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S. Papadaki-Oekland;
Byzantine Illuminated Manuscripts of the Book of Job A Preliminary Study of the Miniature Illustrations. Its Origin and Development,
Turnhout, Brepols, 2009 Hardback, 478 p., 127 b/w ill. + 285 colour ill., 23 x 30. ISBN 9782503532325.
Bookseller reference : 40469
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S. Panayotova, N. Morgan (eds.)
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria + the Meuse region Southern Netherlands.
, Brepols, 2009 two volumes; 292 + 255 =560 p., 750 colour ill., 230 x 330 mm, Languages: English, Hardback wih dusjackets , fine condition !. ISBN 9781905375479.
Bookseller reference : 31325
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S. Panayotova, N. Morgan (eds.)
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria SET 2 VOLUMES.
, Brepols, 2012 Hardback in cloth + dusjacket, 2 vol., 560 pages., 750 colour ill., 230 x 330 mm., Languages: English, fine condition !. ISBN 9781905375479.
Bookseller reference : 35786
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S. Panayotova, N. Morgan (eds.);
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria SET,
Turnhout, Brepols, 2009 Hardback, 2 volumes ., 560 p., 750 colour ill., 230 x 330 mm. ISBN 9781905375479.
Bookseller reference : 39038
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S. Panayotova, N. Morgan, S. Reynolds (eds.);
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part Two: Italy and the Iberian Peninsula,
Turnhout, Brepols, 2012 Hardback, 2 vol., 720 p., 900 colour ill., 230 x 330 mm. ISBN 9781905375851.
Bookseller reference : 39039
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S. Keefe;
catalogue of works pertaining to the explanation of the creed in Carolingian manuscripts,
Turnhout, Brepols, 2012 Hardback, 402 p., 160 x 240 mm. ISBN 9782503544076.
Bookseller reference : 39178
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S. Cantelli;
Hrabani Mauri Opera exegetica. Repertorium fontium. I,
Turnhout, Brepols, 2006 Hardback, XXXIV+392 p., 1 b/w ill., 160 x 240 mm. ISBN 9782503510644.
Bookseller reference : 39133
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S. Cantelli;
Hrabani Mauri Opera exegetica. Repertorium fontium. II,
Turnhout, Brepols, 2006 Hardback, 558 p., 160 x 240 mm. ISBN 9782503510651.
Bookseller reference : 39134
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S. Cantelli;
Hrabani Mauri Opera exegetica. Repertorium fontium. III ,
Turnhout, Brepols, 2006 Hardback, 566 p., 160 x 240 mm. ISBN 9782503510668.
Bookseller reference : 39135
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S. Niskanen;
Letter Collections of Anselm of Canterbury ,
Turnhout, Brepols, 2012 Hardback, 348 p., 11 b/w ill., 160 x 240 mm. ISBN 9782503540757.
Bookseller reference : 39176
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S. Rankovic (ed.);
Modes of Authorship in the Middle Ages,
Turnhout, Brepols, 2012 Hardback, VIII+428 p., 15 x 23. ISBN 9780888448217.
Bookseller reference : 40498
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S. Luiz, Fr. Antonio de
Mestre de Ceremonias, que ensina o rito romano, e serafico aos religiosos da reformada, e Real Provincia da Conceição no Reino de Portugal, exposto em duas unicas classes. Terceira Impressão, mais correcta, e notavelmente accrescentada com algumas Lições, varias Doutrinas, muitas Declarações da Sagrada Congregação, e Determinações novissimas do N. SS. P. Pio VI. Por um filho da sobredita Provincia.
Lisboa, Na officina de Simão Thaddeo Ferreira, 1789. 4° 450 S. / Pag. Orig. - Lederband / Encadernação da época inteira de pele. [2 Warenabbildungen] Exlibris auf dem vorderen Innendeckel. Handschriftl. Eintrag auf dem Vortitel / Manuscritos na página de ante-rosto. Gut erhalten / Bom estado.
Bookseller reference : 41455
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S. Panayotova, N. Morgan (eds.)
