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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 Renoir sketch, a pair of 19th century miniature jade 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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ARTHUR MOYSE

Published by Screeches Publications.

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From: I.D. Edrich (Greater London, United Kingdom)

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Item Description: Screeches Publications. 1965. Blackburn. Scarce second printing of this Erotic Anthology which includes original verse & prose, published in the 1960's, was the subject of a court case & charges of obscenity. & which after a three day trial was adjudged "indecent" but not "obscene" & therefore forbidden to be sent via The Royal Mail. Contributors include Norman Iles, Charles Marshall, Dave Cuncliffe, Bryn Griffiths, Ian Vine, Tuli Kuoferberg, George Dowdeb, Lionel Kearns, etc. .Paper covers illustrated by Moyse, typewritten text, 4to . 40pp. Bookseller Inventory # 102373

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SHAKESPEARE, William

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

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From: Sokol Books Ltd. ABA ILAB (London, United Kingdom)

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Item Description: London, Tho Cotes, for Robert Allot, 1632. Hardcover. Book Condition: Very Good. 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----------------------K1. Bookseller Inventory # K1

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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 # JHABES4794

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CICERO, Marcus Tullius.

Used Hardcover First Edition

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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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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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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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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 t. Bookseller Inventory # 108246

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ELIOT, T. S.

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

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

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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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Ten Commandments]

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From: Sokol Books Ltd. ABA ILAB (London, United Kingdom)

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Item Description: London: Wynkyn de Worde, 1521. 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.L1113. Bookseller Inventory # 16031

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ROSSO / VACCARO / CANALE.

Published by Per Francesco Ricciardo Stampatore di Sua Ecc[ellen]za. il Sign[ore]. Vicere. 1729 - 1734., Naples. (1729)

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Item Description: Per Francesco Ricciardo Stampatore di Sua Ecc[ellen]za. il Sign[ore]. Vicere. 1729 - 1734., Naples., 1729. 10 large engraved plates, all by Francesco de Grado after Domenico Antonio Vaccaro (1 plate) and Cristoforo or Christofano Rosso (8 plates), the final plate by Bartolomeo de Grado after Nicolaus Tagliacozzi Canale (1 plate). (Sheet sizes: c.500 x 750 mm, see list of plates for specific details). An exceptional extant corpus of ephemeral Neapolitan coccagna engravings. Each of these large and fantastical ethings, produced in Naples at the beginning of the eighteenth century as displays of munificence and demonstrating the patronage of the Holy Roman Emperor Charles VI, depicts a large edifice, garden, palace, fortification, belvedere or ziggurat covered entirely with food. Unlike other macchina, produced for example in Rome and elsewhere for fireworks, these Neapolitan macchina are concerned entirely with the mediaeval notions of a land of plenty (the mythical Land of Cockaigne) and the plates consequently feature a highly stylised iconography of fecundity, abundance, luxury, gourmandise and plenty. In this mythical world, celebrated in poetry, painting and music, by Pieter Brueghel the Elder, Elgar and others, fountains flow with wine, trees bear cakes, animals cavort ready for carving and all is ease and idyllic luxury. While the notion of the festival book or print is well accepted and examples exist wherever the demonstration of power and largesse has proved effective as propaganda, the Neapolitan coccagna festival and its association with the festival print and intendant patronage is unique. For the festival, a greasy pole with an edible prize was erected (see for example Goya's painting of the subject), and the adventurous (or on occasion the desperate) were required to reach the summit and claim the prize. Under the Habsburgs, this metamorphosed, in combination with the idea of the Royal and Imperial festival, to produce the elaborate macchina of these plates. Elaborate allegorical constructions were designed and built, often of large size and extensive scale, and following the fecund coccagna tradition, were covered with foodstuffs, filled with animals, the fountains wine-filled and, as previously detailed, decorated with a celebratory iconography of abundance and Imperial power. A varied audience of nobility and commoner would have attended each spectacle - these plates are the ephemeral record, presumably given to the noble spectator - and at the conclusion hoi polloi would have permission to seize the foodstuff, carry off the livestock and destroy the construction. The plates presented here, all produced in Naples during the reign of the Holy Roman Emperor Charles VI and published by Francesco Ricciardo, celebrate the birthday of the Empress Elisabeth Christine of Brunswick-Wolfenbüttel (August 28th) or the name day of the Emperor Charles (November 4th), or, for the final plate, the entry of the Emperor into Naples. The final plate, that engraved by Bartolomeo de Grado rather than his father Francesco, is highly interesting as it provides a printed key to the iconography of the plate. As might be expected, the iconography incorporates power, dynasty, mythology, fecundity, food and drink. Further details on the iconography of the individual plates and their subjects are available on request. 'The cuccagna is not properly a festival, but rather an ornamental public display of food made for festivals, followed by the opportunity to feast on the elements of the decorations. In eighteenth-century Naples these developed into monumental set-pieces . For the Neapolitan people the macchina della cuccagna must have appeared like dreams which beckoned and promised an end to hunger and poverty . Although we may think of festivals as celebratory occasions, there were other aspects. Using food both as monument and as edible, cuccagna festivals witnessed a tension between the depicted ephemeral paradise where no one ever went hungry and the earthbound scramblings of the street people for sustenance and survival in the face of these. Bookseller Inventory # 43334

