2016, ISBN: 04be8b7435a5261567299bf9e929f5bb

Livres de poche

Phoenix, AZ: Rampart Press, 1963. Broadside. Folio (12½" X 16"). Titled in red. Limited to 250 copies printed on German mouldmade paper. Fine. First separate printing. A… Plus…

Phoenix, AZ: Rampart Press, 1963. Broadside. Folio (12½" X 16"). Titled in red. Limited to 250 copies printed on German mouldmade paper. Fine. First separate printing. Although Beecher didn't graduate from Harvard, he did attend Harvard Graduate School for language and literature in 1926 -- hence his opening declaration here, "I am, sir, so to speak, 'a Harvard man.'" Possibly occasioned by a much later visit by Beecher to his almost-alma (he refers to "Nostalgic reminiscences brought on / by your most recent bulletin"), this delightful piece begins as a tribute to the legendary Harvard literature professor G.L. Kittredge (1860-1941), Shakespeare and Chaucer authority, prim and proper "in forked snowy beard and pearl-grey spats" whose teachings were equally fastidious: "Prince Hamlet / made no unseemly quips anent the thighs / Ophelia spread for him...." -- thus "Nice young men were we / in Kitty's class...." Personal recollections follow before a Lionel Trilling essay ("Commitment to the Modern") found in the "recent bulletin" shows the poet that "you do not change / at Harvard, like castrati whose voices / retain their boyish purity." Harvard's status quo conservative establishment, he suddenly realizes, rub this radical poet the wrong way: "Fend from me, I beg you, sir, / offers of chairs magnates endow. Waylay / me with no teaching sinecure.... Summon me never to recite my verse / before a convocation in my honor / nor to appear in doctoral costume / as orator at Commencement." A wonderfully dark, provocative, humorous poem. One of the great American protest and radical poets, Beecher left his steel mill background to teach English and sociology at various universities; he worked various positions under the New Deal; his first published poem, "And I Will Be Heard" (1940), placed him on the literary map, and the book-length narrative poem "Here I Stand" came the following year; during World War Two he sailed aboard the first racially integrated ship, the S.S. Booker T. Washington, and wrote about those experiences in "All Brave Sailors"; blacklisted from teaching by refusing to sign a state loyalty oath in California in 1950, he became a rancher and farmer in Sonoma County; there he continued writing, founding the award-winning Morning Star Press in 1956 to publish his poetry and other socially-oriented pieces, becoming a gifted and accomplished practitioner in the process; this press then operated from San Francisco, Berkeley, and Jerome, Arizona; renamed it relocated to Scottsdale, Arizona and other locales; "Report to the Stockholders & Other Poems" appeared in 1962 to critical acclaim and "To Live and Die in Dixie" in 1966; these later years were filled with guest teaching positions from Massachusetts to California, and Beecher was in great demand as a lecturer and poetry reader nationwide; descended from famed Abolitionists Henry Ward Beecher, Harriet Beecher Stowe and Lyman Beecher, much of John Beecher's poetry concerns itself with race relations, labor reform and other social injustices., Rampart Press, 1963, 0, Phoenix, AZ: Rampart Press, 1963. Broadside. Folio (12½" X 16"). Titled in red. Limited to 250 copies printed on German mouldmade paper. Fine. First separate printing -- and although this broadside was never issued signed, Beecher's wife and printing partner, artist Barbara Beecher (1925-2016), handsomely signed a very small number in pencil at lower right and this is one such example. Although Beecher didn't graduate from Harvard, he did attend Harvard Graduate School for language and literature in 1926 -- hence his opening declaration here, "I am, sir, so to speak, 'a Harvard man.'" Possibly occasioned by a much later visit by Beecher to his almost-alma (he refers to "Nostalgic reminiscences brought on / by your most recent bulletin"), this delightful piece begins as a tribute to the legendary Harvard literature professor G.L. Kittredge (1860-1941), Shakespeare and Chaucer authority, prim and proper "in forked snowy beard and pearl-grey spats" whose teachings were equally fastidious: "Prince Hamlet / made no unseemly quips anent the thighs / Ophelia spread for him...." -- thus "Nice young men were we / in Kitty's class...." Personal recollections follow before a Lionel Trilling essay ("Commitment to the Modern") found in the "recent bulletin" shows the poet that "you do not change / at Harvard, like castrati whose voices / retain their boyish purity." Harvard's status quo conservative establishment, he suddenly realizes, rub this radical poet the wrong way: "Fend from me, I beg you, sir, / offers of chairs magnates endow. Waylay / me with no teaching sinecure.... Summon me never to recite my verse / before a convocation in my honor / nor to appear in doctoral costume / as orator at Commencement." A wonderfully dark, provocative, humorous poem. One of the great American protest and radical poets, Beecher left his steel mill background to teach English and sociology at various universities; he worked various positions under the New Deal; his first published poem, "And I Will Be Heard" (1940), placed him on the literary map, and the book-length narrative poem "Here I Stand" came the following year; during World War Two he sailed aboard the first racially integrated ship, the S.S. Booker T. Washington, and wrote about those experiences in "All Brave Sailors"; blacklisted from teaching by refusing to sign a state loyalty oath in California in 1950, he became a rancher and farmer in Sonoma County; there he continued writing, founding the award-winning Morning Star Press in 1956 to publish his poetry and other socially-oriented pieces, becoming a gifted and accomplished practitioner in the process; this press then operated from San Francisco, Berkeley, and Jerome, Arizona; renamed it relocated to Scottsdale, Arizona and other locales; "Report to the Stockholders & Other Poems" appeared in 1962 to critical acclaim and "To Live and Die in Dixie" in 1966; these later years were filled with guest teaching positions from Massachusetts to California, and Beecher was in great demand as a lecturer and poetry reader nationwide; descended from famed Abolitionists Henry Ward Beecher, Harriet Beecher Stowe and Lyman Beecher, much of John Beecher's poetry concerns itself with race relations, labor reform and other social injustices., Rampart Press, 1963, 0, New York: Farrar & Rinehart, 1934. First edition. Very Good; no dj. light rubbing to spine ends & corners; moderate fading of spine. All else-clean, tight, & attractive.. 