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria + the Meuse region Southern Netherlands.
two volumes; 292 + 255 =560 p., 750 colour ill., 230 x 330 mm, Languages: English, Hardback wih dusjackets , fine condition !. ISBN 9781905375479. This publication is the first to appear in a major new series of catalogues covering all Western medieval illuminated manuscripts in Cambridge, excluding only the manuscripts in the University Library which are being catalogued separately. The entries are based on the most recent studies undertaken by the Cambridge Illuminations Research Project; they are organised geographically by place of origin, and, within that grouping, listed chronologically. The present two-volume catalogue deals with the early manuscripts produced in the Frankish Kingdoms, the splendid, richly illustrated books from the Northern and Southern Netherlands ranging from the thirteenth to the sixteenth century, illuminations from the Meuse region, manuscripts both in Latin and the vernacular from the late eleventh to the end of the sixteenth century from Germany, and lastly an interesting group of books from Bohemia, Austria and Hungary. The focus of the catalogue is on the illumination, and includes detailed listings of all miniatures, decoration and ornamentation, which are made easily accessible by the inclusion of an exhaustive iconographic index. Entries also include much information on the textual contents of the manuscripts and on their provenance, as well as the most recent bibliographical references. Every manuscript catalogued is also illustrated, generally with several images, providing readers with a corpus of some 750 illustrations which are all reproduced in full colour.
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S. Panayotova, N. Morgan (eds.)
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria SET 2 VOLUMES.
Hardback in cloth + dusjacket, 2 vol., 560 pages., 750 colour ill., 230 x 330 mm., Languages: English, fine condition !. ISBN 9781905375479. This publication is the first to appear in a major new series of catalogues covering all Western medieval illuminated manuscripts in Cambridge, excluding only the manuscripts in the University Library which are being catalogued separately. The entries are based on the most recent studies undertaken by the Cambridge Illuminations Research Project; they are organised geographically by place of origin, and, within that grouping, listed chronologically. The present two-volume catalogue deals with the early manuscripts produced in the Frankish Kingdoms, the splendid, richly illustrated books from the Northern and Southern Netherlands ranging from the thirteenth to the sixteenth century, illuminations from the Meuse region, manuscripts both in Latin and the vernacular from the late eleventh to the end of the sixteenth century from Germany, and lastly an interesting group of books from Bohemia, Austria and Hungary. The focus of the catalogue is on the illumination, and includes detailed listings of all miniatures, decoration and ornamentation, which are made easily accessible by the inclusion of an exhaustive iconographic index. Entries also include much information on the textual contents of the manuscripts and on their provenance, as well as the most recent bibliographical references. Every manuscript catalogued is also illustrated, generally with several images, providing readers with a corpus of some 750 illustrations which are all reproduced in full colour. Review "These volumes triumphantly justify 'paper cataloguing'. [...] The authors and sponsors are to be warmly congratulated and urged to complete a series that makes a fundamental contribution to knowledge." (Catherine Reynolds, in The Burlington Magazine CLIII, March 2011, p. 182) « On ne peut que se réjouir de la qualité de ces deux premiers volumes et souhaiter la parution rapide des tomes suivants. » (A. Châtelet, dans Art et Métiers du Livre 31, Déc 2009-fév 2010, p. 91-92) "The first two beautifully designed volumes of Illuminated Manuscripts in Cambridge have all the indices and finding aids (including an index of biblical and non-biblical iconography) to facilitate further research. They are brimming with ideas, are full of dissertation topics, and are testaments to the bounty ? intellectual and sensuous or even sybaritic ? spread out before students of medieval manuscripts." (Kathryn M. Rudy, in HNA Review of Books) "This updating of the traditional manuscript catalogue is a very useful addition to the scholarship on manuscripts in English collections, in part because of the precision and brevity of the updated information, but especially because of the sumptuous illustrations, which provide the irreplaceable visual context for the textual information the catalogue presents." (Stephen Clancy, in Speculum 86/3, July 2011, p. 789) "The series will be a landmark in manuscript studies, and one can only hope that further support will hasten further projected volumes." (Rowan Watson, in: The Burlington Magazine, vol. CLIV, 2012, p. 847) "Esta calidad editorial y científica, presentes en los demás tomos y volúmenes que conforman la serie Illuminated Manuscripts in Cambridge de Harvey Miller/Brepols, es un excelente modelo a tener en cuenta para la edición de futuros catálogos de manuscritos iluminados." (Isabel Escandell Proust, in: Codex Aquilarensis, 29, 2013, p. 289-304) « (?) un instrument de travail précieux pour le chercheur et l?amateur éclairé. » (Marc Gil, dans Le Moyen Age, 1, 2017, p. 207)
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S. Panayotova, N. Morgan (eds.)
