Pater Noster, Signed (13 results)

Condition: Ottimo. Rara stampa estratta da pubblicazione del 1933 Nel 1928 il celebre compositore spagnolo José Padilla Sánchez (18891960), autore di successi internazionali come Valencia, El Relicario e La Violetera, compose per la rivista italiana La Scena un breve brano religioso intitolato Pater Noster, in occasione di un fascicolo speciale dedicato a Gesù. Padilla, noto per le sue canzoni popolari e teatrali, dichiarò con semplicità di non essere solito scrivere musica sacra, ma di averlo fatto con sincera ispirazione e devozione. L'episodio rappresenta una rara incursione del maestro fuori dal repertorio leggero che lo rese famoso nei teatri di Parigi e Madrid, mostrando la sua versatilità e la capacità di adattarsi a contesti diversi. Questo contributo, accompagnato da una dedica autografa, rimane una curiosità significativa nella carriera di un artista che seppe conquistare il pubblico internazionale con melodie immediate e coinvolgenti. Dimensioni Cm 13,00 x 23,00 Codice prodotto: S.I. - 081 PayPal Carta di credito Bonifico bancario Inserita dentro plico di adeguate dimensioni per proteggerne l'integrità Spedizione con posta ordinaria o raccomandata scelta dall'Acquirente nel momento del pagamento Clicca qui per accedere al nostro Store ed al suo sterminato archivio S.I.-081_15.

2 Bll., 151 SS. Mit 9 Stahlstichen nach Zeichnungen von Josef Führich. Gepr.Ogln.bd. mit Goldschnitt. Mit eh. Widmung des Verfassers a.d. Titelblatt verso! - Einband berieben, Kratzspuren a.d. Einbanddeckel.

NdA Press (illustrator). small 4to. cloth binding painted with abstract design, inserted in handpainted oil cloth with red felt, see-through muslin bag. Unpaginated. No. 3 of in an edition of 5 similar but not identical copies. Signed by Natalie dArbeloff, an Artists' book. Printed on Fabriano Satinana paper. Blind engraved text on different sized and color papers. The title-page Pater Noster is the smallest; each page has edges of hand coloring. The book is glued to the back cover which has a painted and decorated wood strip on the side. The title is embroidered in red on a yellow and blue felt strip edged in the same stitching; two presstuds close the book. The inside front cover has a brightly colored collage of paper, felt and painted decorations against a blue cloth background. The book is laid in hand-painted oilcloth with red felt inside on which to place the book. The oilcloth is trimmed with red and yellow cord. This is held closed with red and blue cords. The whole is contained in a see-through muslin bag trimmed with turquoise stitching; metallic muslin top part of bag closes with 2 studs which are hidden between blue and red felt. Handwritten instructions by the artist for opening, reading, displaying and handling the work are included on a piece of handmade paper with the book. The book can be opened to display as a stepped pyramid, as well as opened in an inverted V form for longer display. Astunning artists book, visually dynamic and with a meaningful and important text. Fine. cloth binding painted with abstract design, inserted in handpainted oil cloth with red felt, see-through muslin bag.