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Item Description: Naples, Felice Mosca, 1725. 12mo, pp. 270, [12]; with woodcut initials and head- and tailpieces; lines 11-13 on the licence leaf (M8v) corrected with a pasted-over slip, scattered contemporary (authorial?) manuscript additions throughout, largely in the margins, the odd word underlined; a couple of small holes and a light marginal waterstain to the final leaf, which has been guarded, presumably when the book was rebound; an uncut copy, sympathetically washed and recased in old vellum.Scarce first edition of Vico's Principj di una Scienza Nuova. 'The "Principles of a New Science regarding the Character of Nations" has justly been called "the vehicle by which the concept of historical development at last entered the thought of western Europe"' (PMM).'Vico was of very humble parentage. He became a professor of rhetoric at Naples and Historiographer-Royal in 1735. Working in virtual isolation he laid the foundations of our modern concept of sociology. He boldly attacked the widely accepted theories of Descartes that mathematical proof was the one criterion of truth in every sphere of thought. Natural phenomena, he maintained, are the works of God; mathematics is an arbitrary human invention and there is no reason to suppose that God observes its principles.Vico believed that a genuine if limited knowledge of the external world was possible to man and he did not despise the use of mathematical method; but the Cartesian idea that full and perfect knowledge of the universe awaited only the perfection of geometrical knowledge was quite unacceptable to him. Human knowledge of the universe could never be perfect, owing to the imperfection of our nature and our limited powers of observation. Only to God was perfect knowledge possible.Again, in direct contrast to Descartes, Vico taught that our knowledge of history could approach much nearer to perfection than our knowledge of the phenomena treated by the natural philosophers. The past history of the human race, unlike the history of the physical universe, is due to the actions of creatures like ourselves. We can project our minds into theirs, and by patient record and interpretation we can reconstruct the series of cause and effect by which modern societies developed. Historical study of what man has done is as much entitled to the status of a science as is natural science Vico was the first to recognize the importance of language, myth and tradition as a source for understanding the primitive stages of man's history, before intellectual and historical consciousness developed. Poetry, for example, enshrines much early history, and historical facts can be deduced from philology.' (ibid.).Vico's work had originally been conceived as a monumental 'two quarto volumes', to be printed in Florence at Cardinal Lorenzo Corsini's expense. When Vico's manuscript was presented to Corsini ready for publication, the prelate felt that he could not meet the printing expenses and declined his patronage. Vico, faced with the prospect of a self-financed publication (which may explain the poor quality paper) and forced to cut the Scienza Nuova down to a quarter of its original size, reorganised his material in a way that, in the end, seemed to him to be a demonstration more cogent than the initial version. One thousand copies were printed, plus twelve copies on fine paper, with large margins. Nicolini states that Vico signed, dedicated and annotated several copies before sending them off to friends and libraries. The extensiveness of the annotation varies from around two hundred (mostly typographical corrections) to just a few, recorded by Nicolini. 'The concept of a history of human ideas, the principles of a universal history and its philosophical criticism, a recognition of the importance of social classes, all begin with Vico. Many twentieth-century notions of anthropology, comparative law, literature, religion and linguistic philosophy can be found in the pages of this book' (PMM).Croce I, p. 1; Nicolini, Bibliografia Vichiana, Bookseller Inventory # H2524

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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

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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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MARGUERITE, REINE DE NAVARRE (1492-1549).