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria SET
Hardback, 2 volumes ., 560 p., 750 colour ill., 230 x 330 mm. ISBN 9781905375479. This publication is the first to appear in a major new series of catalogues covering all Western medieval illuminated manuscripts in Cambridge, excluding only the manuscripts in the University Library which are being catalogued separately. The entries are based on the most recent studies undertaken by the Cambridge Illuminations Research Project; they are organised geographically by place of origin, and, within that grouping, listed chronologically. The present two-volume catalogue deals with the early manuscripts produced in the Frankish Kingdoms, the splendid, richly illustrated books from the Northern and Southern Netherlands ranging from the thirteenth to the sixteenth century, illuminations from the Meuse region, manuscripts both in Latin and the vernacular from the late eleventh to the end of the sixteenth century from Germany, and lastly an interesting group of books from Bohemia, Austria and Hungary. The focus of the catalogue is on the illumination, and includes detailed listings of all miniatures, decoration and ornamentation, which are made easily accessible by the inclusion of an exhaustive iconographic index. Entries also include much information on the textual contents of the manuscripts and on their provenance, as well as the most recent bibliographical references. Every manuscript catalogued is also illustrated, generally with several images, providing readers with a corpus of some 750 illustrations which are all reproduced in full colour. Languages: English.
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S. Panayotova, N. Morgan, S. Reynolds (eds.)
Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part Two: Italy and the Iberian Peninsula
Hardback, 2 vol., 720 p., 900 colour ill., 230 x 330 mm. ISBN 9781905375851. This new publication constitutes Part Two of the multi-volume Cambridge Illuminations Research Project cataloguing all western illuminated manuscripts in the Fitzwilliam Museum and the Cambridge Colleges. It covers manuscripts produced in Italy and the Iberian Peninsula, ranging from the early Gospels of St Augustine made in sixth-century Rome, through the carefully designed patristic texts from twelfth-century Tuscany and Lombardy, the great law books of thirteenth- and fourteenth-century Bologna, the opulent Books of Hours, elegant Humanistic volumes and enormous Choir Books of the fifteenth century, and finally to the richly decorated and densely ornamented books of sixteenth-century Spain. In addition to the famous treasures, these catalogues include a considerable number of previously unpublished cuttings, among them new attributions to leading artists and exciting discoveries, all of which offer a stimulating source for further research. Every manuscript catalogued is also illustrated, frequently with several images, all reproduced in full colour. Entries for Italian manuscripts are arranged chronologically in the period up to 1200, while manuscripts produced after 1200 are catalogued by region of origin and within that division again by sequence of date. Manuscripts that cannot at present be allocated to a particular region are grouped in a special section, and Spanish books are again catalogued in chronological order. Languages: English.
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S.S. TARSUS, (1931-1961) TRAVEL LETTER.
[TRAVEL TO MARSEILLES BY S.S. TARSUS -EXOCHORDA-] Autograph letter signed 'Y. Küm?'.
Very Good Turkish Original autograph letter signed (ALS) 'Y. Küm?' sent to his mother from S.S. Tarsus. 21,5x28 cm. In Turkish. Written by a pencil. 1 p. Full. Dated 8-12-1957. He describes his travel route to his mother in Marseilles, to Spain by train, etc. [TRAVEL TO MARSEILLES BY SS TARSUS -EXOCHORDA-] Autograph letter signed 'Y. Küm?'. S / S Tarsus was launched in 1931 by "New York Shipbuilding Co.1" for "American Export linen New York" and was launched under the name SS Exochorda. The ship, which has a capacity of 879 passengers, is 140 meters long and 19 meters wide. Its water section was 8.3 meters. It had 7200 HP steam turbine machine weighing 9298 Groston. Exochorda, previously carrying passengers and cargo, was placed under the order of the United States Land Forces as "Harry E. Lee-AP17" as of 27 December 1940. After being used in logistics services during the Second World War, it was connected to the Toothshipyard in Baltimore on May 9, 1946 and taken out of service. In April 16, 1948, after it's purchased by Turkey, it was named Tarsus by Turkish politician Kasim Gürlek.
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SABBAH (Messod et Roger).
Les Secrets de l'Exode. L'Origine Egyptienne des Hebreux.