12 mo, 182 pages; green boards with yellow title & spine lettering; contains the information from the program of the first New York performance of Jig Saw at the Ethel Barrymore Theatre on April 30, 1934. includes the cast of characters; stars were Ernest Truex and Spring Byington. A rare find of this neglected author & playwright. She wrote 16 novels, 10 plays & poetry. She was friends with Dos Passos and Hemingway. It was common knowledge that she had a long affair with Joh Howard Lawson. Diana Trilling said of her, "She's our best answer to the famiiar question, ' Who really says the funny things for which Dorothy Parker gets credit." Author's first play which had a run of 49 performances. It is the only one published during her lifetime. Powell's work is marked by biting satire. Nearly all her work is out of print., Farrar & Rinehart, 1934, 3, Briarwood, Minnesota: The Fifties, 1959. 1st printing; orange printed wraps; 60 clean, unmarked pages; includes; Four City Poems (Loujis Simpson, Denise Livertow, David Ignatow) New American Poems (James Wright, Margaret Scheinin, Robert Bly, Jerome Rothenberg, George Kresenky); Thoughts on Lorca and Rene Char; Poems of Paul Celan, Oioems of Mirko Tuma; Crunk (WOrk of Donald Hall); Note on Hydrogen Bomb Testing; Madame Tussaud's Wax Museum, Diana Trilling (the Other night in Heaven); Etc. 1st. Paperback. Very Good. 12 vo. Magazine., The Fifties, 1959, 3, A Poitiers, Chez Jean Faulcon l'ané, Imprimue du Rois..., 1777. 12mo (in 6s), 170 x 90 mms., pp. viii, 600, with numerous musical illustrations in text, contemporary mottled sheepskin, spine gilt in compartment, red leather label; binding a bit dried, with spine noticeably driec, top of spine chipped, base of spine slightly chipped and with small wormhole at base, corners worn. Francois de la Feilée (c. 1710 - 1780) made his reputation with this work which was first published in 1748 . "It advocates the 'expressive' performances of chant in accord with the doctrine of the Affections as it was then understood.... The use of trills and other ornamentation is recommended , and relative speeds of delivery are prescribed. The same text should be sung more slowly on a solemn feast-day than on normal days, but otherwise the immediate contents of the text should determine the manner of singing: prayers are to be sung 'devoutly and sadly,' narrative text 'without any passion but good pronunciation'" (Mary Hunter, New Grove). The work was reprinted numerous times in the 18th and early 19th centuries., A Poitiers, Chez Jean Faulcon l'ané, Imprimue du Rois..., 1777, 0, New York: Harper & Brothers, 1856. Book. Illus. by Illustrated. Good. Three-Quarter Leather. First Edition. 8vo - over 7¾" - 9¾" tall. First American Edition, in parts, as published in Harper's New Monthly Magazine, 1856-1857. Little Dorrit was originally published as a serial in monthly numbers from December, 1855 to June, 1857, with illustrations by 'Phiz' (Hablot K. Browne). It was first issued in book form in June, 1857. Double-page format with original engravings. In 4 volumes, each covering a 6-month period, illustrated throughout, as follows: Harper's New Monthly Magazine. Volume XII. December, 1855, to May, 1856. NY: Harper & Brothers, 1856. "Little Dorrit" Chapters I - XVIII. pp. 234-253, 383-402, 526-546, 813-831. 12 engravings. Half-leather over buckram, five compartments, elaborate gilt design to spine, raised ridges, dentelles, 864 pp. in volume. Front hinge open, binding separating from text block. Fair condition. Volume XIII. June to November, 1856. NY: Harper & Brothers, 1856. "Little Dorrit" Chapters XIX - XL, pp. 97-117, 238-257, 383-401, 527-545, 672-690, 820-839. 18 engravings. Half-leather over buckram, five compartments, raised ridges, gilt titles. Corners rubbed. Very good condition. Volume XIV. December, 1856, to May, 1857. NY: Harper & Brothers, 1857. "Little Dorrit" Chapters XLI - LXII. pp. 97-117, 243-261, 379-397, 526-544, 672-690, 814-832. 13 engravings. Half-leather over buckram, five compartments, gilt titles and ruling, 864 pp. to volume. Chipping top of spine with .25" loss of material. Good condition. Volume V. Volume XV. June to November, 1857. NY: Harper & Brothers, 1857. "Little Dorrit" Chapter LXIII - LXX, pp. 96-114, 231-259. 4 engravings. Quarter leather over marble boards. 5 compartments, raised ridges. 864 pp. to volume. Half of top leather spine label gone, bottom leather has chip. 2" crack along hinge at spine. Good condition. This complex, sombre work, haunted by the symbol of the prison, is more than any other Dickens novel a study of society. George Bernard Shaw called it "a masterpieces among many masterpieces" and claimed it converted him to socialism... 'Little Dorrit, one of the most profound of Dickens' novels and one of the most significant works of the nineteenth century, will not fail to be thought of as speaking with a peculiar passion and intimacy in our own time.' (Lionel Trilling, Oxford University Press).., Harper & Brothers, 1856, 2.5<

