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ALBERTI, Rafael. Holograph Manuscript of Marinero en tierra. 1930 c. . One hundred forty-three pages, rectos only, square small octavo notebook. Holograph fair copy manuscript of the text of Alberti's first book, the collection of poems entitled Marinero en tierra, this being the only known extant manuscript of the text. The present text was prepared from a later edition ("ultima edicion") of the text, probably circa 1930 and containing something like two-and-a-half times the text of the first edition. The original collection won Spain's prestigious National Prize for Literature in 1925. Alberti is among the greatest poets of modern Spain, the equal of a Machado or a Garcia Lorca although he spent the majority of his many years in exile, returning only in 1977 at the age of 75. Among his dozens of volumes of verse and his ten significant plays, several number among the great volumes of twentieth-century poetry, including Cal y canto, Sobre los angeles and Sermones y moradas. The present work is one of extraordinary maturity and singularity of poetic voice for the work of a 22-year old. Its primary theme and tone is one of nostalgia for a lost world of childhood, namely, the sea (the Bay of Cadiz) of the poet's birthplace at Puerta Santa Maria. While formally reminiscent of the old Spanish ballad and the Cancioneros of the 15th and 16th centuries, it already bears the mark of the poet's own distinctive style. Alberti had intended a career as a painter, and he is indeed an accomplished artist, but a health problem that compelled him to take a mountain air cure would call forth the poet within him. Over many tedious months recuperating from his lung disease, Alberti longed more and more for the sea, and a voice singing the joys of his youth arose within him, resulting in the present lyrics. Juan Ramon Jimenez praised the work, "viewing it as very personal and traditional but fresh, new and fully perfected." Alberti had shown Jimenez, a fellow Andalusian who had also grown up by the sea, an early draft of the poems, and the older poet was so favorably impressed that he not only published some of the text in the journal, Si, but wrote Alberti an appreciation which the poet subsequently included in all editions of the book, included here about half-way through the text. A wonderful manuscript.
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45,000.00 |
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Alvarez y Valladares, Joseph (José Clavijo y Fajardo). El Pensador. Madrid, Joachin Ibarra, 1762. Duodecimo. Twelve original parts bound as one, in contemporary full vellum with leather ties. One of the earliest and most important periodicals of Spain, El pensador (The Thinker), was published single-handedly by Clavijo until 1767. The imprimatur specifies that the individual "discourses" would be appearing every monday, and the colophon announces that these and other "pensamientos" ("thoughts") would be available at the "Librería de los hermanos Orcel", in Montera street. A very good copy of this epochal periodical, printed by the figure responsible for the most attractive and sought-after edition of Don Quixote.
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3,020.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 1/2" x 11" ink and colored pencil drawing of a large multicolored fish standing upright on its tail suggesting the shape of a vase or perhaps even a fountain, with smaller fish flowing forth as if from delicate tendrils. Brings new meaning to the old cliche, which we will now update to include a million words. Very good, on a page removed from a notebook.
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22,500.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 ½" x 11" ink and colored pencil drawing, depicting the lower half of a surreal one-eyed face, emerging as in a basin being filled with rain drops. A splendid example of Lorca's whimsical art. Very good, on a page removed from an album. Lorca drawings are extremely scarce in the market.
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22,500.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 1/2" x 11" ink and colored pencil drawing of a vase full of drooping flowers, adorned with the shape of a new moon with an open eyeball. A fine example of Lorca's subtle surrealism. Very good, on a page removed from a notebook.
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22,500.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 1/2" x 11" ink and colored pencil drawing of a bullfight, once again a fine example of Lorca's subtle surrealistic style. The scene suggests an almost uncanny stillness, while the faceless matador hints at something otherworldly. Very good, on a page removed from a notebook.
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22,500.00 |
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GARCÍA LORCA, Federico. Ink Drawing with Watercolor Wash, Signed. c. 1934. 10 3/4" x 7" ink drawing with watercolor wash by the great Spanish poet and playwright, created during his stay in Argentina in 1933-34, depicting an organic symbiosis of plant and flesh: a small bush, or perhaps a mere branch, covered with berries and evergreen needles emerges from a severed human hand, from which also roots are descending. Aside from his stature as one of the great writers of the 20th Century, Lorca also maintains a following as a quirky, whimsical and subtle artist in a surrealist vein. His drawings illustrate several of his published works and are the subject of a number of monographs, but they are very rare in commerce and have almost never been viewed by a wider public. The present work has been removed from a notebook, so the left margin is a bit ragged; there is some light foxing as well, but overall, very good. Matted, framed and glazed.
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22,500.00 |
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GOMEZ DE LA SERNA, Ramón. Holograph Working Manuscript of the Article "La Viuda Alegre." 1955. Thirteen 16cm x 23 cm pages. Working manuscript for the article "La Viuda Alegre" (pub. in Saber Vivir No. 111, january-march 1955). A sort of late review of Franz Lehar's opera The Merry Widow which is in reality an excuse to expound wittily on the role of widows from and anthropological and social stance. XIX century widows are radically different from their XX century counterparts. The ideal ones are, of course, the rich ones, just like the Lehar's, who became rich without having to marry a rich widow. In typical Gómez de la Serna fashion, the article hopscotches through numerous posibilities brought about by the subject with elegant humor and poignant commentary. Hand-numbered and signed by Gómez de la Serna, with multiple corrections and additions throughout, and a note on the upper left corner of the first page requesting galley proofs of the article.
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2,500.00 |
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GUILLÉN, Jorge. Corrected Carbon Typescript of the Essay, "Poesia de Pedro Salinas." n.d. (c. 1965). Eleven 8½" x 11" sheets. Carbon typescript, corrected in holograph in numerous places, of Guillen's essay on the peotry of Perdo Salinas, submitted for publication in the periodical Buenos Aires Literaria, and deriving from its archive. The typescript is paginated 1-4 and then 9-15, but it is unclear whether it is complete or not as each numbered section seems to be complete in itself and follows continuously from the others. Most pages bear Guillen's corrections or insertions, and the versos of two pages contain the holograph text of a poem. Very good. Signed by Guillen at the close.
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4,500.00 |
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GUILLÉN, Jorge. Holograph Manuscript of the Poem "Un paseante solitario". 1979. Four sides of two 8 ½" x 11" sheets. A poem entitled "Un paseante solitario," parenthetically noted as referring to Rousseau's Reverie d'un promeneur solitaire. Guillen is, by general acclamation, one of the great poets of modern Spain. The present clean draft of this seven-stanza poem was submitted by Guillén to the editor of a literary review for publication. Included is Guillen's hand-addressed manila mailing envelope. Staple marks to upper left corners, horizontal crease, else near fine.
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3,500.00 |
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