Published by Lyon: Jean de Tournes, 1547 (1547)

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Item Description: Lyon: Jean de Tournes, 1547, 1547. 2 volumes, 8vo., (6 4/8 x 4 inches). Woodcut devices on title-pages and on the penultimate page of volume one, 11 woodcuts after Bernard Salomon in volume II, including 10 illustrating "La Coche", 6- and 4-line floriated initials, head- and tail-pieces (one or two marginal spots). Fine early 19th-century binding of full red morocco, each cover decorated with borders of triple gilt fillets, the spines gilt decorated in six compartments with five raised bands, gilt lettered in one, the others decorated with fine gilt tools, all edges gilt, silk ties. Provenance: with an early and faded purchase inscription at the head of the title-page of volume one; with an early ink library stamp: "de Bourdigalle" at the foot of the title-page of volume one, and with the motto: "non est mortale quod opio" (no man is weaker than opium); with the engraved monogrammed book label "E.E.O" on the verso of the first blank of volume one; with the engraved armorial book label with the cypher "A.W." on the front paste-down of each volume; with the engraved armorial red morocco gilt book label of Léopold Double, his sale 1863, on the front paste-down of each volume; the red morocco gilt book label of Maurice-Ernst Quentin-Bauchart on each front paste-down and the red cloth gilt book label of Edouard Rahir on the front paste-down of volume one (see his Bibliothèque, 1907, p. 278) One of the landmarks of French poetry, and Renaissance book production. The first collected edition of Marguerite d'Angouleme's poetry, containing many works in their first edition. The volume opens with her notorious 'Miroir de l' âme péchereuse', a devotional poem, in which the soul portrayed as a yearning woman calls out to Christ as her father-brother-lover. First published in 1531, and then again in 1533 it was promptly condemned as unorthodox by the Sorbonne theologians for its expression of ideas associated with the religious reform movement. However since the poem and Marguerite had the support from the King, the work was allowed. This edition was published in 1547, the year of Marguerite's brother Henri I's death, possibly to pre-empt Henry II's more oppressive religious policies, and before her influence was severely reduced. Marguerite continued to encourage reform within the church and the need to reinterpret the Scriptures and translate them into French. She herself habitually retired to meditate and pray, and composed numerous works of devotional poetry, including those published here in the "Marguerites de la Marguerite des princesses" (1547). Other works in the collection include "Discord estant en l'homme par la contrariete de l'Esprit & de la Chair.", "Oraison de l'ame fidele, a son Seigneur Dieu", "Oraison a nostre Seigneur Iesus Christ", "Comedie de l'adoration des Trois Roys a Iesus Christ", "Comedie des Innocents", "Comedie du Desert", "Le Triomphe de l'Agneau", "Complainte pour un detenu Prisonnier", "Chansons spirituelles", "Sonnet", "L'Histoire des Satyrs, et Nymphes de Dyane", letters to her brother Henri I of France, "Les quatre Dames, & les quatre Gentilz-hommes", a "Comedie", a "Farce", "La Coche", "L'Umbre", "La Mort et Resrrection d'Amour", "Chanson", "Les Adieu.", and "Enigme". These lovely volumes were printed by Jean de Tournes on behalf of Simon Silvius (called de La Haye), secretary to the princess, and one of the most influential of the Lyonnese printers. De Tournes combined Granjon's types with illustrations and ornaments by Bernard Salomon to produce some of the most beautiful books of the French Renaissance. Marguerite, sister of Francis I of France, and wife of Henri II of Navarre and grandmother to Henri IV of France. Marguerite became the most influential woman in France during her lifetime when her brother acceded to the crown as Francis I in 1515. Her salon, known as the "New Parnassus", became famous internationally. She and her work were admired internationally: she is said to have influenced the Protestant Reformation in England, th. Bookseller Inventory # 72lib1064

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Mallarme Stephane, Henri Matisse Illustrator