1991, ISBN: 04be8b7435a5261567299bf9e929f5bb

Editions d'Art Les Heures Claires à Paris,1980, Petit in 4 (25 x 20 cm), 247 pages + 10 f - 233 pages + 6 ff - 174 pages + 8 ff. Illustration de 48 illustrations en couleurs d… Plus…

Editions d'Art Les Heures Claires à Paris,1980, Petit in 4 (25 x 20 cm), 247 pages + 10 f - 233 pages + 6 ff - 174 pages + 8 ff. Illustration de 48 illustrations en couleurs dans le texte (16 par titre) gravées sur bois par Jean Taricco et de culs-de-lampe, d'après des aquarelles de Henri Lemarié. En feuillets, couverture rempliée et illustrée, texte encadré d'un filet rouge vermillon, Sous emboîtage de couleur beige et rose et illustré, plats avec farandole de personnages en gris bordés de doré, filets d'encadrement. Tirage limité à 3650 exemplaires tous sur Grand Vélin de Rives :1 Exemplaire unique réservé à l'Editeur numéroté 1 ; 47 exemplaires numérotés de 2 à 48 enrichis d'une aquarelle originale et d'un dessin d'un cul-de-lampe, d'une suite en couleurs, d'une suite en noir et d'une décomposition des couleurs ; 100 exemplaires sur Grand Vélin de Rives numérotés de 49 à 148 enrichis d'une suite en couleurs, d'une suite en noir et d'une décomposition des couleurs ; 150 exemplaires numérotés de 149 à 298 enrichis d'une suite en noir et d'une décomposition des couleurs ; 180 exemplaires numérotés de 299 à 478 enrichis d'une suite en couleurs ; 220 exemplaires numérotés de 479 à 698 enrichis d'une suite en noir ; 2952 exemplaires numérotés de 699 à 3650 avec les 48 illustrations dans leur état définitif. Exemplaire 122, un des 100 avec une suite en couleurs, une suite en noir et une décomposition des couleurs sur papier Grand Vélin de Rives.+++++++ Second papier pour cet exemplaire des trois textes les plus célèbres d'Alphonse Daudet illustrés par 48 bois d'après des aquarelles du maître miniaturiste Henry Lemarié (1911-1991). Lemarié est un des miniaturistes les plus apprécié de la seconde moitié du XXème siècle, et son oeuvre d'illustrateur de livres d'Art appréciée et recherchée, couvre près de 50 ans de Villon, à Verne en passant Cervantès, La Fontaine, Dickens, Daudet et "Les contes des Mille et une Nuits". Cet exemplaire contient deux suites des 48 illustrations en couleurs et en noir (32 feuillets dans deux chemises muettes pour chacun des 3 titres) ainsi qu'une décomposition des couleurs (65 feuillets dans une troisième chemise muette). L'ensemble des feuillets des suites et décomposition pour un titre donné est proposé dans un second coffret pour chacun de 3 titres de Daudet édités par "Les Heures Claires" - Intérieurs très frais, coffrets en très bon état, Très bon exemplaire comprenant deux suites et une décomposition des couleurs.., Editions d'Art Les Heures Claires à Paris, 1980, 0, London: Bradbury and Evans, 1857. Fine. Bradbury and Evans, London 1857, 14x22cm, 2 volumes reliés. - Edition originale illustrée par Hablot Knight Browne d'un frontispice, d'un titre gravé avec une vignette et de 38 planches dont 8 à la manière noire. Comme généralement, rousseurs en marges de toutes les illustrations. Cette édition contient toutes les caractéristiques de la première émission : 3 lignes d'errata page XIV ; ""William"" au lieu de Frederick à la vingt-septième ligne de la page 317 ; la mention imprimée B2 en bas de la page 371 au lieu de BB2 ;""Rigaud"" à la place de ""Blandois"" pages 469, 470, 472, et 473. Reliure en demi veau glacé bleu marine à coins, dos à cinq nerfs sertis de filets dorés et ornés de doubles caissons dorés richement décorés de motifs typographiques dorés, pièces de titre et de tomaison de maroquin rouge, quelques traces de frottements sur les dos, encadrement de filets dentelés estampés à froid sur les plats de papier caillouté, gardes et contreplats de papier caillouté, ex-libris encollés sur les