Paris, Godefroy, 2000. Un fort volume broche de format in 8°, 560 pp.; nombreux schemas reproductions de documents anciens. Couverture illustree.
Bookseller reference : 28645
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SABAHATTIN KUDRET AKSAL, (1920-1993), (Turkish poet and author).
[Autograph poem translations from Charles Baudelaire by Sabahattin Kudret Aksal].
Very Good Turkish Original typescript papers. 29x21 cm. In Turkish. 3 p. [Autograph poem translations from Charles Baudelaire by Sabahattin Kudret Aksal]. Aksal's translations of three poems from Baudelaire for Turkish 'Argos' literary periodical. Rare.
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Sabais, Heinz Winfried, Schriftsteller und Oberbürgermeister (1922-1981)
Eigenh. Albumblatt mit U.
o.J. Ohne Ort (Darmstadt), September 1978, Qu.-8°. 1 Seite. Briefkopf.
Bookseller reference : 41814
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Sabar, Shalom
Mazal Tov: Illuminated Jewish Marriage Contracts from the Israel Museum Collection.
240x340 mm. 199 pages. Hardcover with dust-jacket. Jacket edges slightly worn. Cover edges slightly bumped. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
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SABBAH (Messod et Roger).
Les Secrets de l'Exode. L'Origine Egyptienne des Hebreux.
Un fort volume broche de format in 8°, 560 pp.; nombreux schemas reproductions de documents anciens. Couverture illustree. Tres bel exemplaire. [CL-5]
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Sabbatini, Luigi Antonio
La vera idea delle musicali numeriche segnature diretta al giovane studioso dell'armonia.
o.J. Venezia, Sebastian Valle, 1799, 4°. Mit Titelvignette und vielen Notenbeispielen im Typendruck. IV, CLXXIX S. Hpgt. d. Zt. (bestoßen und berieben).
Bookseller reference : 52279
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SABRI BERKEL, (Turkish painter), (1907-1993).
Typed letter signed 'Sabri Berkel'.
Very Good Turkish Typescript letter (document) signed (TLS) by Sabri Berkel sent to 'Türkiye Çagdas Ressamlar Cemiyeti Baskanligi' [i.e. The Society of Turkish Contemporary Painters Presidency]. 15x22,5 cm. In Turkish. 18 lines. Dated April 22, 1969, Istanbul. Letter requesting that each artist send their 6 works (sculpture, oil painting, and engraving) as well as their biographies to be selected for the 10th Sao Paolo Biennial in September 1969. Signed by Berkel under his title "Devlet Güzel Sanatlar Akademisi Y. Resim Bölüm Baskani" [i.e. President of Turkish Fine Arts Academy Painting Department]. Sabri Fetah Berkel was a Turkish-Albanian modernist painter; he was one of the most important painters and academic personalities of the last century in Turkey. Berkel was born in Skopje, where, in 1927, he completed high school at a French lyceum. From 1927 to 1928 he studied at an Art School in Belgrade. From 1929-1935 he finished his studies at the Academy of Fine Arts, Florence. Sabri Fetahu Berkel visited his country Albania in 1982 where he met with his family and parents. Berkel died in Istanbul. In the honor of Turkish talented painter Sabri Berkel from Turkey, NASA decided to name the Berkel, or the well-known printmaker, and it is a complex crater that sits inside of the larger Ellington basin that indicates the presence of dark material at depth of its surface.
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SACHS (Maurice).
LA CHEVAUCHEE D’HIVER.
