. Vos autem hortor, ut ita virtutem locetis, sine qua amicitia esse non potest ut ea excepta nihil amicitia praestabilius putetis.Fols. 32v-39v: Marcus Tullius Cicero, Paradoxa Stoicorum. Incipit: Animadverti, Brute, saepe Catonem, avunculum tuum, tuum, cum in senatu sententiam diceret, locos graves ex philosophia tractare abhorrentes ab hoc usu forensi et publico, sed dicendo consequi tamen, ut illa etiam populo probabilia viderenturExplicit: Nos vero si nec possumus Marcus Tullius Cicero (106-43 B.C.), the great Roman lawyer, orator, philosopher and politician, had an immense influence on the Latin language. In the 14th century, Petrarch (1345) and other Italian humanists rediscovered his works: letters, philosophical texts, and rhetorical books. Together with some poetry, this oeuvre gives us a clear picture of Cicero and his role in the politics and turmoil of his time. After the murder of Julius Cesar (44 B.C.), Cicero pleaded for the restoration of the Republic in his famous Philippics. Declared enemy of the state, he was killed in Rome upon order of Marc Antony (43 B.C.). On Old Age, the first text in the manuscript at hand, bears as full title Cato Maior de Senectute. Written in 45-44 B.C., it is dedicated to Cicero’s friend Titus Pomponius Atticus (109-32 B.C.). The earliest surviving manuscripts are Carolingian codices of the 9th and 10th centuries now in Paris, Bibliothèque Nationale and Leyden, University Library. The text is written in the form of a dialogue with vivid discussions and some drama. The arguments had comforted Cicero himself, and he hoped they would do the same to his friend Atticus. De Senectute became a popular eth. Bookseller Inventory # JHABES4791

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Historia Naturalis.: PLINIUS SECUNDUS, Gaius.

PLINIUS SECUNDUS, Gaius.

Used Hardcover First Edition

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Item Description: Hard cover. Edited by Philippus Beroaldus. Roman type, double column, 50 lines per page. Numerous initials & rubrics supplied in red & blue alternately, illuminated with 37 large initials in gold and colors, and a painted border heightened with gold & including a coat of arms on fol. 23. 358 leaves (without first and final blank). Folio (298 x 206 mm.), Italian 17th-century brown morocco (some worming to spine, some wear to joints & top of binding), covers richly gilt with three different borders with floral tools and rosettes at the corners, the second frame decorated with tools forming fans in the corners, in the centre an empty shield formed of two fillets enclosing a painted brown listel with gilt dots, all surrounded by small tools and helmet on top, a.e.g. Treviso: Michael Manzolus, "25 August 1479" [but not before 13 October]. Sixth Latin edition, the second edited by Filippo Beroaldo, of the greatest general scientific and encyclopedic work of antiquity, a storehouse of physical, geographical, and historical knowledge which profoundly affected the Western world’s thought for more than 1500 years. It deals with mathematics, physics, geography, astronomy, medicine, physiology, zoology, botany, geology, mineralogy, anthropology, philosophy, history, agriculture, the arts and letters, etc. The Historia naturalis was especially popular among the humanists. One of them was the philologist Filippo Beroaldo the Elder (1453-1505), the most important exponent of humanism in Bologna. He taught rhetoric and poetry at the University of Bologna, and he edited and commented the works of numerous classical authors, as for example, Apuleius, Suetonius, Aulus Gellius, Propertius, and others. The edition of Pliny’s Historia naturalis is one of his first major works, first published in Parma 1476 by Stephanus Corallus. The present edition, printed at Treviso by Michele Manzolo or Manzolinus (born in Parma 1420-ca. 1482), is a reprint from the Parma edition. However, it contains on the first two leaves an Apologia of Pliny and a poem by Filippo Beroaldo that are not to be found in earlier editions. The colophon is dated 25 Aug. 1479 but the poem (fol. a3v) is dated "Tarvisii tertio idus Octobres Mcccclxxix" (13 October 1479).ILLUMINATION: Our copy has been splendidly illuminated by a contemporary Italian artist in the distinct tradition of Italian humanist manuscripts of the 15th century, with letters surrounded by "white vine scroll," a form of interlacing plant scroll in which emphasis is on the branch, not on the leaves. The finely drawn and colored decoration comprises an initial with a full border on leaf c1, the beginning of Pliny’s text (Book II), and 36 large initials opening the other books. The elaborate border is composed of intricate white vine-scroll on red and green grounds on a blue surround with white triple dots. The lower border incorporating a coat of arms painted on a blue ground with a green frame; it shows a black eagle on gold ground above a red and white (silver) checkerboard pattern (see our Provenance note). The large initials in burnished gold are decorated in the same style, several with extensions into the margins. Interestingly, this decoration is found in several Bolognese manuscripts and incunabula in the period of 1468 until 1500 (see for several examples: Guernelli 2006). Could it be that the editor Beroaldo was somehow instrumental in the link between Treviso, where the book was printed and his hometown Bologna, where the decoration was added?PROVENANCE: The coat of arms inserted in the border on the beginning of Pliny’s text shows a black imperial eagle or surmounting chequy argent gule. These are the arms of the counts Ottoni, rulers of Matelica, near Macerata (The Marches). Members of this celebrated Italian family excelled, with the papal army, at the wars of the Papal State against the Italian states and foreign powers. In particular, the illumination of the present Historia naturalis might have been made for Al. Bookseller Inventory # JHABES4795

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Indian Trees, Palms and Bamboos [cover title: LEAR, Edward (1812-1888)

LEAR, Edward (1812-1888)

Published by [San Remo, Italy (1882)