contreplats, tranches marbrées, petits accrocs surt les coupes, reliures de l'époque. Chef-d'oeuvre d'une grande noirceur, Little Dorrit est le deuxième roman de Dickens de trois romans politiques et sociaux. C'est la dénonciation d'une société victorienne obsédée par la richesse et le pouvoir. George Bernard Shaw jugera le roman ""Plus séditieux que le Capital de Karl Marx"". Provenance : Bibliothèque Robert Nossam (Robert Masson) avec son ex-libris. [ENGLISH DESCRIPTION ON DEMAND], Bradbury and Evans, 1857, 5, London: Chapman and Hall, 1844. Fine. Chapman and Hall, London 1844, In-8 (14x21,5cm), 624pp., relié. - Edition originale de première émission illustrée par Phiz (Hablot K. Browne) de 40 figures dont un frontispice et un titre gravé avec vignette. Sur le frontispice, 100L sur le poteau télégraphique et 7 personnes dans la malle-poste. Errata avec 14 lignes de texte et un verso blanc. La planche en regard de la page 70 n'a malheureusement pas été insérée dans le volume. A l'instar de toutes ses éditions, Dickens a profondément travaillé avec l'illustrateur. Reliure en demi veau glacé havane à coins d'époque. Dos à nerfs richement orné, multiples roulettes. Pièce de titre de chagrin rouge, seconde pièce de titre de chagrin noir. Tranches peignées. Comme pour toutes les éditions de Dickens le texte est parfaitement frais et sans rousseurs, et toutes les illustrations avec des brunissures ou entièrement brunies (en raison des serpentes et de la différence dans l'acidité des papiers). Petites taches sombres sur le cuir des plats. Bel exemplaire, bien relié, condition assez rare pour une reliure d'époque d'un roman de Dickens. Selon l'auteur lui-même, son meilleur ouvrage, ""a hundred points immeasurably the best of my stories"" (letter to John Forster, 2 November 1843). Sans doute, parmi tous les romans picaresques de l'auteur, son plus drôle et son plus satirique, dans une conception encore plus mature de la matière romanesque et de la complexité des personnages. Le roman contient également une part très sombre et tragique. Il fut jugé à sa réception comme anti-américain, Dickens ayant transposé dans cette oeuvre ses sentiments sur la société américaine. Il avait effectué un voyage aux Etats-Unis en 1842. La jeune nation y est en effet écrite comme arrogante et suffisante, entièrement dévoué à l'argent. Le roman fut adapté au cinéma muet en 1912 et 1914 et récemment poour la BBC sous forme de séries. [ENGLISH DESCRIPTION ON DEMAND], Chapman and Hall, 1844, 5, London: Bradbury and Evans, 1857. Fine. Bradbury and Evans, London 1857, Fort in-8 (14x21,7cm), xiv, 625pp., relié. - Edition originale illustrée par H. K. Browne d'un frontispice, d'un titre gravé avec une vignette et de 38 planches dont 8 à la manière noire. Cette édition contient tous les points de la première émission : 3 lignes d'errata p. xiv ; ""William"" au lieu de Frederick p. 317 ; ""Rigaud"" à la place de ""Blandois"" p.467. Reliure en demi veau glacé noir d'époque. Dos à faux nerfs orné de filets. Pièce de titre de veau bordeaux. Plats de percaline lie de vin. Un léger et petit manque en tête. Traces de frottement en coiffes, mors et coins. Etroite fente le long du mors supérieur sur 2 cm. Mors inférieur fendu sur 10 cm sur le dernier tiers du mors au-dessus de la queue. 2 coins un peu émoussés. Papier du texte bien propre, les gravures avec des brunissures en marge et au dos, comme toujours, en raison du papier velin utilisé. Oeuvre d'une grande noirceur, Little Dorrit est le deuxième roman de Dickens de trois romans politiques et sociaux. C'est la dénonciation d'une société victorienne obsédée par la richesse et le pouvoir. G. B. Shaw jugera le roman ""Plus séditieux que le Capital de Karl Marx"". Une des grandes oeuvres de Dickens. [ENGLISH DESCRIPTION ON DEMAND], Bradbury and Evans, 1857, 5<