Together five parts bound in two volumes, 4to, pp. [iii]-xv, [i], 396; [iv], '42' (mistake for 423), [1] blank; [ii], 4, [ii], 84, [8] index; 4; iv, 56; vii, [1] errata; contemporary calf, gilt spines with morocco labels (somewhat rubbed, but sound). First editions, second issue of the principal work. A fine copy of a curious translation of Ariosto, complete with additional matter. Huggins (1696-1761) first published his version of Orlando Furioso in 1755, without his name attached but with a dedication to George II signed by his friend Temple Henry Croker: it was reissued two years later, in the present form. It is not at all clear who were the actual translators of the poem: Huggins seems to have allowed Croker to appear as editor, but felt that he himself was by far the most important contributor (hence the change of title page in 1757). However, other translators were clearly involved, since each canto is signed with one or other of six initials (H and C presumably stand for the two already identified, but there are also W, M, S and R). The same year as the reissue, Huggins published his Annotations on the poem, apparently intended to accompany the two-volume translation but they seem to be extremely rare (with seven copies located by ESTC). The two-leaf additional poem bound at the end in this volume seems properly to be part of the Annotations, and is thus treated by ESTC. Two years later Huggins published Part of Orlando Furioso, which prints new versions of part or all of eight cantos apparently intended as a rebuke to Croker, whose part he felt was not well enough done and whom he allowed to become involved 'through most earnest solicitations'. These translations, he asserts, were done without reference to the former translation and it seems that he wished to criticise Croker by showing that he was able to produce varying versions of the great poem at will. This too is very rare, for ESTC records only five copies: two at Oxford, and Trinity Dublin, Harvard and Library Company. Further to this, there is a Johnsonian subtext to the book. Huggins's translation is said to have been helped by contributions from Johnson's friend Giuseppe Baretti, but Huggins had quarrelled with Baretti in April 1755 (over a gold watch, not Ariosto), and Johnson was persuaded to write placatory letters to Huggins to try to patch up the row. Subsequently, Thomas Warton asserted that Huggins 'wanted to get an approbation of his translation from Johnson; but Johnson would not'. (Many years later, Johnson did assist John Hoole with his translation of the same poem, and subscribed to the book.) Huggins further quarrelled with the Johnson circle when Warton's Observations on the Faerie Queene disparaged his Ariosto, and he replied with a detailed rebuttal entitled The Observer Observ'd (1756). This pamphlet is frequently cited with approval in his Annotations, once at least recommended as a 'study'd book'. Johnson did not take sides, remarking that 'Huggins has ball without powder, and Warton powder without ball' (Boswell, ed. Hill-Powell, IV 473-6); his masterly letters written to pacify Huggins are printed by Redford (Hyde edition II 83-6). Provenance. Bookplate in each volume of Henry Edward Bunbury (1778-1860), army officer and the son of the artist H.W. Bunbury: he is said to have accumulated a fine library and art collection. Later owned by B.E.C. Davis, with his inscription dated 1916: Bernard Davis was the author of a book on Edmund Spenser (Cambridge, 1933), and his light pencil notes are found in many places in the volumes.

couverture souple. Editions R.A. Corrêa | Paris 1937 | 14 x 19.50 cm | broché | Edition originale dans le commerce. Agréable exemplaire. Précieux envoi autographe signé d'Ilarie Voronca : "A Paul Eluard, le coeur ému et reconnaissant de Ilarie Voronca." | [ENGLISH DESCRIPTION FOLLOWS] First trade edition. A pleasant copy. Inscribed by Ilarie Voronca to Paul Eluard: "A Paul Eluard, le coeur ému et reconnaissant de Ilarie Voronca." *.