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Item Description: [San Remo, Italy, 1882. Folio. (19 x 12 inches). 19 original watercolour drawings (1 of a Jay, 18 depicting various species of Indian, Sri Lankan and Egyptian trees within landscape settings in Shimla, Ratnapura, Kozhikode, Delhi and elsewhere, each after sketches by Lear accomplished between 1854-1874), each on drawing paper and mounted onto larger sheets of the album. (Some toning to the drawings from prior arch-topped passe-partout mounts). Early elaborate red morocco gilt album, covers with inset marbled paper panels, contemporary red morocco lettering-pieces on upper cover and spine Incredible album of original drawings of Indian landscape by Edward Lear. Lear composed these fine watercolours on a trip to India at the behest of Lear's friend Lord Northbrook, Viceroy of India, who supplied him £1,000 of commissions. In 1872, Lear's first attempt to reach the subcontinent was abandoned at Egypt due to ill health, but he tried again the following year. "Lear was in his sixty-second year when he arrived in India on 22 November 1873. He remained there until 11 January, 1875 and was travelling more or less continually . Lear's tour of India was the last of his great expeditions . He died at San Remo on 29 January 1888, after he had finished his projected oils and water colors of India ." (Edward Lear's Indian Journal, Edited by Ray Murphy, Introduction, pp. 34-36). "Lear's trip to India from 1873 to 1875, his last extended journey, made him one of the most notable British artists to visit the subcontinent during the Victorian era" (Dehejia, p. xii). In India, Lear produced thousands of rough sketches on small sheets (referred to by him as "scraps") and a smaller number of larger more finished drawings. Of the latter, some were accomplished in India, particularly, as his journal reveals, on rainy days when he was otherwise prevented from drawing outdoors, and others were reworked in the years following his return to San Remo, which are identifiable by their additional dates. The present album is principally comprised of the more finished, larger drawings dating shortly after his return to Italy. Unlike other artists in India in this period, Lear focussed his work nearly entirely on Indian landscape and not on its architectural monuments. The present album, collected at an early date evidently for its botanical and dendrological content, is representative of his work in the sub-continent, breathtaking majestic mountains vistas and the exotic vegetation of tropical scenery. "Lear described himself as a 'painter of poetical topography' and a friend called him a 'painter of topographical poetry.' . Behind each choice of subject, each drawn line, each wash of colour, we can feel the personal stamp of the amiable, eccentric, and intelligent observer of a wondrous exotic land. The painter and poet were one and the same man" (Dehejia, pp. 111-112). The watercolors present here are comprised as follows (titled as per Lear's captions in the image, the type of tree depicted from later pencil caption on the mount below the image, and with quotes from Lear's Indian Journal relating to the scenes depicted): 1) [Small bird on a branch with an insect flying nearby]. Signed and dated Sept. 1867. 10 3/8 x 6 1/2 inches. 2) "Simla. 1874." Signed and dated 1878. 15 1/2 x 9 3/4 inches. Rhododendron arboreum. 20 April 1874: "The rhododendra are now 100 times more beautiful than 10 days ago, one mass of ineffable colour. The hills, looking south, are particularly beautiful this evening, being all minus their sharp detail, owing to the haze: and the scarlet flowers come off the vast, dim gray distance like nothing one ever saw or imagined. And it must be owned that the natives of these parts are by far the most picturesque of any I have yet seen, especially the womenkind in their floating mantels, many-coloured trousers and vests and surprising nose rings." 3) "Negadeh [Egypt]. Feby. 24, 1854." Signed and dated Feb. 1 1882. 15 3/8 x 9 3/4 inches. Date palm. 4) "Ratnapura. 1874". Sign. Bookseller Inventory # 27060

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The workes of Geffrey Chaucer, newlie printed,: CHAUCER, Geoffrey.

CHAUCER, Geoffrey.

Published by London: by Thomas Godfray, 1532 (1532)

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From: Peter Harrington. ABA member (London, United Kingdom)

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Item Description: London: by Thomas Godfray, 1532, 1532. Folio (312 x 213 mm). Contemporary blind-tooled calf lifted from the original binding and relaid on heavy boards and rebacked to style (a pencilled note dates the restoration 1946), the sides panelled with a stylised wheatsheaf roll and a decorative roll incorporating heads, the fore edges showing the marks where clasps and catches were formerly attached. Early ownership inscriptions of John Rappe in French, one in The Romaunt of the Rose (foot of sig. 2E3v) dated 8 June 1583; early ownership inscriptions of Ro: Tirell (=Tyrell) at head of The Canterbury Tales part-title and again at head of The Knight's Tale, and of Thomas Lanham at foot of Troylus and Creseyde part-title; some early underlines and contemporary marginalia throughout; front free endpaper with pencilled note (in the hand of Lord Kenyon?) stating that the book was bought at the sale of Captain Walter Tyrell's books, Christie's 1891; modern bookplate of Robert S. Pirie. A few minor marks or stains, last leaf with paper restoration at upper outer corner and loss of part of the foliation number and just touching one letter of the colophon, a very good copy. 394 (of 397) leaves (lacking A1–3, supplied in good quality facsimile). Black letter, text in double columns. 20 woodcut illustrations from 15 blocks, section-titles within woodcut compartments (McKerrow & Ferguson 19) for "The Romaunt of the Rose," "Troylus and Creseyde," "Boetius de consolatione philosophie," "How Pite is Ded and Beried in a Gentyll Hert," and "The Testament of Love," all with continuous foliation and signatures, QQ3 cancelled as usual and replaced by four leaves incorporating Robert Henryson's Testament of Criseyde. First complete collected edition of Chaucer and the first attempt to collect into a single volume the complete writings of an English author. The Canterbury Tales alone had been first printed by Caxton, first without and then with woodcuts, before Pynson attempted something like a collected edition in three separate publications of c.1526, but Godfray's publication "was the first attempt at a critical edition and for over 200 years provided the standard text of The Canterbury Tales" (Hayward). Only The Canterbury Tales is illustrated: the cuts of the Knight and Squire are copies from Pynson's 1526 edition (Hodnett 2066, 2067), while the remaining 13 were cut for Caxton's 1483 edition (Hodnett 214–236). The editor was William Thynne, clerk of the kitchen and of the green cloth to Henry VIII, and recipient of numerous grants and appointments. Thynne provides the first printed editions of a number of Chaucer's major works in verse and prose, including The Book of the Duchess, The Legend of Good Women, Boece, and The Treatise on the Astrolabe. He also printed a large number of works not by Chaucer, including poems by John Lydgate, Thomas Hoccleve, Richard Roos, and Robert Henryson, giving the volume an additional if accidental value as a poetical miscellany. The introductory materials to the edition, which include the first life of Chaucer and a genealogy, are prefaced by an unsigned dedication to Henry VIII by Sir Brian Tuke, the king's secretary, arguing for the poet's pivotal role in the development of the English language. The publisher Thomas Godfray was associated with some of the more radical propagandists of the Tudor revolution and Thynne's edition began a gradual process in the 16th century by which Chaucer was established both as the father of English poetry and claimed for the nation as a proto-Reformer, so that John Foxe the martyrologist would eventually acclaim him as "a right Wycliffian". In its care and attention lavished on primarily secular literature, it also provided the model for the folio editions of the Jacobean dramatists. This is much the most complete copy to have appeared in commerce in the past 40 years. The only other substantially complete copy in that period was the William Morris–Richard Bennett–Michael Tompkinson–Albert May Todd copy, lacking six leav. Bookseller Inventory # 108308

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Mr. William Shakespear's Comedies, Histories, and Tragedies: SHAKESPEARE, William

Item Description: London Printed for H. Herringman, E. Brewster, and R. Bentley, 1685. "Incomparably The Most Important Work In The English Language" The Fourth Folio Edition of 'Shakespeare’s Plays' A Beautiful Tall Copy 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. $225,000. Bookseller Inventory # 67106

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Concrete poetry in France (Studies in fine: David W Seaman

David W Seaman

Published by UMI Research Press (1981)

ISBN 10: 0835712532 ISBN 13: 9780835712538

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Item Description: UMI Research Press, 1981. Hardcover. Book Condition: Good. Great reading/study copy. May have highlights and/or notes. Ships Fast! Satisfaction Guaranteed!. Bookseller Inventory # mon0000105779

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Leaves of Grass: Whitman, Walter

Whitman, Walter

Published by Brooklyn, New York (1855)

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Item Description: Brooklyn, New York, 1855. Hardcover. Book Condition: Near fine. 1st ed.. 27.8 x 19.5 cm. An extremely rare first edition copy of Whitman`s famous poem, in the first state of the text and binding (green cloth, triple gilt fillet border on each cover, marbled endpapers, blind-tooled floral designs on each cover, a.e.g.). Whitman`s portrait (with tissue guard) is on card stock. Line 2 of p.49 reads `And the night is for you and me and all` and on the title page verso is the 1855 copyright statement. Only 337 copies were published in the first state of the binding. Spine cracked and text with occasional foxing, two large brown marks on the fly, and a small ink stain on p.vi-vii. Ex-bookseller`s sticker on back pastedown. Front free endpaper to p.iv loose from binding. Otherwise in nice condition. Includes 2 letters from the bookseller Bernard M. Rosenthal to Sensui Shoji, who purchased the book from him in 1980, and two sketches by an unknown artist on loose paper (one portrait signed in pencil `E.M. Bates`). In quarter morocco case and with other Japanese ephemera relating to the book. Extremelyl scarce. Used book. Bookseller Inventory # 279

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Lycidas." In: Justa Edouardo King naufrago, ab: MILTON, John.