54 feuillets dactylographiés au recto, 210 x 135 mmn, sous chemise à dos de maroquin, titre or et étui (Devauchelle). Le faux-titre et le titre sont de la main de Maurice Sachs ainsi que de nombreuses corrections et ratures, et l’indication de plusieurs dédicataires ; d’une autre main sont des indications d’imprimeur au crayon rouge. Ce recueil de poèmes à forte tonalité homosexuelle n’a jamais été publié. A son propos, Henri Raczymow écrit en page 286 de sa biographie : “A l’automne 1937, Sachs écrit une cinquantaine de poèmes qu’il réunit en recueil sous le titre La chevauchée d’hiver. Il s’agit d’un manuscrit dactylographié de soixante trois pages que Paulhan refuse et que Sachs confie au fils de Marcellin et Madeleine Castaing, Michel Castaing, lequel bien après la guerre le mettra en vente. Si nous ne savons ce qu’est devenu ce manuscrit (dactylographié), un catalogue de vente nous fournit cependant un aperçu de ce recueil. De nombreux poèmes sont dédiés à des amis de Sachs. Ce matin à Pierre Fresnay, Ce n’est personne à Henry Wibbels, Le double à Robert Denoël, Terre à Emmanuel Boudot-Lamotte, Je te vomis à René Allendy ; d’autres poèmes sont dédiés à Pierre de Lesseps, à Robert Del Donne, au jeune peintre Guillaume Monin dont Sachs avait parlé dans la livraison de mai 1937 de la N.R.F., à Gide, à Jean-Pierre Aumont, à Gaston Gallimard, à Marie de Wasmer (Marie Del Donne).” Notre manuscrit dactylographié, et indiscutablement annoté par Sachs, compte 54 feuillets numérotés de 1 à 62 avec 7 feuillets absents dont on peut penser qu’ils ont été retirés par Sachs après le jugement de Paulhan. Recueil inédit, conservé dans un élégant étui de Devauchelle.
Bookseller reference : 18184
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Sachau, Aduard / Ungnad, Arthur [Ed.]
Aramäische Papyrus aus Elephantine: Kleine Ausgabe
230x155 mm. 119 pages. Hardcover. Cover slightly curved. Spine edges slightly worn. Ex-library copy with the usual markings. Few pages age stained - No damage to text. Pages slightly yellowing. Else in good condition.
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SACHER-MASOCH Léopold de
Lettre manuscrite signée : "[J'ai] cessé depuis longtemps toute communication avec Mme Wanda de Sacher-Masoch"
- 1er juin 1893, 11,3x17,7cm, un feuillet. - Lettre manuscrite probablement inédite, rédigée par un secrétaire, datée du 1er juin 1893 et signée par Léopold de Sacher-Masoch à un destinataire inconnu, probablement un avocat. Mention manuscrite de la main de Sacher-Masoch en marge haute gauche de la lettre : «?Répondu le 1 mai 93?». Deux pages rédigées à l'encre noire sur un double feuillet. L'écrivain se prépare à un éventuel procès intenté par sa première femme Wanda, l'inspiratrice de son célèbre roman La Vénus à la fourrure, qui tente de recouvrer ce qui lui est dû et se libérer du fantasme qu'elle avait incarné à travers les uvres de son mari. Wanda, de son vrai nom Angelika Aürora Rümelin, avait signé avec lui le fameux contrat stipulant qu'elle devait se couvrir de fourrure, et le fouetter ainsi vêtue, véritable évangile de ce qui deviendra le masochisme. Malgré cette union sacrée et actée, dès la fin des années 1870, Leopold fut las de la vie avec elle, Wanda étant incapable de combler ses désirs?: «?Courtisane malgré elle?» et «?infirmière?» selon Jean-Paul Corsetti, elle fut, nous dit Gilles Deleuze «?sa compagne à la fois docile, exigeante et dépassée?». Accablé par les difficultés d'argent, il revendit les fameuses fourrures et les robes de sa femme, et leur divorce fut prononcé en 1886. Poursuivie par son alter-ego de Vénus à la fourrure qui avait fait d'elle une Dalila impérieuse et vénale, il semble que Wanda ait voulu poursuivre en justice son ancien mari?: «?Ayant cessé depuis longtemps toute communication avec Madame Wanda de Sacher-Masoch, il m'est impossible de m'entendre avec elle à l'amiable [...] En cas échéant, ce sera contre moi que Mme de Sacher-Masoch pourra tenter un procès?». Le procès est sans aucun doute lié à la sortie de Kassya, un opéra de Léo Delibes sur un livret de Sacher-Masoch adapté par Henri Meilhac et Philippe Gilles, créé à l'Opéra-Comique la même année. Il est possible que Wanda, traductrice des uvres de Masoch pendant ses années de mariage, n'ait pas reçu ses droits de traduction qui lui étaient dus pour Kassya, tiré d'une nouvelle parue dans les Contes galiciens de son mari. Dans le même esprit que ses années de soumission absolue à Wanda, il tient à porter seul le fardeau des accusations de sa femme, moyennant une somme d'argent payée par les autres auteurs de l'opéra (Henri Meilhac et Philippe Gilles)?: «?Je déclarerai dans un acte notariel [sic] que, en touchant la somme dite, je me charge de toute responsabilité vis-à-vis de Mme de Sacher-Masoch?». étrange et pittoresque étape de l'histoire du fondateur du masochisme, encore inconnue de ses biographes. [ENGLISH DESCRIPTION ON DEMAND]
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Sacher-Masoch, Leopold von, Schriftsteller (1836-1895)
Eigenh. Brief mit U. "Ritter von Sacher-Masoch".