Published by Lausanne: Albert Skira (1932)

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Item Description: Lausanne: Albert Skira, 1932. Hardcover. Book Condition: Very Good. Limited Edition. Illustrated with 29 original etchings by Matisse, of which 23 are full-page. Original publisher's printed wrappers, chemise and slipcase. From the edition limited to 145 copies, of which ours is one of the 95 copies of Velin d'Arches, signed in ink on page justification. Matisse used his extraordinary ability to master lines pure and essential to realizing the 29 drawings from which the etchings derive. Using the economy of the thin, engraved lines with no shading in order to not overpower the ethereal quality of Mallarme poetry Ref: Duthuit books#5, Artist and the Book#196, Rauch#168. Signed by Illustrator(s). Bookseller Inventory # ABE-9586622130

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WHITMAN, Walt

Published by New York (1855)

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Quantity Available: 1

From: B & L Rootenberg Rare Books, ABAA (Sherman Oaks, CA, U.S.A.)

Bookseller Rating: 3-star rating

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Item Description: New York, 1855. FIRST EDITION, First issue. 4to. xii, 95, [8], pp. With frontispiece portrait Half morocco on marbled boards with original front cover bound inside (at the back). First edition, first issue binding (BAL’s and Myerson’s Binding A), first state of the frontispiece portrait (on heavy paper), second state of the copyright page as usual, second state of p. iv. According to the description in Christie’s (New York) catalogue of their sale of the same edition on December 4, 2009 (lot 196 of Sale 2153, which brought $218,500.00), "Whitman was spending nearly every day there [at the printing office of James and Thomas Rome in Brooklyn] that spring [of 1855], writing, revising, reading proof, even working at the type case, just as he had done twenty years earlier as an apprentice printer. Altogether he set in type about ten of the ninety-five pages of a book that he also designed, produced, published, promoted . . . The 795 copies the Romes ran off on their hand press and delivered to the binder were all there were or could be of the first edition. No plates were made; the book was printed from type, and the type distributed" (Justin Kaplan, Walt Whitman: a Life, Toronto: Bantam Books, 1982, p. 198). Myerson notes that 795 copies were bound: 337 in Binding A in June and July 1855; 262 in Binding B in December 1855 and January 1856; and 196 copies in two other binding styles. Whitman "ushered in a new era in American letters, describing specifically American experiences in a distinctly American idiom." "Always the champion of the common man, Whitman is both the poet and the prophet of democracy. The whole of Leaves of Grass is imbued with the spirit of brotherhood and a pride in the democracy of the young American nation. In a sense, it is America’s second Declaration of Independence: that of 1776 was political, this of 1855 intellectual" (PMM).BAL, 21395; Grolier, American 67; Myerson A2.I.a1; Printing and the Mind of Man 340. Bookseller Inventory # 13707

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HEANEY, SEAMUS.

Published by 1963-2013 (2013)

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Item Description: 1963-2013, 2013. Contains 129 discrete volumes of the Irish Nobel Laureate's primary works of poetry and essays. These titles are represented in their first editions and subsequent issues (English and/or American), as well as some proofs and other variants. In addition to the signed, limited editions, quite a number of the trade publications are signed or inscribed. The collection represents a nearly complete group of the primary works, as listed in the Brandes/Durkan bibliography, as well as all books published after 2003 -- the end date of the bibliography. The collection also contains a number of broadsides, two Christmas cards, an autograph postcard, and many magazine appearances, including two very early pieces. A short title list is available upon request. All items are in fine condition. Bookseller Inventory # 25799

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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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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: 1942 Publisher: the Ze kept stacks Folio: 16 open book for Wang Zhaoming bodies set. sweeping leaves set engraved poetry. essays from the roll. two sets have the first of Preface the end of the book Jack Tsang Ming Postscript. The bodies set volume recorded poem 104. 68 as recorded poetry. 18 words; sweep leaves set 153 recorded poem. 18 words. Wang's collaborators treason. held in contempt for the people. however. its poetry. but often there is no lack of exciting the sentence. then a clean cut into one. Jingwei. how many revolutionaries resonance still people chant chant. Passing but also because of its collaborators. this poetry is banned in the victory of the War of Resistance Against Japan soon ruined rarely handed down. red printed copies. and it is rare.Four Satisfaction guaranteed,or money back. Bookseller Inventory # RL007356