MILTON, John.

Published by Cambridge: by Thomas Buck and Roger Daniel, 1638 (1638)

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Item Description: Cambridge: by Thomas Buck and Roger Daniel, 1638, 1638. Two parts in one volume, octavo (179 x 132 mm). Bound in 1840s dark blue morocco antique gilt, all edges gilt, by Clarke & Bedford. Housed in a maroon morocco folding-case, by Sangorski & Sutcliffe. A fine copy. The first part in Greek and Latin, the second in English (including "Lycidas"), the second title within a mourning border. First edition, including the first printing of Milton's "Lycidas", his second published work (after his commendatory poem on Shakespeare published in the 1632 second folio). The poem mourns the death of Edward King, a fellow of Christ's College who had drowned off the coast of Anglesey on 10 August 1637. King had been a younger contemporary of Milton at Christ's College. "In the act of composition Milton transcended his ostensible subject and produced a meditation on human mortality that retains the power to move readers centuries after the death of King and those who mourned him" (ODNB). Milton reprinted this poem in his Poems of 1645. There are a few textual differences between the 1638 and 1645 versions of the poem, of which the most notable is the "humming tide" of 1638 replaced by the "whelming tide" of 1645 and all subsequent versions. Notably rare: in his Milton, a Biography (Oxford, 1968), W. R. Parker traced 33 copies of the Justa, all but two of them in institutional libraries; this copy is thus one of the very few remaining in private hands. Provenance: 1) Lancelot Holland (his bookplate, and probably bound for him; his sale, Sotheby's London, 27 July 1860, lot 1318); 2) Sir William Tite, bought by him in 1860, with his inscription on the front free endpaper verso; sale Sotheby's, 18 May 1874 etc., lot 37; Herschel V. Jones (morocco ticket gilt; Anderson Galleries, 29 January 1919, lot 1168); 3) Frank Brewer Bemis (bookplate; sold, c.1940, presumably through Rosenbach, to; 4) Arthur A. Houghton, Jr. (bookplate; Christie's London, 11–12 June 1980, lot 307, to; 5) John Fleming; sold by him to; 6) The Garden Ltd. (morocco label; Sotheby's New York, 9 November 1989, lot 108, through Bernard Quaritch, to; 7) Robert S. Pirie (bookplate). Grolier/Wither to Prior, 555; Hayward 70; Parker 814; Pforzheimer 712; STC 14964. Bookseller Inventory # 108332

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Item Description: "HPL's letters to Long are among the richest and most wide-ranging of all his correspondence . the letters after April 1931 have been lost ." - Joshi, AN H. P. LOVECRAFT ENCYCLOPEDIA, p. 151. "This archive of fifty-five letters from Lovecraft to Frank Belknap Long, almost a dozen years his junior and his "closest friend" (Peter Cannon, Lovecraft Remembered, p. 176), covers a decade (1921-1931) which saw the most important changes in Lovecraft's life: the death of his mother; his first major travels outside Providence; his breakthrough into the professional magazines; the filling out of his pantheon of admired horror fiction writers and the composition of his historic essay on the subject; his marriage to and divorce from Sonia Greene; his move to New York and back to Providence; and, in the midst of all this ferment and confrontation with hard external realities, a fundamental shift in his writing aesthetic which triggered the most mature phase of his writing, deepening all of the forms he worked in: essay, story, poem and epistle. To see the development of his persona from the first of these letters to the last is to see the development of a boy into a man. "In one letter (#7), we discover a possible linchpin between his amateur press activities (which shrank during this decade) and his voluminous correspondence (which grew). In reference to some policy dispute on the United Amateur, he tells Long that if 'our side is defeated we can retire to a free-lance sort of activity -- simply forming an informal circle of such persons as you, Galpin, Loveman, and I, who can write and correspond among ourselves without much regard to associational organization.' In other words, maybe we should look at his correspondence as the continuation of amateur journalism by other means. With its repetition of news and opinions in letters to different friends, and its de facto essays (minor and major), its artwork and poems, and its distribution of his fiction and poetry manuscripts along defined postal circuits, this represented collectively the publication of a handwritten one-man amateur periodical to a by-invitation subscriber base. He customizes each letter with personal touches, inquiries about the recipient's health, travels, etc. but the meat of most of his longer letters is interchangeable from one recipient to another. Here is the essence, perhaps, of 'the Lovecraft circle' and all its permutations over time. "In his next letter, HPL explains at length his 'cosmic' perspective and disdain for everything emotional pertaining to 'the filthy louse called man.' One could say that the first attitude came from looking at the night sky through the correct end of the telescope; and the second came from looking at people on Earth through the wrong end, making them appear tiny and distant. Here is one of his many statements of the main paradox of his life here: the combination of 'wonder, fascination and terror at the unknown' which the first half impels in him; and the 'pure, ice-cold reason' which can relieve the disgusted contemplation of the 'terrestrial and human'. The cosmic and the demonic: this double-sided obsession with the sublime and the sordid is the central paradox of this highly paradoxical man, the Ka'bah hidden away inside the forbidden Mecca of his psyche, a black box that he spent his life and devoted his work to circumambulating, the treasure chest that contained heaven and earth and all of his opposing attitudes towards them: mystical & cynical; logical & sentimental; backward looking culturally & forward looking scientifically; rigorous and lazy; dogmatic & timid; loving New York & hating New York; anti-Semitic & married to a Jew; misanthropic in theory & philanthropic in practice. "In this letter and others we see his establishment of Poe as the pole star in his literary firmament. The two writers exhibited many similar traits, including an aversion to dialogue and an apathy about characterization. Both showed a passion for. Bookseller Inventory # 108246

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The Praise of Folie. Moriae Encomium A: ERASMUS, Desiderius.

ERASMUS, Desiderius.