o.J. Graz, 14. I. 1866, Gr.-8°. 3 Seiten. Doppelblatt. Bläuliches Papier.
Bookseller reference : 54313
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Sachs, Jules, Pianist und Impresario (keine Daten ermittelt)
Eigenh. Brief mit U.
o.J. Frankfurt am Main, 10. VIII. 1869, Gr.-4°. 1 Seite. - Erwähnt Adelina Patti..
Bookseller reference : 56086
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Sachs, Nelly, Schriftstellerin und Nobelpreisträgerin (1891-1970)
Eigenh. Briefkarte mit U.
o.J. Stockholm, 5. I. 1967, Qu.-Kl.-8°. 2 Seiten. Mit eigenh. Umschlag. Gelocht.
Bookseller reference : 46647
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Sachsen
Ihrer Königl. Maj. in Pohlen, [et]c. als Chur-Fürstens zu Sachsen, [et]c. Mandat, Wieder Die unruhigen Mühl-Knappen, und Deren Unfug, auch Plackereyen, Ergangen De Dato Dreßden, am 25. Augusti, Anno 1724.
o.J. Dresden, Johann Conrad Stößel, 1724, Fol. Titel mit Holzschnittwappen, Anfang mit Holzschnittvignette. 12 unpag. Seiten. Ohne Einband.
Bookseller reference : 53607
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Sack, Erna, Sängerin (1898-1972)
Portraitpostkarte mit eigenh. U.
o.J. , Ohne Ort und Jahr, 14 x 9 cm. 1 Seite.
Bookseller reference : 55117
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Sack, Erna, Sängerin (1898-1972)
Porträtfotografie (Foto Henning) mit eigenh. Unterschrift auf der Bildseite.
o.J. Reichenberg, ca. 1940, 11 x 11 cm. - Umringt von Fans in Reichenberg.
Bookseller reference : 56175
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SADOUL Georges
Carte postale moscovite autographe signée adressée à Carlo Rim
S.n., Moscou 2 décembre 1952, 15x10,5cm, une carte postale.
Bookseller reference : 83934
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SADE Louis, Chevalier de
Ensemble complet des archives du Chevalier de Sade
s.l. (Londres, Paris, Toulon...) 1791-1832, 12000 feuillets de divers formats, en feuilles.
Bookseller reference : 67693
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SADE (Donation Alphonse François, Marquis de)
HISTORIETTES, CONTES & FABLIAUX
A Paris Pour les membres de la Société du Roman Philosophique 1926 In-8 En feuilles, couv. rempliée Edition originale
Bookseller reference : 004700
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Sade Marquis de
Les Infortunes de la vertu
CNRS éditions, Zulma Collection Manuscrits Cartonnage souple 1995 In-4 (30x21.5 cm), cartonnage souple, 334 pages, préface de Michel Delon, présentation de Jean-Christophe Abramovici, reproductions de pages manuscrites ; crayon à papier dans le texte, pliures sur les mors, coins frottés, assez bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
Bookseller reference : dd173
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Sade marquis de ; Jean-Christophe Abramovici (Sous la direction de), Michel Delon (Préface)
Les infortunes de la vertu
CNRS, coll. « Manuscrits » 1995 In-4 relié 30,0 cm sur 21,5. Bon état d’occasion.
Bookseller reference : 127228
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SADE Donatien Alphonse François, Marquis de
Lettre autographe inédite signée du Marquis de Sade, alors en liberté, au commencement de la Terreur
1er avril 1793, 15,6x20cm, une page sur un feuillet.
Bookseller reference : 73394
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SADE Donatien Alphonse François, Marquis de
Lettre à Henri Grandjean, chirurgien occuliste du roi
Prison de Vincennes 1783, 19x23,5cm, une feuille.
