Alcools 1898 1913: First Edition (9 results)

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good-. First Edition. Edgeworn and rubbed DJ that is internally browned. Bit of edgewear to the cover. Pages yellowed. No writing. ; 8vo 8" - 9" tall; 242 pages.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Bookplate on FFEP. Foxing on top of text block, little inside Dj. Otherwise this book with is clean and unmarked in very good condition. Clipped. Billingual French/English. First edition. 242 pages.

Hardcover. Condition: Good. Dust Jacket Condition: Good. Stated first edition. Minor creasing to the dust jacket. Previous owner's name inscribed on the front-end page; rest of the interior pages are clean and unmarked. This could have light cosmetic flaws, but remains in good condition. Dust jacket condition is Good. This copy is the First Edition THUS of the published work. Secure packaging for safe delivery.…

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First Edition First Printing. sun faded spine of dust jacket. Translated by William Meredith (illustrator).

Hardcover. Condition: Very good. Dust Jacket Condition: very good. First American Edition. 242p octavo Advance review with review slip laid in. Poet Dan Gerber's copy with his ownership signature on th front fly leaf. Marred by severe insect damage affecting 1 inch of the gutter on the back panel not visible with dust jacket covering . Text block foxed along the top edge, dust jacket very good.…

First edition of Apollinaire's first collection of poems, signed by him and Pablo Picasso. Octavo, bound in three quarter morocco with gilt titles and raised bands to the spine, patterned endpapers, frontispiece portrait of the poet by Pablo Picasso. Association copy, inscribed by both Apollinaire and Pablo Picasso on front free endpaper, "A A P.N. Roinard son admirateur Guillaume Apollinaire" and "et pour Robert Valançay Picasso Paris Janvier 1940 et I." Apollinaire has also made five corrections to the text in ink on pages 71, 77, 92, 110 and 189. The recipient of Apollinaire's inscription, Paul-Napolà on Roinard, was a French libertarian painter and poet whom Apollinaire befriended in 1903 and considered "one of the most powerful precursors of the new poetry." Apollinaire dedicated his poem Le Brasier (included in the present volume on p. 129) to Roinard. The recipient of Picasso's inscription, Robert Valançay, was a poet, translator and literary critic who worked with and admired many of the artists and poets of the surrealist group. He published two major volumes of poetry but was most appreciated and sought after for his translations. He was considered the official translator of Max Ernst and Hans Arp. In near fine condition. Original wrappers bound in. A remarkable association copy, linking four major figures of the literary and artistic avant-gardes of the 20th century. French poet, playwright, short story writer, novelist, and art critic Guillaume Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. At the turn of the 20th century, he became one of the most popular members of the artistic community of Paris (both in Montmartre and Montparnasse). His friends and collaborators in that period included Pablo Picasso, Henri Rousseau, Gertrude Stein, Max Jacob, Andrà Salmon, Andrà Breton, Andrà Derain, Faik Konitza, Blaise Cendrars, Giuseppe Ungaretti, Pierre Reverdy, Alexandra Exter, Jean Cocteau, Erik Satie, Ossip Zadkine, Marc Chagall, Marcel Duchamp and Jean Metzinger. He is credited with coining the term "Cubism" in 1911 to describe the emerging art movement, the term Orphism in 1912, and the term "Surrealism" in 1917 to describe the works of Erik Satie.…

dj. First Edition. Octavo (21.5cm); black cloth-covered boards, with titling and decoration stamped in gilt on spine; fore-edge untrimmed; dustjacket; 242pp. Inscribed by author on front endpaper: "For Alice and David Halliday with affection and esteem from their friend Guillaume / June 1976". Signed by translator, William Meredith, on title page. Light rubbing to board edges, else Near Fine. Dustwrapper, designed by Harry Ford, unclipped (priced $4.95), with trivial surface wear and rubbing to extremities, pencilled note to front flap, and 1" tape mend to tear at verso of lower rear panel; Very Good. Collection of verse, with English translations appearing opposite the original French, including "La Chanson du Mal-Aimé" / "Song of the Poorly Lived", "Crépuscule" / "Twilight", and "L'Ermite" / "The Hermit". Concludes with notes section, which examines each poem. [84741]. Signed. …