Published by [London: in the house of Thomas Berthelet, 1569 [recte 1549] (1569)

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Item Description: [London: in the house of Thomas Berthelet, 1569 [recte 1549], 1569. Small quarto (181 x 130 mm). Nineteenth-century brown crushed morocco by Jenkins & Cecil (their stamp to foot of front free endpaper verso), boards ruled in gilt with crowned thistle and floral tools at corners, banded spine with title gilt and rules and tools in six compartments, turn-ins with elaborate tooling in gilt, marbled endpapers, gilt edges. Outer leaves slightly browned, small paper repairs to inner margin of last leaf, text not affected, an excellent copy. Title printed within elaborate allegorical woodcut frame, two elaborate 10-line woodcut initials, publisher's device on last leaf verso; black letter text with quotations in italic and proper nouns in Roman types. First edition in English of one of the most notable works of the Renaissance. "The Praise of Folly was written when Erasmus was staying in the house of Thomas More in the winter of 1509–10. Its title is a delicate and complimentary play on the name of his host: its subject matter is a brilliant, biting satire on the folly to be found in all walks of life. The book stemmed from the decision which Erasmus had taken when he left Rome to come to England, that no form of preferment could be obtained at the sacrifice of his freedom to read, think and write what he liked The work was first secretly printed in Paris, and, as in other cases, its immediate success safeguarded him from the consequences of his audacity Whenever tyranny or absolute power threatened, The Praise of Folly was re-read and reprinted. It is a sign of what was in the air that Milton found it in every hand at Cambridge in 1628. His inherent skepticism has led people to call Erasmus the father of 18th century rationalism, but his rationalist attitude is that of perfect common sense, to which tyranny and fanaticism were alike abhorrent" (PMM). First published in Paris in 1511, the Moriae Encomium was reprinted in a large number of editions in its original form before any vernacular translation was published. Pforzheimer suggests that, in light of the intended Latinate audience, the free movement of Latin books and unbound sheets, and the contemporary preference (at least in England) for continental printing, a translation was simply not required. Sir Thomas Chaloner (1520–1565), the English translator, was Cambridge-educated and a notable figure, knighted in 1547, whose fame to the Elizabethans rested "on his Latin poetry, his military and diplomatic service of four Tudor monarchs, and his near escape from drowning after shipwreck off the coast of Algeria" (Miller: see pp. xxix–xlv for The Life of Sir Thomas Chaloner). Chaloner contributed to the Mirror of Magistrates and was the author of other works, although only three were printed during his lifetime, all by Thomas Berthelet, the king's printer who had published three translations of works by Erasmus in the 1520s. Chaloner, whose poetry was praised at the University of Alcala in Spain and knew Vesalius, is also the earliest translator of Ovid and Ariosto into English. The first edition of Chaloner's translation is genuinely rare: Miller is his 1965 census lists 14 copies in institutions worldwide (two are defective) but makes clear the difficulty of distinguishing the first and second editions (the misdated colophon with 1569 is common to both editions, while the titles can be distinguished only by the y in Latyne, the initials T.P. instead of T.B. &c.) and adds the additional difficulty of the misprint in the original STC entry that has created variants that are really ghosts. It seems probable that there are further institutional holdings of this edition, but apparent absences at the Folger Library, the Getty, and the New York Public Library and the dearth of copies at auction since the 1950s indicate the work's rarity. Extensive analysis by Miller suggests that Chaloner used a Cologne edition of the Moriae Encomium from 1526 as the source for his translation, while also consulting Antonio Pellegrini's 1539 edition in Italian. Above. Bookseller Inventory # 108395

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JANE EYRE An Autobiography: BRONTE, Charlotte] BELL,

BRONTE, Charlotte] BELL, Currer

Published by Smith Elder & Co (1847)

Used Hardcover First Edition

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From: Jonkers Rare Books (Henley on Thames, OXON, United Kingdom)

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Item Description: Smith Elder & Co, 1847. First edition. Three volumes. Original publisher's brown cloth, with gilt titles to spine and blind decoration to covers. Terminal adverts to volume I. An excellent set with small repair to the head of the spine of vol I, just minor wear to the head of the spines of vols. II and III. Internally tight with hinges intact. Minor browning to the page edges with a marginal chip to B8 and a tear to T2 near the gutter (both in vol I, neither affecting any text). A well preserved set of this important nineteenth century work, very seldom encountered in original cloth. Charlotte Bronte's first novel and keystone of nineteenth century literature. Having collaborated with her sisters in an unsuccessful self published volume of poetry, Charlotte embarked on writing a novel, The Professor. This was declined by all the publishers it was sent to and, stung by the fact that both her sisters had found publishers for their novels, she set about writing a new novel on an entirely different emotional scale. The work was swiftly completed and immediately found a willing publisher in Smith, Elder. The book was published in an edition of just 500 copies, whilst both her sisters' works languished in production. The novel was greeted with almost instant acclaim. Critics seized upon its imaginative power and the reality and freshness of its style. William Thackeray, to whom Charlotte dedicated the second edition, "lost a whole day in reading it." To this day it remains one of the most popular and widely read English novels. Bookseller Inventory # 32208

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Ulysses.: JOYCE, James.

JOYCE, James.

Published by Paris: Shakespeare and Company, 1922 (1922)

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Item Description: Paris: Shakespeare and Company, 1922, 1922. Quarto (259 × 202 mm). Contemporary purple sheep, dated 1922 in gilt at the foot of the front turn-in, marbled endpapers, top edge gilt, others uncut; original printed wrappers bound in. Sheep with small areas of wear, purple dye a little sunned and faded on front board, inscribed half-title slightly toned, an excellent copy. First edition, first printing, large paper issue, one of 150 copies on verge d'Arches, this copy number 136, one of three copies of this issue recorded in Sylvia Beach's notebook as sent to James Whitall on 28 March 1922; this copy additionally signed and dated by Joyce on the half-title, "James Joyce, Paris, 27.vi.[1]929". Brought up as a Quaker in Philadelphia, James Whitall (1888–1954) came to England just before the war, cushioned by an independent income. Through John Cournos, whom he had known in the United States, he met the Aldingtons in August 1914. His literary tastes were fairly conservative, but he became particularly friendly with HD, whose lover Bryher was a key financial supporter of Sylvia Beach's bookshop. Whitall never completed any original poetry or prose, but came to make his career as a translator of French and later, for a period, as a reader at Heinemann's. He gives an affectionate account of his friendship with the Aldingtons in English Years (London: Jonathan Cape, 1936). No correspondence between him and Joyce survives, and the book was probably signed for him by Joyce through Sylvia Beach's agency. Though without bookplate, this copy was latterly in the library of John and Janet Jameson, who likely acquired this copy in the 1950s, after Whitall's death. Ulysses was published in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 copies were printed on Dutch handmade paper and signed by Joyce; 150 copies were printed on heavier vergé d'Arches to create this large paper format; and the remaining 750 copies formed a small format trade issue, printed on less expensive vergé à barbes stock. With its generous margins, the large paper format is the most aesthetically pleasing of the three formats. Slocum & Cahoon A17; Horowitz, Census, page 120. Bookseller Inventory # 108979

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La voie d’enfer et de paradis [The

Item Description: Hardcover. Book Condition: Fine. DECORATED MEDIEVAL MANUSCRIPT IN FRENCH ON PAPER, France, Bourges, c. 1460. 212 x 150 mm. 139 folios, watermark in Briquet, missing some leaves at the beginning and end (collation, i8 [of 12?, the first four leaves now lacking] ii-x12 xi10 [of 12, missing the final two leaves]), written in a bâtarde script with elements of cursive on up to 24 long lines (justification, 144 x 98 mm.), ruled in leadpoint, painted initials in red or blue. BINDING: Sixteenth-century binding of reused parchment over pasteboards composed of binder’s waste (here, documents emanating from the "Officialité de Bourges") glued together, verso of parchment covered in writing, pastedowns (partially uncovered) from a thirteenth-century manuscript, smooth spine with inscription, "Roman de l’Esperance," placed in a fitted articulated box of black shagreen, with smooth spine and gilt title, "Songe de la voie d’Enfer et de Paradis / Manuscrit du quinzième siècle." TEXT: This manuscript contains one of only three copies of this versified work, composed by an anonymous author at the end of the fourteenth century and still unpublished. It appears to be an adaptation of the fourteenth-century allegorical work Voie d’infer et de paradis by Pierre de l’Hopital and belongs to a rich fourteenth-century tradition of allegorical and visionary literature. Set within the framework of a dialogue and dream vision, the poem recounts a cleric’s visit to the Seven Deadly Sins and his rescue from Hell by Hope, who brings him to Heaven to encounter the virtues and God. PROVENANCE: Most likely copied in Bourges, as suggested by the watermarks. Belonged to Jacques Thiboust (1492-1555), seigneur of Quantilly (near Bourges), who was notary and secretary to Francis I, as well as a celebrated poet, book collector, and patron of the arts; his ownership inscription on the front cover in his own hand and his armorial ex-libris on f. 1. Belonged to Nicolas Xavier Fouvet; his inscription, dated 1718, at the top of f. 1. Unidentified monogram "AK" pasted on the inside of the articulated box. Sold in Paris, Hôtel de Drouot, 21 November 1969. CONDITION: Articulated box presents a few scratches, first leaves a bit frayed but no text lacking, some stains to paper, but otherwise the manuscript is in fine condition. Full description and photographs available (TM 775). Bookseller Inventory # 775