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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: 1922 Publisher: West Cold Indian community White the Huashan people poem paintings authentic surfaced of: Lizhi works Venus Zhoushan ancient cultural celebrities. eastern Zhejiang three sea Poets representative of the West Lake Zhaoqing Temple the the author of Finger JUSONG a familiar and unfamiliar names. are caused by the strong interest of the city's cultural community and the general public . Lizhi's name is no stranger to the for Zhoushan cultural and historical circles. for scholars and colleagues. but the majority of the public and readers of Historic Places and writings achievements Lizhi know little about. To this end. the reporter interviewed the relevant departments. and field research. this more detailed description. The Lizhi person related Lizhi's historic sites. and that white the Huashan people. in addition to the Dictionary of Chinese celebrities. Chinese painter Dictionary. published in 1992. Zhoushan City Chi (the last slip of the pen for the 1982 edition) has spawned. more detailed records in Dinghai Ting Zhi of the Qing dynasty and the Republic Dinghai County. The Dinghai Hall Zhi said: Li Zhi. the word heart fu. No. startle Valley. the rich are local people. Qing Dynasty was formed. Dinghai four townships: Fudu Township. gold Tangxiang. Anqi Township. Penglai Township. Chronicles record. Lizhi self to his hometown Asked Gu Lou. Civic pen for Quartet tour. However. before this. his child fatherless held a poor family even. but study hard. and complement school disciple member. So humble island but a complement school the disciples member (scholar). then great. Since then. he became acquainted with the best friend of a good work in painting. namely eastern Guangdong by Chen and Qian then invited in Qing dynasty five years. kai to Wenzhou. Yongjia Kuang browse along the way to be the roof. Yan dang Zhu wins biography pillow chant. and self-ou tour normalized. beneficial Sili poetry. classical. word. Jiao Chuan Yao Meibo Xiangxie initiatives and with Tsz water leaves the heart water. People said he Shipin very natural to carving. fetal breathing masters. his work has reached a return to basics famous realm. The later poetry more write more. to weed. Selected number of first. along with Poetry vols. he prefaced by the Qing Yixing Wu Zhonglun. which is later Yukiyo white the Huashan people poem copy. In his later years. Li Zhi attack calligraphy and painting. but have mesh less Ming gaze. However. he suck cents moisten ink. and then four hesitating undecided. both put pen to paper as Piaofeng pelting rain of steps to instantly Full of rabbits from the falcon off the trend. and those who have Jane as arch bi. The Chinese painters Dictionary: Sino-year-old suffering from head gum in the eyes. and calligraphy Exigen stripping tube Jisao. full line of God. there is no bad. Especially his running script and cursive form Samuume. shape and spirit are prepared. at one go. In his later years. due to the great Lizhi fame. often some of the door bigwigs asked him to go inscriptions painting. Really try. but the middle-aged. he gradually coldly the officialdom. disgust dignitaries. Where some of the less honest and officials and wealthy please. he Yigai the alibi declined. According to the Chuan Li Ka elderly: Li Zhiping often do not live at home. with the New Year and the doors were folks just every New Year's Eve. always want to go home. Says his life just to Artiste not seek sac full artistic essence elegant and noble. sometimes Sakamoriba bad. but he was concerned about the sufferings of the people by tribe relief. lifelong write poetry to paint for pleasure. This shows that Li Zhi is a bit with a sharp sense of integrity integrity literati. Lizhi offspring. the eldest son of hours. the second son of the name student protests. Student protests rose to the rank of Changzhou prefect. can be. Bookseller Inventory # RL008494

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ZHOU XIAN WEN

ISBN 10: 7802086744 ISBN 13: 9787802086746

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From: liu xing (JiangSu, JS, China)

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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. Publisher: Daily Press. Series of historical data in Taiwan. Taiwan s history to date of culture. the most basic and important historical documents. 1957-1972. History of Taiwan experts took fifteen years to collect from the Song. Yuan. Ming and Qing and the Republic of China on Taiwan has a variety of literature. including local history. historical Cheng Ming. Qing Dynasty archives . private writings. poetry albums. etc. and paraneoplastic and the Netherlands. the United States. Britain. Japan on Taiwan s archives. through through her tick Jue. Elaborate. the formation of three hundred and nine kinds of books and a feed. named Taiwan Literature Series. Song writing one kind of writing fifty-three kinds of Ming and QingFour Satisfaction guaranteed,or money back. Bookseller Inventory # A93328

