Image
|
Book description
Keyword, Author, Title, Description |
Price
USD |
| |
AKHMATOVA, Anna (1889-1966). Typescript Poem, Signed. 1945. Quarto. Two-page carbon typescript manuscript entitled "From The Leningradski Elegies," signed by Akhmatova and dated: 1945. Fontanny Dom. September 2. (The date presumably refers to the date of composition and not to the creation of this particular document, which is more likely to have been made in the early sixties.) Signed by Akhmatova in blue pencil. During the many years in which the divine Anna was prohibited from publishing her poetry, she would circulate her manuscripts among her circle of friends in this samizdat form: five carbons could be made at a time, and the distribution of such typescripts often provided the only contact many poets in her situation could establish with the deep tradition of Russian poetry and with its vital pulse. The present typescript emanates from a member of the inner circle. Very good.
Show details... |
2,250.00 |
 |
| |
ALBERTI, Rafael. Autograph Letter, Signed. 1963. Single 8" x 11" sheet. Autograph letter, signed and dated in Paris on October, 1963, from Rafael Alberti to Andrés Vázquez of Editorial Losada and former editor of Buenos Aires Literaria. Alberti is returning the proofs for Volume II of his Teatro (plays), and gives Vázquez instructions about the publication. Interestingly, he says that he had to correct "De un momento a otro" and "Noche de guerra en el museo del Prado" 'from memory,' since he didn't have a copy. Volume II was published by Losada that same year, and it also included "La Lozana Andaluza," an adaptation of the very famous 16th Century Picaresque novel by F. Delicado. In Paris, he has been searching for the French edition of "La Lozana..." published in 1912 with an introduction by Apollinaire, as he wishes to include some references. He also mentions his upcoming trip to Italy, where he would end up spending the next fifteen years. He adds two footnotes on the verso, on the top, left, and bottom of the page; in one of them he states his wishes for the final title of "La Lozana...": "La Lozana andaluza (Mamotreto en un prólogo y tres actos)", and he instructs him to eliminate the rest of the subtitle ("interpretación libre de la novela de Francisco Delicado, presbítero"). In fact, this later instruction was either ignored or Alberti changed his mind later, as the whole title was indeed published as it stood. A very nice letter revealing Alberti's preocupation with the smallest details of his publications. Also, a letter from that crucial time in his life in which he moved away from Buenos Aires and set down roots in Rome. With an improvised a letterhead by Alberti: a charming little sketch of the Eiffel Tower. Signed by Alberti in his large, flowery style.
Show details... |
1,250.00 |
|
| |
ALBERTI, Rafael. Holograph Fair Copy, Signed, of the Poem "Manuel F. Rugeles." c. 1950. One page, quarto. Holograph fair copy, on onion-skin paper, of this poetic appreciation of the Venezuelan lyric poet, whose evocations of the earth and sea, whose simple but powerful verse have evoked comparison with his contemporary, the Spanish poet Antonio Machado. Ten four-line stanzas, signed by Alberti.
Show details... |
2,500.00 |
|
| |
ALBERTI, Rafael. Original Watercolor, Signed. n.p., c. 1950. 13 ¾" x 9 7/8" (image size 9 7/8" x 6") original ink drawing with watercolor wash, signed by the great Spanish poet. Alberti had trained as an artist, and it was due only to a health problem requiring a mountain cure that would uproot him from his studies, that his poetic gift would emerge in his early twenties. The present image, which we date from the fifties, shows an abstracted woman with prominent cylindrical breasts in a landscape of refracted shapes, her hair streaming behind her. The overall impression is that the woman is a dancer surrounded by light emanating from a number of sources on a colorful abstract stage. Very good or better, effected on a strong stock of paper.
Show details... |
8,500.00 |
|
| |
ALBERTI, Rafael. Original Watercolor, Signed. n.p., c. 1950. 13 ¾” x 9 7/8” original watercolor, signed by the great Spanish poet. Alberti had trained as an artist, and it was due only to a health problem requiring a mountain cure that would uproot him from his studies, that his poetic gift would emerge in his early twenties. The present image, which we date from the fifties, shows an abstracted man on the deck of a small sailboat at sea, his hair lashed in the wind. Very good, effected on a sturdy stock of paper.
Show details... |
6,500.00 |
|
| |
ALBERTI, Rafael. Original Watercolor, Signed. n.p., c. 1950. 13 ¾” x 9 7/8” (image size 10 ½” x 6 ¾”) original watercolor, signed by the great Spanish poet. The present image, which we date from the fifties, shows a man and a woman, in abstract, formed of lines of force, stretching out their hands to each other, against an abstract and rather surreal background. Some darkening to borders, not affecting image, as from exposure to smoke, and with a small piece lacking from one border. A very nice image.
Show details... |
4,500.00 |
|
| |
ALEIXANDRE, Vicente. Autograph Letter, Signed. Madrid: 1947. A very full one-page (8½" x 11") autograph letter, addressed to Guillermo de Torre, dated 11 May 1947, Madrid. Alexeindre writes regarding the imminent publication of his Sombre del paraiso in Argentina, requesting further proofs, as the original Spanish edition contained many errors, most of which he ennumerates for Torre. Two largish paragraphs concern that matter, the rest is devoted to personal talk of Torre's own books and mutual frineds, for example, Aleixandre mentions that he has seen Carmen Conde. The letter is written on extremely flimsy paper and shows wear, but it is in stable condition. A very nice early letter from the Nobel laureate.
Show details... |
1,250.00 |
|
 |
Almafuerte. Holograph Poem, Entitled "Vigilias amargas," Signed and Dated. La Plata: 1907. Eight lined octavo sheets, rectos only. Thirty-three stanzas of four lines each, in the main a fair copy, but with revisions or corrections in seven locations.
Show details... |
4,500.00 |
|
| |
ANNENKOFF, George. Autograph Letter. (c. 1930's). Autograph letter. First eight pages only, on four blue quarto sheets. An important letter, addressed to Abram Markovitch (Efros) and most likely written in the 1930s. Efros was a well-known art historian and critic who worked in the Moscow Art Theater with Stanislavsky. He began corresponding with Annenkoff in 1922 and introduced him to Stanislavsky. The first four pages of this manuscript are dedicated to thoughts about the life of the painter in Paris. Annenkoff compares the painter to a worker at the Citroen company. As soon as a painter becomes dependent upon his agent he is like a worker on a production line -- which he sees as having both good and bad aspects. This, he contends, is totally different from the painter's life in Russia. Annenkoff further discusses the state of the Russian government, mentions the book 17 Portraits, for which he is well known, and lists the original portraits from the book that he still has in his possession. Very good.
Show details... |
2,500.00 |
|
| |
ANNENKOFF, George (1889-1974). Autograph Manuscript. c. 1920. Autograph notebook, approximately eleven folio sheets, including an early draft of his novel, Novel about Nonsense, eventually published in Berlin in 1934, as well as one page of an important memoir about the opening of the House of Art in Petersburg. The House of Art was inaugurated on 19 November 1919 and became the center of the city’s literary and artistic life until 1922 when its spiritual leader, Maxim Gorky, went abroad. Annenkoff describes the role and structure of the House of Art and lists the members of its board of directors: M. Gorky, A. Blok, A. Benois, K. Chukovsky, V. Sazonov. The notebook also includes various drafts of letters, sketches and notes. A historical document of real significance.
Show details... |
9,500.00 |
|
| Entries 1-10 of 35 |
Back · Advance |