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WORKS OF GEOFFREY CHAUCER. From the Ellesmere: Kelmscott Press] Chaucer

Kelmscott Press] Chaucer Geoffrey

Published by Hammersmith Kelmscott Press 1896 (1896)

Used Hardcover First Edition

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Item Description: Hammersmith Kelmscott Press 1896, 1896. One of 425 copies of a total edition of 438. With FINE PROVENANCE, having been owned by George Abrams, "Master of Typefaces", an artist and type designer whose distinctive logotypes spelled out household names like B. Altman and Godiva Chocolates. With 87 wood-engravings designed by Sir Edward Burne-Jones, cut by W.H. Hooper after drawings by Robert Catterson-Smith, superb wood-engraved title page, fourteen very fine large borders, eighteen different woodcut frames around the illustrations, twenty-six nineteen line woodcut initial letters, and numerous initials, decorative woodcut printer’s device all designed by William Morris and cut by C.E. Keates, Hooper and W. Spelmeyer, with shoulder and side titles. Printed in red and black in Chaucer type, double column, headings to the longer poems in Troy type. Folio (424 x 289 mm), original Holand linen-backed blue paper boards, paper label on the spine, housed in a cloth case. iv, 556pp. A very handsome copy, the text is especially clean, crisp, fresh and bright, the binding with some professional and expert refurbishment. A VERY SPECIAL COPY, WITH PROVENANCE, OF THE FIRST EDITION AND A HANDSOME COPY OF WHAT IS CONSIDERED TO BE THE MOST BEAUTIFUL PRINTED BOOK IN THE ENGLISH LANGUAGE. The Kelmscott Chaucer is "the most famous book of the modern private press movement, and the culmination of William Morris's endeavor" (The Artist and the Book). "[F]rom first appearance, the Chaucer gained a name as the finest book since Gutenberg. It has held its place near the head of the polls ever since. The terms which critics used in the eighteen-nineties to welcome it simply show us what an impression Morris's printing made upon late Victorian bookmen" (Colin Franklin, The Private Presses, p. 43). Evidence of the esteem in which the book has been held lies in the fact that after the Second World War, during the rebuilding of Japan and its libraries, a copy of the Kelmscott Chaucer was the first book presented to the Japanese people by the British Government on behalf of the English nation. The Kelmscott Press produced forty-eight books in its brief life. Morris had toyed with the idea of a Shakespeare in three folio volumes; a suggestion for a King James version of the Bible was in his pending file; and preliminary work had begun on editions of Froissart and Malory, both of which would have formed a triumvirate with the Chaucer. But on October 3, 1896, Morris died, and for all intents and purposes the Kelmscott Press died with him, the Froissart and Malory unfinished. The Chaucer, regretfully, remained the only "titan" among Kelmscott books. Morris dedicated his life to poetry and the decorative arts, but he did not exhibit an active interest in the design and production of books until he was fifty-five years old. He died eight years later, but in that brief fragment of time he established a standard and prestige that still make him one of the most powerful and pervasive influences in book design in the English-speaking, English-reading world. This is George Abrams' copy, with his bookplate on the front pastedown. Mr. Abrams and his company, Alphabets Inc., worked with many of the largest advertising and printing agencies. Among his type designs are three known as Abrams Venetian, Abrams Augereau and Abrams Caslon. He created the cover logos for a number of popular magazines, notably the original one for Sports Illustrated in 1954. Others he designed included those for Newsweek (1968), The Saturday Evening Post (1965) and House Beautiful (1949). He was a bibliophile with a large collection of rare books and manuscripts, ranging from incunabula to the Russian avant-garde. He was active in the Grolier Club and the New York Typophiles, and was a fellow of the Pierpont Morgan Library and an honorary fellow of the London Society of Typographic Design. His brother was Harry N. Abrams, founder of the art books publisher by that name. There is earlier provenance of Robert Heysham Sayre, who was vice pr. Bookseller Inventory # 27259

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Poetry, Lyrics, and Reflections: Cosmos

Cosmos

Published by Dorrance Publishing Co. Inc.

ISBN 10: 0805968199 ISBN 13: 9780805968194

New Softcover

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Item Description: Dorrance Publishing Co. Inc. Book Condition: New. Trade paperback. NEW. Stored in sealed plastic protection. No pricing stickers. No remainder mark. No previous owner's markings. In the event of a problem we guarantee full refund. 2006. Trade paperback. Bookseller Inventory # 202032

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The Cocktail Party. A Comedy.: ELIOT, T. S.

ELIOT, T. S.

Published by London: Faber and Faber Ltd, 1950 (1950)

Used First Edition

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Item Description: London: Faber and Faber Ltd, 1950, 1950. Octavo. Original green cloth, titles to spine gilt. With the dust jacket. Housed in red quarter morocco solander box by the Chelsea Bindery. An excellent copy in the frayed and slightly chipped dust jacket. First edition, first impression. A major association copy with the author's presentation inscription to the front free endpaper, "Ez from O. Possum 6. iii. 50." This remarkable survival from the chaotic years of Pound's incarceration at St Elizabeth's hospital in Washington DC was part of a small group of books which passed through the hands of Eileen Lane Kinney, a member of the inner circle of modernist artists and writers based in Paris in the 1920s and 1930s. She had been Brancusi's lover before returning to America just as the Second World War loomed. She settled in Washington DC and worked on a number of translations of political studies from French into English. When in 1946 her old acquaintance Ezra Pound was moved to St Elizabeth's, she spared little time in contacting him and arranging visits. The correspondence seems to indicate that contact more or less ceased in 1950, but from the sequence of inscriptions by Pound in her copy of Pisan Cantos it is clear that he made one final and telling gesture of gratitude and friendship at the very point of his departure for Italy in June 1958. It was at this latter date we believe this book to have been given to Lane Kinney. Bookseller Inventory # 82319

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Ihesus. The floure of the commaundements of: TEN COMMANDMENTS

TEN COMMANDMENTS

Published by Wynkyn de Worde, London (1521)