1856, ISBN: 04be8b7435a5261567299bf9e929f5bb

Edition reliée

Gebraucht, guter Zustand, [PU: Harper & Brothers, New York], First American Edition, in parts, as published in Harper's New Monthly Magazine, 1856-1857. Little Dorrit was originally publi… Plus…

Gebraucht, guter Zustand, [PU: Harper & Brothers, New York], First American Edition, in parts, as published in Harper's New Monthly Magazine, 1856-1857. Little Dorrit was originally published as a serial in monthly numbers from December, 1855 to June, 1857, with illustrations by 'Phiz' (Hablot K. Browne). It was first issued in book form in June, 1857. Double-page format with original engravings. In 4 volumes, each covering a 6-month period, illustrated throughout, as follows: Harper's New Monthly Magazine. Volume XII. December, 1855, to May, 1856. NY: Harper & Brothers, 1856. "Little Dorrit" Chapters I - XVIII. pp. 234-253, 383-402, 526-546, 813-831. 12 engravings. Half-leather over buckram, five compartments, elaborate gilt design to spine, raised ridges, dentelles, 864 pp. in volume. Front hinge open, binding separating from text block. Fair condition. Volume XIII. June to November, 1856. NY: Harper & Brothers, 1856. "Little Dorrit" Chapters XIX - XL, pp. 97-117, 238-257, 383-401, 527-545, 672-690, 820-839. 18 engravings. Half-leather over buckram, five compartments, raised ridges, gilt titles. Corners rubbed. Very good condition. Volume XIV. December, 1856, to May, 1857. NY: Harper & Brothers, 1857. "Little Dorrit" Chapters XLI - LXII. pp. 97-117, 243-261, 379-397, 526-544, 672-690, 814-832. 13 engravings. Half-leather over buckram, five compartments, gilt titles and ruling, 864 pp. to volume. Chipping top of spine with .25" loss of material. Good condition. Volume V. Volume XV. June to November, 1857. NY: Harper & Brothers, 1857. "Little Dorrit" Chapter LXIII - LXX, pp. 96-114, 231-259. 4 engravings. Quarter leather over marble boards. 5 compartments, raised ridges. 864 pp. to volume. Half of top leather spine label gone, bottom leather has chip. 2" crack along hinge at spine. Good condition. This complex, sombre work, haunted by the symbol of the prison, is more than any other Dickens novel a study of society. George Bernard Shaw called it "a masterpieces among many masterpieces" and claimed it converted him to socialism. 'Little Dorrit, one of the most profound of Dickens' novels and one of the most significant works of the nineteenth century, will not fail to be thought of as speaking with a peculiar passion and intimacy in our own time.' (Lionel Trilling, Oxford University Press)., Books<