[Lyons: E. Arrault et Cie for] Paris: Mercure de France. 1913. 8vo. Publisher's printed wrappers with beige caduceus and winged helmet device to upper cover; pp. 204, [2 (colophon, blank)]; with half-title and lithographic frontispiece portrait by Pablo Picasso, with tissue guard, winged helmet device to title; small chip to lower cover, slight creasing to spine, a few minute chips to spine subtly repaired, text block slightly coming away from spine at head of last few quires; sporadic light foxing, some browning to last 2 ff.; else a very good copy, partially uncut.Rare first edition of this pivotal collection of poems by Apollinaire, instrumental in cementing his reputation, with a striking Cubist frontispiece portrait of the author by his friend Picasso, our copy in the original printed wrappers.Born Wilhelm Apollinaris Kostrowicki in Rome to a Polish-Lithuanian mother, Guillaume Apollinaire (1880-1918) moved to Paris c. 1898-1900, where he became a pioneer in Cubist and Modernist circles, befriending the likes of Picasso, Matisse, Rouveyre, Braque, Duchamp, and Metzinger, coining the term 'Surrealism' in 1917, seven years before the emergence of Breton's Manifesto.Apollinaire had published his first volume of poetry, Le Bestiaire, in 1911, but it is Alcools - the first work in which the poet chose to abandon punctuation entirely - that his reputation rests, along with his typographically experimental Calligrammes of 1918. After Apollinaire had added the opening poem, 'Zone', at the last minute, and changed the name of the collection from Eau de Vie to Alcools in November 1912, printing was completed on 20 April 1913 in a limited edition of 567 numbered examples (nos. 1-23 on Hollande paper), although certain examples 'of service de presse or those offered by the author have numbers over six hundred', as here. The copy sent by the author to Emile Verhaeren, for example, was no. 898 (Decaudin, Le dossier d' 'Alcools' (1996), p. 42, trans.); Apollinaire also sent copies to Andre Gide and Blaise Cendrars, amongst others.Of the fifty poems contained here, a third are dedicated to individual friends of Apollinaire's, including Picasso ('Les fiancailles'), Max Jacob ('Palais'); Andre Billy, to whom Apollinaire sent copy no. 822 of Alcools ('L'emigrant de Landor Road'); the painter Andre Derain ('Rosemonde'); the art critic Felix Feneon, coiner of the term 'Neo-Impressionism' ('L'ermite'); and the Cubist painter and printmaker Marie Laurencin, Apollinaire's lover c. 1907-12. Of particular note are 'Le Pont Mirabeau' (pp. 18-19) and 'Zone' (pp. 7-17), the latter shifting between the first and second person and tracing a sunrise-to-sunrise walk through Paris in which the poet-narrator touches on Christianity, Paris's Jewish district, and immigrants, as well as courtesans, disillusionment, and lost loves. 'Zone' also seemingly includes an allusion to Apollinaire's arrest in 1911, when he was falsely accused of stealing the Mona Lisa (p. 14). The resulting week he spent in prison would become his inspiration for 'A la Sante' (pp. 178-83).OCLC finds nine copies in North America (Getty, Harvard, Indiana, MoMa, Northwestern, NYPL, Universite de Montreal, UT Austin, and Yale), and only one in the UK (BL).Connolly, The Modern Movement 22.…

Frontispiece portrait by Picasso, penultimate leaf with achevé d?imprimer. 8vo (182 x 115mm). 204, [4]pp. Black half morocco by J.P. Miguet, original yellow wrappers bound in, last leaf a blank.  Paris [Tours, E. Arrault et Cie]: Mercure de France, 20 April, 1913. Handsome first edition of ?one of the most astonishing works along with Rimbaud?s Les Illuminations that French poetry has produced? (Albert Camus quoted by Francis Steegmuller). This ordinary paper issue is number 378 from a total edition of 567 numbered copies, of which 23 were printed on Hollande van Gelder paper. A central figure in avant-garde literary and artistic circles in Paris at the turn of the twentieth century, Guillaume Apollinaire (1880-1918) had already published one volume of poetry, Le Bestiaire in 1911, but it was Alcools that made his name. This, the ordinary edition initially sold very well, with some 350 copies racing off the shelves in the first year. However in the second year only four copies were sold, and in 1915 and 1916 only seven and five respectively. Reviews were mixed, one of them describing Apollinaire as an ?enchanting junk dealer? The portrait frontispiece by Picasso is one of a number of sketches done by the artist and depicts Apollinaire with his head bandaged, following shrapnel wounds sustained at the front line during service in the French Army in the First World War. He wouldn?t see its end; he fell ill with Spanish flu and died two days before the Armistice on 9 November, 1918. André Bill described Apollinaire?s funeral in the preface to the Pléiade edition (p.xliii; our translation); ?His funeral procession followed the road past the Bastille and Père-Lachaise, through a crowd still delirious with the joy of the Armistice. There was no talking, only tears. We wept for him and for ourselves, whom he had left behind, taking with him our youth and our joys.? Talvart & Place I, 80.…