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Item Description: Wynkyn de Worde, London, 1521. Hardcover. Book Condition: Very good. A WONDERFUL COPY Folio. Ff (xxiv) 264 (misnumbered 260). Black letter, double column; woodcut initials in various styles (grotesque, naturalistic, etc.) decorative typographical tailpieces. Title within border of woodcuts, depicting Moses (Hodnett 491) and Aaron with followers (Hodnett 492) at the sides, the Pope enthroned with a bishop, friar, king, and laity supplicant before him, beneath (Hodnett 535), a church to the side. On the verso, a most expressive full-page cut of the Crucifixion (Hodnett 465), a fine large cut of the Trinity (Hodnett 451), another smaller with different imagery on folio xiv (Hodnett 362); Christ teaching the 12 Apostles the Lord's Prayer, church and decorative border at side on fol. xxxvi (Hodnett 477). Lovely half-page cut on fol. cxxvii of the Saints in glory before God and the Virgin in architectural setting (Hodnett 538), tracery panels at sides; Caxton's device with de Worde's name inserted on verso of last leaf (McKerrow 46a), on verso covered wagon in landscape 'Chertsey' on the tilt, a curious coat of arms (Chertsey's) above, surrounded by naturalistic panel borders, upper and lower bearing Caxton's monogram (McKerrow 49 & 50). Lower fore edge of t-p a bit frayed, four small clasp holes at outer and corresponding rust marks to that of next, a few small round wormholes to three or four ll., minor age yellowing in places. A very good, clean, well-margined copy in stunning contemp. London calf over oak bds., covers with blank outer border ruled to corners, surrounding double frame roll divided into compartments, containing a column between two half-moon faces, two columns with S-shaped leaves on either side, others conventional foliage & c. (Oldham Shrewsbury 5) enclosing central panel, reversed brass clasps (straps renewed), six raised bands, ruled spine. Alfred Ehrman's, and other bookplates to front pastedown and fly, his monogram and case number on rear paste down, Broxbourne Lib. label beneath. A magnificent copy preserved in _ morocco folding case. One of the final flowerings of the faith and culture of medieval Europe in Tudor England, translated from a French original by Andrew Chertsey (fl. 1502-27). Little is known of Chertsey's life over than he supplied Wynkyn de Worde with a number of English translations of French devotional treatises and works of practical spiritual guidance. Chertsey added his own charming verse prologue to the present work - itself in prose (more largely) and verse - in which he declares his aim to have been one of common spiritual benefit rather than financial gain. The text is split into two parts, the first 126 numbered ll. comprise a very detailed practical commentary on the Ten Commandments, the Seven Deadly Sins, and the Cardinal Virtues; this is addressed to the ordinary reader, and provides a great deal of information on the state of both religious and lay society (as well as beliefs) of the time. The remainder of the work, apart from the very comprehensive opening table, constitutes the "Exemplayre" in which Chertsey gives hundred of examples of divine judgment, wrath, and mercy taken from the Legends of the Saints, the Lives of the Fathers, the Hony of Bees, the Promptuary, and contemporary events of everyday life. They vividly evoke the medieval world in which demons stalked the earth to battle with angels for human souls. However, there is no affectation of piety about Chertsey's English which is expressive, robust, and often colourful. It is much more modern than Chaucer's but certainly not yet Shakespeare's, rather occupying a lovely and much less well-known middle ground between the two. The text is well served too by the handsome and lively gothic illustrations and the binding is one of the most handsome, best quality and best preserved earlier Tudor bindings we have seen. STC 23877. Ames II 186. Lowndes I 505. Wharton, History of English Poetry III 363-4. Hodnett p. 27. Not in Pforzheimer. English. Bookseller Inventory # L1113

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Three Stories & Ten Poems.: HEMINGWAY, Ernest.

HEMINGWAY, Ernest.

Published by Paris: Contact Publishing Co., 1923 (1923)

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Item Description: Paris: Contact Publishing Co., 1923, 1923. Octavo. Original blue-grey wrappers printed in black. Housed in a black quarter morocco solander box by the Chelsea Bindery. Contents very lightly toned, backstrip rubbed and with some signs of tape removed from the backstrip but a very good copy. First edition, sole printing, apparently one of 300 copies; the author's first book. Signed presentation copy, inscribed on the second blank leaf, "To Don Marquis from Ernest Hemingway". The recipient was Donald Robert Perry Marquis (1878–1937), the author and newspaper columnist best known for the creation of Archy the cockroach, the reincarnation of a free verse poet. Marquis travelled to England and on to Paris in October 1923. The book had been published sometime that summer. Bookseller Inventory # 62758

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Dante Alighieri

Published by Venezia Matteo di Codecha du Parma 29 November, 1493 (1493)

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Item Description: Venezia Matteo di Codecha du Parma 29 November, 1493, 1493. RARE ILLUSTRATED EDITION OF THE COMMEDIA PRINTED IN VENICE, ONLY THE THIRD EDITION OF THE DANTE WITH THESE ILLUSTRATIONS AND ICONOGRAPHY which were previously printed in two editions of 1491. This is the most uncommon of the primary printings, 1491, 1493 and 1497. Illustrated with 4 splendid full-page pictorial engravings (one repeated) and with 97 engraved pictorial vignettes throughout the body of the text. Folio (305 by 210 mm), in fine 17th century full calf, richly blind tooled on the boards in geometric pattern. ff. 309. (10), I-CCXCIX, (1), quire X with seven leaves as is normal (the text is complete), pp. A very handsome and pleasing copy, tall and wonderfully preserved, a few leaves with wormholes neatly restored. THE VERY RARE 1493 VENETIAN ILLUSTRATED EDITION AND THE SCARCEST TO USE THESE PLATES AND ENGRAVINGS. The highly important commentary throughout of Christoforo Landino who was a member of the literary circle which surrounded Lorenzo de' Medici is of great importance. This commentary continues to be reprinted and affixed to editions of THE DIVINE COMEDY even up to the present day. "Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it is a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes." PMM These very early printings of the COMMEDIA are rare and precious. Such rare Venetian printings as this of 1493 were printed in a very small numbers and are seldom encountered. Bookseller Inventory # 25181

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BEN SHE.YI MING

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From: liu xing (JiangSu, JS, China)

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Item Description: paperback. Book Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.1963 edition of the He Xiangning Poetry and set IndiaFour Satisfaction guaranteed,or money back. Bookseller Inventory # RQ009607

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Item Description: paperback. Book Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Hong light ink wonderful (DONG QICHANG poetry and painting posts) letter installed Taisho 2008 (1919)Four Satisfaction guaranteed,or money back. Bookseller Inventory # RQ020456

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ZHANG YU SHU

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Item Description: paperback. Book Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date: 1711 Publisher: Yangzhou Poetry Office Folio: the 32 Qing Emperor Kangxi of Yangzhou poetry Bureau Block printed Pei Wen Yun] the Taishi even paper; genuine original letter; 17 letter 83; Folio: 22.8 * 14 cm; Xi missing volumes 1-11; Pei Wen Yun government. Zhang Yushu Feng Chi compiled forty-three years of Emperor Kangxi. Emperor Kangxi five decades to pay Li Xu Kanke Yangzhou Poetry Office the book $ Yinshi Fu Yun House Group jade and Ming Ling Chih-Long Five things rhyme Swiss book-based and Boka of books and additions made. One hundred and six rhyme own rhyme government since the cover. this book is the most Haobo 10.252 received word through the water rhyme their pronunciation classified Ming and Qing. This book is vast. vast. rich in content. informative. Save excellent. record: within the government of the Qing Dynasty carved book catalog problem solving 390. Clear within the government carved book illustrated catalog 43. Head of Chinese Rare Books subparts 1079. Not online please telephone 13615187900Four Satisfaction guaranteed,or money back. Bookseller Inventory # EF058784