Salvador, Dalì. (illustrator). Milano, Rizzoli Editore, Novembre 1966. In-folio (40,3 cm x 33,5 cm). Pp. (52) ed 1 riproduzione a colori fuori testo di un olio su tela. Con 9 splendide litografie a colori f.t. a p.p. dipinte da Salvador Dalì raffiguranti passi della preghiera del Padre Nostro, ciascuna firmata dall' artista a biro blu in basso a destra, ogni litografia è protetta da una delicata ed elegante velina in carta giapponese riportante i passi della preghiera in latino. Raffinata legatura editoriale in piena pelle bordeaux, piatti inquadrati da una cornice lineare impressa in oro, titolo ed editore dorati sul dorso, con il cofanetto editoriale. Firma di Salvador Dalì per esteso a biro blu al recto dell' occhietto. Il testo del Pater Noster è riportato tradotto nelle lingue latina, italiana, inglese, francese, tedesca, russa, giapponese, spagnola, portoghese, cinese. Superbo esemplare su carta pesante, fresco e genuino, in ottimo stato di conservazione. Prima edizione a tiratura limitata, facente parte della tiratura di testa di soli 50 esemplari firmati dall' artista in legatura di lusso, di assoluta rarità, il nostro è il n° 40. Raffinata edizione progettata ed impaginata da Piero Raggi, sotto la direzione di Lucio Fossati e dedicato a Papa Paolo VI, in collaborazione con il Dott. Giuseppe Albaretto, illustre mecenate e collezionista del maestro catalano, proprietario delle opere originali commissionate all'artista catalano con l' intento di avvicinarlo alla fede cattolica. In fine, sono riprodotte le pagine di un Pater Noster tratto da un codice gregoriano del XIV secolo Negli anni Sessanta, Dalí, che in precedenza aveva esplorato la psicoanalisi freudiana e temi anticlericali, entrò nella sua fase "mistica", creò infatti queste opere per offrirle in omaggio a Papa Paolo VI, a simboleggiare la rinnovata devozione spirituale che lo accompagnò nella seconda parte della sua vita. Le illustrazioni del Pater Noster racchiudono tutto il fascino del misticismo dell' artista, e fondono la sua iconografia surrealista, suo tratto distintivo, con motivi cattolici tradizionali, ben raffigurando il suo rapporto turbolento e visionario con la fede. Dalí non possedeva un credo preciso e definito: si dichiarava, allo stesso tempo, razionale e mistico, agnostico e cattolico, credente e miscredente, in un continuo contrasto di idee, che rivelavano la sua personalità fortemente provocatoria e contradditoria. La conversione spirituale del maestro segna la sua fase di "Mistica Nucleare", iniziata nei primi anni '50, in cui la "materia" dei suoi colori si dispone sulla tela cercando di dare forma alla visione mistica del mistero divino della materia, di Dio e del corpo di Cristo nel grembo della Vergine Maria. Nel 1951, quando anche la chiesa cominciava ad aprirsi alle teorie scientifiche, accettando la validità della teoria del Big Bang, Dalì pubblicò il suo Manifesto Mistico, sancendo il suo approdo a una spiritualità che cercava di superare il materialismo moderno fondendo dogmi religiosi ed evoluzione scientifica Negli anni '60 l' artista abbandonò l' ateismo surrealista per abbracciare un misticismo influenzato dal cattolicesimo, dalla fisica quantistica e dall' orrore per il bombardamento atomico di Hiroshima, che considerava una prova della potenza divina e distruttiva della materia. Nei suoi quadri, la figura della moglie e musa Gala diventa una Madonna rinascimentale e il divino viene esplorato attraverso la scomposizione geometrica della materia. Il Pater Noster è la sua opera più celebre su questo tema. Bibliografia: Avery Library, vol. 2, p. 419; Dorneich , vol. 1, p. 43; Michler & Lobsinger ,1599; NUC, 1968-1972, vol. 11, p. 156; OCLC, 433846541. Cfr. AA.VV., La Parola e il libro, (1967), p. 364; Gizzi, Salvador Dal?? e Dante, (1997), p. 73.

83 + [ii] pp.+ 19 planches hors-texte, exemplaire numéroté: no.12, exemplaire de Edouard Houtart, dans la série "Société des Bibliophiles belges séant à Mons. publications in-4" no.1 et signé par le secrétaire et le président de cette Société, texte imprimé sur papier de luxe, 30cm., br.orig., peu de rousseurs, bon état, R120968.

83 + [ii] pp.+ 19 planches hors-texte, exemplaire numéroté: no.24, exemplaire de Alphonse Gosseries, dans la série "Société des Bibliophiles belges séant à Mons. publications in-4" no.1 et signé par le secrétaire et le président de cette Société, texte imprimé sur papier de luxe, 30cm., br.orig., peu de rousseurs, bon état, R90442.

Editions Corrêa 1937. In-8 broché de 90 pages au format 14,2 x 19,5 cm. Couverture avec titre imprimé. Intérieur frais. Non coupé. Superbe état général. Complet de la feuille d'annonce pour la Revue " L'Avant-Poste ". Rare édition originale orné d'une dédicace autographe, signée, de Ilarie Voronca avec nom du destinataire découpé.