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Item Description: paperback. Book Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback Pages Number: 24 poems and porcelain. the two treasures of Chinese culture. the high-end collectors eternal topic. Chairman Mao's poems of the first 17 (1963). Chairman Mao. the only person ranking of Chairman Mao's poetry version. Chairman Mao's poems thirty-seven (cinnabar special equipment). (1963) specifically for Chairman Mao collection and gift friends. imperial moire rice paper. cinnabar transfer ink Collotype printing. special pure silk cover style of royalty. Highly collectible value. Chairman Mao's special porcelain nine Rong Park. Chairman Mao personally used a unique set of Mao porcelain blue and white porcelain of the the manufacturer Guoguangciye production had won the Gold Medal of the Panama Exposition. Market popular of the porcelain Mao or Chairman Mao during his lifetime production but does not use or imitation. Chairman Mao's special porcelain nine Rong Park Special Edition (16) (a plum bowl with seasonal flowers bowl. a daisy bowl. a hibiscus bowl. rose bowl 1) 2 Pork bowl. smoke cylinder 1. Nine Inch flat 2 tall glasses and 4. red hibiscus victory cup holder 1. a red hibiscus Victory Cup. a pen holder.Four Satisfaction guaranteed,or money back. Bookseller Inventory # MW6037

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MIRO. Eluard, Paul.

Published by Gérald Cramer., Geneva. (1958)

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From: Sims Reed Ltd ABA ILAB (London, United Kingdom)

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Item Description: Gérald Cramer., Geneva., 1958. Folio. (335 x 260 mm). [55 unnumbered leaves; 27 folded sheets, 1 inserted single sheet]. Illustrated with 80 colour woodcuts - four conceived as double-page spreads - by Miró (including that for the cover). Loose as issued in original publisher's cream printed wrappers with Miró's woodcut, parchment-backed wooden board chemise with gilt title to spine and matching slipcase. Miró's greatest illustrated book and one of the best productions of the twentieth century. From the edition limited to 130 copies on Arches signed by the artist on the justification, with this one of 80 ordinary copies. From his first arrival in Paris after the First World War, Miró was fascinated by the avant garde and the links between the languages of poetry and painting. Friendship with Masson, and the studio they shared, enabled Miró to meet many of his literary heroes, including those Surrealists - then a rising movement - with whom he would collaborate. After the publication of his first signed and numbered lithograph in 1930, Miró illustrated works by Queneau, Péret, Char, Tzara, Breton and Eluard among many others. This work with Eluard was the third important collaborative project, which included 'Solidarité' (1938) and 'Un Poème dans chaque livre' (1956); Miró's woodcuts for the book, begun in 1948 were not completed until ten years later. 'I have made some trials which have allowed me to see what it was to make a book and not merely illustrate it. Illustration is always a secondary matter. The important thing is that a book must have all the dignity of a sculpture carved in marble.' (Miró quoted in The Artist and the Book). 'An artist whose paintings might include rope, stones, sand, and myriad bird, animal, and human forms . could be expected to be inventive when asked to make a book around the poem of a good friend, using a medium he had never tried. His response was to use planks of wood, plastic wood, wire, old wood engravings, and bark paper to achieve the truly exuberant embellishments that dance on the pages of this perfectly produced book.' (Riva Castleman, A Century of Artists Books). 'Pour l'illustration, 233 bois ont été gravés par Joan Miró, avec la collaboration technique de Enrico Tormo, puis encrés et tirés à la main par Jacques Frélaut et Jaime Herrera sur les presses de l'Atelier Lacourière à Paris. Le tirage a duré plus d'une année et a nécessité plus de 42.000 passages.' (From the inserted publisher's prospectus). [Cramer 49; From Manet to Hockney 121; The Artist & the Book 1860 - 1960 209; Logan Collection 139]. Bookseller Inventory # 43914

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