After Pleasures, Signed (7 results)

Soft cover. Condition: Very Good. No Jacket. Georgia O'keeffe (cover) (illustrator). No Edition Stated, Presumed First. Book is divided into Parts I, II, III and IV. 91 pp. Book has light shelf/edge wear, fold crease on front panel. 38 poems. DEDICATION: for Diane - with my best - Frances Mayes SIGNED by author in blue ink. Bookseller's Inventory # 165296. Inscribed by Author(s).

Condition: Fine. Dust Jacket Condition: Fine. FIrst Edition. FIrst Printing. A Fine copy in pale caramel cloth, magenta dustwrapper, not price-clipped (just a little rubbed). INSCRIBED and SIGNED by Mayes on the free front endpaper. Pre-Tuscany Mayes. 91pp. Poems. Q10290.

hardcover. Condition: Very Good. First Edition. Parker inscribe to previous owners and signed "To the ideal Connie and the ideal Margaret Barker -- gratefully, Dorothy Parker." on the half title page. Second free end paper has closed tear to top edge. No jacket. Small loss head and toe of spine, corners bumped. Text unmarked. Please email for photos. Larger books or sets may require additional shipping charges. Books sent via US Postal. Signed by Author.

Hardcover, missing Dust Jacket. First Edition. VG- damp stain to boards and spine, spine faded. #129 of 250 signed limited copies, internally a tight text block, bright pages. SIGNED by Parker.

hardcover. Condition: Fine in a Very Good slipcase. First Edition. A collection of short stories. Copy #123 of only 250 SIGNED by the author.

hardcover. First Edition. A collection of short stories. Copy #25 of only 250 SIGNED by the author. Internally clean and bright; spine is heavily darkened, the lettering barely readable, with the foxing spreading a bit to the front cover. Very Good in a Very Good slipcase.

Engraving, signed on plate by artist and engraver. Laid down, small margins top and bottom, trimmed to image on side margins, faint crease in sky to right of palace, The present title was suggested by Larry Silver in 'Peasant Scenes and Landscape The Rise of Pictorial Genres in the Antwerp Art Market' University of Pennsylvania, 2006. Cataloguers have usually used a title like 'Festivities before a Palace' viewing the image as merely one of elegant company making merry, but Kahren Hellerstedt in her 1986 catalogue used the title 'The Dance of Mary Magdalene', identifying the principal female figure dancing in the foreground as that saint. She noticed the similarity of that figure to the depiction of the central group in another engraving of Nicholas de Bruyn after David Vinckboons 'The Feast in the Forest' of 1601. In turn she argues this print was influenced in its composition and execution by Lucas van Leyden's 'The Dance of the Magdalene' published in 1519. Many Dutch and Flemish paintings of this period portray a religious subject via a scene of contemporary life. She also notes that de Bruyn's method of hatching to portray the human form is similar to that employed by van Leyden a hundred years before. The date of 1607 is given by Hollstein, although the print is not dated. The Rijksmuseum dates their impression to 1604.This large and impressive engraving of elegant company in a 'Pleasuance' or pleasure garden of a grand house is of historical importance from a number of points of view. It records the layout of such a garden incorporating topiary hedges, water features, pergolas, statues, and gazebos. There are many groups of musicians, playing different stringed instruments including lutes, viols, viola de gamba, and what appear to be a harpsicord and harp. Trumpeters head the barges. Apart from the central pair, there are other groups of dancers. Picnickers are being served wine in tazze from a jug; nearby large rectangular vessels are in a cooler. The many figures provide information on the costumes of the period.`.