Paris, Delarue, sans date [1892]. Grand in-quarto (229 X 290 mm) demi-chagrin poli marron foncé, dos lisse, large filet doré en place des nerfs, titre doré, tête rouge, non rogné, plats de la couverture conservés (reliure de l'époque) ; (2) ff. blancs, X pages de faux-titre, titre et préface, (10) feuillets uniquement imprimés sur le recto, (1) f. blanc. Ex-libris collés sur le premier contreplat et le feuillet de faux-titre. BELLE ÉDITION imprimée sur papier vergé à la forme qui reproduit un ouvrage xylographique imprimé au XVe siècle avec une préface introductive de 6 pages par Benjamin Pifteau. Cette édition, qui ne contient pas de justification de tirage, a probablement tirée à petit nombre. L'"Exercitium super Pater noster" se compose de dix feuilles anopestographes (non imprimées au verso), écrites en caractères gothiques et en langue latine. Chaque page, encadrée d'un filet, contient à la partie supérieure, une phrase de la prière, suivie de quatre longues lignes de texte, en guise de commentaire, et, en dessous, un dessin non colorié, à l'encre grasse, représentant une scène appropriée au texte ; des «rouleaux » désignent par leurs inscriptions les principaux personnages et servent de légendes à la gravure. L"'Exercice sur le Pater noster", sorte de méditation chrétienne très populaire au XVe siècle, est l'une des plus répandues de ces publications, mais ce n'est qu'en 1806 que cet opuscule fut mentionné dans la collection de livres du XVe siècle par le bibliographe La Serna Santander. De la bibliothèque «P. Hernesti Chavoix Typographi » (Ex-libris sur le premier contre-plat) et ce celle de «G. DESBAT » (ex-libris collé sur le faux-titre) avec un ENVOI AUTOGRAPHE signé de l'éditeur : «à monsieur Desbat / hommage de l'éditeur / G. Delarue ». Exemplaire en BEL ÉTAT, bien relié. NICE COPY. PICTURES AND MORE DETAILS ON REQUEST.

Two works stitched together, but disbound from a volume; 4to, pp. 54; 26, [2] advertisements; a little foxed towards the end; disbound. First editions of both works. Odes on Several Subjects is Akenside's most important publication, after his enormously popular Pleasures of Imagination, which had first appeared the year before. Akenside published almost all of his poetry when he was very young, devoting the rest of his life to his career as a physician. He was an ardent Whig, in both political and religious terms, which did not endear him to Samuel Johnson, whose appraisal of him in his Lives of the Poets is dismissive: 'Of his odes nothing favourable can be said. To examine such compositions singly, cannot be required; they have doubtless brighter and darker parts: but when they are once found to be generally dull, all further labour may be spared; for to what use can the work be criticized that will not be read?' Posterity has dealt with Akenside more generously; he was an acknowledged influence on both Wordsworth and Coleridge. As Iolo Williams first noticed, signature B of this collection of poems was at first wrongly imposed, so that the text on p. 10 (B1 verso) was originally that which belonged on p. 52; a few copies survive in that state. In this copy, the whole of sig. B has been reprinted; an intermediate state exists in which B1 is a cancel. The Ode to the Earl of Huntingdon is also known in two different states, although in this case one appears to be largely a reprint of the other, with part of sig. B reprinted from standing type. Foxon places this one (with 'Pall-mall' in the imprint, and A3 signed 'A2') first, but in Points Williams is of the contrary opinion. Foxon p. 13 and A137; Williams, Seven XVIIIth century bibliographies, pp. 90-92; and Points in eighteenth-century verse, pp. 45-6.

N.p. n.d. (Rome) (1870's?). 8x5", cloth, unpaged, ink inscription, loose pp, seminary hand stamps else good. Wonderful book with the prayer "Oue Father" written in over 50 various languages incl. 5 different English versions and some obscure translations.

44 x 28 cm. Encre, gouache, aquarelle et or sur papier fort. Signé et daté en bas à droite : 1855. Grande enluminure inspirée des manuscrits médiévaux illustrant le Pater Noster avec une partie de la prière latine. Grande initiale "P" très ornée, avec de nombreux motifs symboliques et décoratifs : dragons et créatures fantastiques, miniature, plantes, fleurs et arabesques, suivie de lettrines formées par des épées ornées de croix.