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BEN SHE.YI MING

New Hardcover

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Item Description: Hardcover. Book Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.HardCover. Pub Date: 2008 Publisher: Books of the Gansu Culture: Hui collection Britannica Ethnic Minorities in China's first large literature integrated Hui Collection Britannica. Ningxia Academy of Social Sciences. the completion of the large-scale project of ancient books by the Gansu Cultural Press Ningxia People's Publishing House published jointly issued printed 134. published a full set of 235 books will be completed in July this year. Publication of the project. to fill systematically study the the Hui Chinese language of ancient books blank in the history of our country. to carry out at home and abroad Hui cultural studies provide a set of the most original. authoritative. complete a comprehensive large literature. Ancient Books and China The recycling of the major achievements of the rare books engineering. A long time. the original ancient writings by the Hui. mostly stored in bulk in the folk. In 2004. the project by the Government of Ningxia Hui Autonomous Region. Ningxia Academy of Social Sciences. libraries. used bookstores. mosques. Muslim settlements across the country wide search CASINO. and the use of digital technology to handle a database-Hui Collection Britannica . has collected a total of Five Dynasties and the Republic of China Hui 532 kinds of more than 3.000 volumes of books. religion class 210 species. 110 kinds of political history. arts. 144 species. 68 kinds of tech. Received is a rare and ancient of this. such as Methodist true Chamber Dun Yuet Tong Markov genealogy ancient books more than 40% are domestic academia print only existing copies off as lost. Since book received wide of the ancient sources. many categories are the most since the founding of New China. therefore the Hui academic. religious and cultural circles hailed. Hui Sikuquanshu. The publication of the book. will research the history of the Chinese Muslim. provides a wealth of information on the history of Islam in China. and to provide useful lessons to play an active role in building a socialist harmonious society and China's religious circles. 1 religion class: collect the Koran decipher. Tianfang Three Character Classic. Dawn. by the Department of pass spectrum . 210 kinds the curiosities and literature of the West to genealogy. the Series literature both rare Iraq aromatic Islam philosophy. doctrines. teachings class writings biography category. The legends classics and an excellent note this. Iraq aromatic Islam the history. philosophy. principles. doctrines. the rite of the system interpretation. 2 political history: include Ma Duanmin public memorials. Wyatt Hall London Markov genealogy. the Markov genealogy. curiosities and ancient Tibetan slips robbed more than 110 kinds. is the study of the successive political system. Borderland History . Hui uprising. Genealogy and Neo-Confucianist precious historical. Arts class: the pooled Sa Tianxi poetry. pottery Love Order. Chuk Yuen Cong words. Sang Yu Yin grass curiosities and classics. 144 kinds involved poetry. Collected Works. Painting and Calligraphy aspects. is an important historical study of Muslim literature and art. Tech: included Tianfang calendar source. Eat a meal was about the Xingyiquan spectrum. important books of 68 kinds of Chinese martial arts sticks Branch the Yi Fang Islamic teaching astronomy and the calendar Yi Fang Islamic to teach medical as well as ancient Chinese water farming. military theory precious historical materials. and foreign traffic. The Hui Collection Britannica is by far the most complete. the most authoritarian large Hui literature. is of great academic value and practical significance. The Beijing Plucking Court bookstoreFour Satisfaction guaranteed,or money back. Bookseller Inventory # RN003601

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Picasso. Max Jacob.

Published by 1910, Montrouge [Paris] (1910)

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Item Description: 1910, Montrouge [Paris], 1910. Original Litho. Picasso. Max Jacob. MAX JACOB. Double Signed Litho. Montrouge [Paris] (Seine). 1910. 14" 7/8 X 10" 3/4 on plain paper stock printed in black. Number 17 of only 30 copies. A rare early illustration of Picasso's close friend, Max Jacob, done in celebration of Jacob's conversion to Christianity. Jacob, who had Jewish origins, claimed to have had a vision of Christ in 1909, causing his conversion. The illustration of Jacob [the first of Picasso's drawings of Max Jacob] seated comfortably in a fine armchair, dressed in his three piece suit, his dome appropriately receptive. The printed text: [Top] A mon ami Max Jacob / Picasso .10 / 22 R. Victor Hugo / Montrouge (Seine) - [Middle] L'archange foudroyé n'eut que le temps / de desserrer sa cravate . On aurait sit qu'il / priait encore./ C. Max Jacob. Signed in pencil with his new Christian name: "C. Max Jacob" & by "Picasso" at the bottom. A very good or better example of this rare piece - Max Jacob is regarded as an important link between the symbolists & the surrealists, as can be seen in his prose poems Le cornet à dés (The Dice Box, 1917. Throughout the year of 1901, Picasso traveled to Barcelona & Paris for art exhibitions. During an exhibition in Paris, Picasso met Max Jacob. Max Jacob was a poet, painter, & art critic with connections in the Parisian cultural scene. The two artists developed a friendship after Jacob left an admiring note for Picasso at the art gallery displaying Picasso's work (Richardson Vol. I, 203). Jacob introduced Picasso to the French language and to French theatre; Jacob was also an actor. Jacob took Picasso to see operas which possibly included I Pagliacci & La Bohème (Richardson Vol. I, 338). "At night there were frequent visits to the cabarets of Montmartre such as the Chat Noir, and, when tickets could be found, to the Moulin Rouge" (Penrose Picasso 76). Picasso & his friends also enjoyed the artistic atmosphere of Le Lapin Agile. Artists & writers would congregate at the small café to listen to recitals, exchange ideas & celebrate special occasions such as the opening of an exhibition (Penrose Picasso 117). The walls of the café were lined with work by artists that were used as payment for debts. Theatrical entertainment was a prominent part of Picasso's social life in Paris. By 1904, Picasso had established a foothold in Paris and would remain in the cultural center of Europe for the rest of his life. Picasso & Max Jacob cultivated their talents in a dwelling known as the Bateau Lavoir. According to Penrose, this place was ". . . composed it seemed of nothing but lofts & cellars, all in such a sad state of repair. . . " (Picasso 96). Artists of all endeavors were attracted to this bohemian style of living. Picasso's neighbors included painters, sculptors, writers & actors (Penrose Picasso 102). One of Picasso's most influential friends entered his life in 1905: Guillaume Apollinaire. "From the first encounter, Pablo Picasso and Guillaume Apollinaire established a creative dialogue that fostered and inspired some of their finest art & poetry". Apollinaire was a poet & playwright, identified as a Surrealist, who kept close connections with literary & artistic figures in Paris including Max Jacob & André Salmon. He was a great source for Picasso to meet writers & theatre artists. Many of Picasso's friends encouraged him to frequent the theatre with artists & poets from Paris (Picasso Penrose 177). Even though Picasso was not in Paris, he managed to find groups of artistic individuals to stay abreast of cultural gossip & happenings. Picasso's connections with writers led him to create several illustrations for books of poetry for friends. For example, during summer 1910 in Cadaques, Catalonia, painting with Derain, Picasso was commissioned to illustrate a poetic novel written by Max Jacob titled Saint Matorel issued by Daniel-Henry Kahnweiler in 1911. (Penrose Picasso 179). This was only the first of five collections of poetry by Max Jacob that contain. Signed by Author(s). Bookseller Inventory # 32441

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Dante Alighieri

Published by Venezia Bernardino Benali and Matteo Capcasa 3 Marzo, 1491 (1491)

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Item Description: Venezia Bernardino Benali and Matteo Capcasa 3 Marzo, 1491, 1491. THE VERY RARE FIRST EDITION WITH ILLUSTRATIONS TO PARADISO. THE FIRST ILLUSTRATED EDITION OF DANTE'S DIVINE COMEDY PRINTED IN VENICE. FIRST EDITION OF THE DANTE WITH THESE PARTICULAR ILLUSTRATIONS AND ICONOGRAPHY which were subsequently used in the Cremonese edition printed in November of 1491 and in the editions of 1493 and 1497. It is THE FIRST EDITION WITH THE COMMENTARY OF CRISTOFORO LANDINO REVISED BY PIETRO DA FIGHINE. The COMMEDIA is followed by Credo, Dieci Comandamenti, Sette Salmi, Pater Noster and Ave Maria. Illustrated by 97 woodcut vignettes and by 4 full-page woodcuts - one at the beginning of each section of the poem - with decorated borders (the one concerning the Purgatory repeated). A great number of woodcut decorated initials on black ground throughout the text. Folio (mm 310 x 218), bound in antique vellum; half-morocco protective slipcase. (11. 12-301 numbered II-CCLXXXXI) A very pleasing and handsome copy with some minor spotting as to be expected; two leaves probably from another copy and remargined. THE FIRST EDITION TO BE COMPLETELY ILLUSTRATED. IT CONTAINS THE CYCLE OF WOODCUTS DEPICTING THE PARADISE. The 1487's edition printed at Brescia had only the woodcuts relating to Inferno and Purgatory. THE FIRST EDITION WITH CRISTOFORO LANDINO'S COMMENTARY REVISED BY PIETRO DA FIGHINE. A Highly Important Copy with Manuscript Annotations. These very early printings of the COMMEDIA are rare and precious. This rare Venetian printing of 1491 was printed in a very small number and is seldom encountered. The 1491 printing is noted for its very beautifully engraved illustrations and generally for the quality of its iconography. It uses for the first time these illustrations which were subsequently used again in the Cremona edition of the same year and in the illustrated editions of 1493 and 1497. "Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it is a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes." PMM. Bookseller Inventory # 25249

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Item Description: [Gottfried Cervicornus the younger?],, [Cologne], 1572. 4to. Beautiful richly gold-tooled dark blue goatskin morocco (ca. 1885/90) by Marcellin II and Paul Lortic, sewn on 5 cords, each board with a branch, leaf and berry design made from more than 1000 impressions of 5 stamps and some rolls, the spine with 6 compartments, each with a gold-tooled border, the 2nd and 3rd with the author, title and imprint, the others with decorations, gold-tooled turn-ins, fillets on ribs and board edges, straight-combed endpapers (red, blue, white, green and yellow), headbands in red, blue and yellow, red, green and yellow silk ribbon marker (signed in foot of front turn-in: "LORTIC FRÈRES"). With the gold-tooled red leather bookplate of Robert Hoe on the front paste-down. With each page in an elaborate woodcut border (8 different versions, with the top border separate but usually matching, and most with a circular opening in the foot showing any of 12 different medaillons (2 cm diameter, 1 with the author’s coat of arms and motto, another with his portrait, 2 more with emblematic images and mottos and the rest with arabesque and other decorations), the large woodcut coat of arms and portrait of the author (the arms repeated on the last printed page), and 20 full-page emblematical woodcuts (9 x 7.5 cm) after Marcus Gheeraerts the elder’s etchings for the original Dutch edition, including 1 repeat, used with 2 different texts. Further with 3 woodcut decorated initials (2 large gothic and 1 small roman) and decorative panels built up from arabesque fleurons (the first known use of this pair of fleurons). Set in fraktur types with prelims in italic and Schwabacher, and incidental roman. With both coats of arms and the borders and decorative panel of the last sixteen pages partly coloured in yellow. [115], [1 blank] pp. Very rare first edition of the German translation of Jan van der Noot's Het theatre oft toon-eel, originally published in Dutch in London in 1568. It is a literal translation from the Dutch by Balthasar Froe and one of the main poetical works of the southern Low Countries nobleman Jan van der Noot (ca. 1539-post 1595), introducing the standards of Renaissance poetry to the Netherlands in an unprecedented way. At the same time the book played an important role in the rising genre of emblematical literature, especially in the Low Countries. The twenty emblems are built around twenty sonnets: 6 loosely translated from Petrarch’s Morte di Madonna Laura, Canzone III; 11 from Joachim du Bellay’s Songe and 4 newly written but based on the Apocalypse. Van der Noot’s commentaries on the Apocalypse are strongly anti-Catholic. The laudatory verses and the verses on Van der Noot’s arms were contributed by the Amsterdam professor Lambertus Barlaeus, the poet Joannes Gigas Secundus and the Cologne painter Gotschalck Sollingen. As a Calvinist, Van der Noot fled Antwerp for London after participating in the failed 1567 revolt that led to the oppressive regime of the Spanish Duke of Alva. His book was first published there, in Dutch and French editions by John Day in 1568 and an English edition by Henry Bynneman in 1569. Day was one of the first printers to use a set of arabesque fleurons cut by Robert Granjon, and the present book, probably influenced by Day, makes the first known use of a mirror-image pair of fleurons that may also have been cut by Granjon and were later used with his documented set: see Vervliet’s forthcoming article on Granjon’s fleurons in the Journal of the Printing Historical Society. They are used to make numerous rectangular decorative panels, the largest (4.5 x 5.5 cm) assembled from 80 fleurons. We have located only three other copies, at the British Library, Glasgow University and the Royal Library in Brussels. Marcelin II and Paul Lortic, sons of Marcelin I Lortic, took over their father’s book bindery in 1884 and traded as Lortic frères until 1891. They were the leading fine binders of their day, and may have bound the present book for Robert Hoe (1839-1909), New York prin. Bookseller Inventory # 875G7D2U2AXD

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Char, René

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Item Description: A collection of original letters, postcards and telegrams sent to the poet and photographer Lütfi Özkök. The collection consists of 84 letters, 14 postcards, 4 poems in handwriting, 7 telegrams and a few miscellaneous items, such as a letter to Özkök from Marie-Claude, the last woman in Char's life. Özkök met with Char for the first time through Michel Deguy in 1961. The meeting resulted in a photo session in Char's Paris apartment, and their more than 25-year long correspondance began shortly thereafter. Özkök's next visit, to Char's home in l'Isle-sur-la-Sorgue, was made in 1967, when they started to make plans for a cooperation on a photo book on the Vaucluse area, where Char lived and where he also grew up. It resulted in a short film by Özkök on Char's poetry, released in 1972 and broadcast by Swiss-Italian television. Özkök made several trips to l'Isle-surla-Sorgue during the following years, as the friendship developed between the two. The last visit was made in July 1987, shortly before the death of Char. Özkök is the photographer behind several of the wide-spread portraits of Char, who refers to a photo by Özkök in one of the letters, saying that he wishes to be remembered exactly the way he appears on that photo. A full listing will be sent upon request. Bookseller Inventory # 21746

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