Bookseller reference : 85697
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SADE Donatien Alphonse François, Marquis de
Lettre du marquis de Sade depuis l'asile de Charenton
1801, une feuille.
Bookseller reference : 85841
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SADAN BEZEYIS, (President of the Turkish Contemporary Artists Society; Painter and Sculptor), (1926-2017).
Typed document signed 'Sadan Bezeyis'.
Very Good Turkish Original typescript document signed by Sadan Bezeyis. 30x22 cm. In Turkish. 1 p. Includes 20 lines. Dated Istanbul, November, 25, 1968. Bezeyis was a Turkish painter, sculptor and the president of the Turkish Contemporary Artists Society. His father is calligrapher Abdullah Bey. He graduated from Istanbul State Fine Arts Academy High Painting Department Nurullah Berk Workshop, which he started in 1945, in first place in 1951. He represented Turkey at the International Venice Biennale 1958. Paintings and sculptures of Bezeyis are included in many institutions and private collections in Turkey and worldwide.
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SADAN BEZEYIS, (President of the Turkish Contemporary Artists Society; Painter and Sculptor), (1926-2017).
Typescript document signed 'Sadan Bezeyis'.
Very Good Turkish Original typescript document signed by Sadan Bezeyis. 28,5x23 cm. In Turkish. 1 p. A member registration receipt including Bezeyis' biographic information, with a title of 'Türkiye Yüksek Heykeltraslar Cemiyeti' [i.e. Turkey High Sculptors Society]. Dated Istanbul, April 22, 1972. A couple of punching holes. Bezeyis was a Turkish painter, sculptor, and the president of the Turkish Contemporary Artists Society. His father is calligrapher, Abdullah Bey. He graduated from Istanbul State Fine Arts Academy High Painting Department Nurullah Berk Workshop, which he started in 1945, in first place in 1951. He represented Turkey at the International Venice Biennale in 1958. Paintings and sculptures of Bezeyis are included in many institutions and private collections in Turkey and worldwide. Turkey High Sculptors Society was founded in 1948.
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Sadat, Mohamed Anwar El, Politiker und Nobelpreisträger (1918-1981)
Masch. Brief mit eigenh. U.
o.J. Kairo, 31. VIII. 1979, Fol. 1 Seite. Gestoch. Briefkopf.
Bookseller reference : 58817
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SADE Donatien Alphonse François, Marquis de
Enveloppe rédigée de la main du Marquis de Sade
- Paris s.d. (1790), 10x6cm, une enveloppe. - Enveloppe rédigée de la main du Marquis de Sade destinée à sa femme Renée-Pélagie née Cordier de Launay de Montreuil, Marquise de Sade. Epouse fidèle et dévouée tout au long de l'incarcération de son mari qu'elle quitta à sa libération, la mystérieuse Madame de Sade inspira Yukio Mishima pour sa pièce éponyme. Provenance : archives de la famille. [ENGLISH DESCRIPTION ON DEMAND]
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SADE Donatien Alphonse François, Marquis de
La fête de l'amitié. Manuscrit autographe complet et unique.
- S.n. , s.l. [1810-1812], in-8 (18,5x23,5cm), (1f.) 2 f. découpés (78f.), broché. - La Fête de l'amitié. Unique complete autograph manuscript [The Friendship's Party] [Charenton asylum] n. d. [ca. 1810-1812], in-8: 18,5 x 23,5 cm , (1 f.) 2 f shaved (78 f.), original wrappers The complete original manuscript of the last play by the Marquis de Sade, ruled in red throughout, comprising 78 leaves of 12 lines written recto and verso. This manuscript, like the other extant items from the Marquis, was dictated to a scribe and corrected by Sade himself. Two pages at the beginning of the notebook were excised before the text was written. Contemporary pink paper wrappers, a few lacks to head and foot of spine. Ink title to upper cover "5/ La Fête de l'amitié" including a prologue and a vaudeville sketch entitled Hommage à la reconnaissance, these forming two acts of mixed prose, verse, and vaudeville. This title is incorrect, as shown by the first page, on which the following title appears: "La Fête de l'amitié. Prologue. Encadrant l'Hommage à la reconnaissance. Vaudeville en un acte." Manuscript note by the Marquis to verso of upper cover, indicating the position he intended this work to occupy within his oeuvre. Several manuscript corrections, annotations and deletions in Sade's hand, including a quote from his own work as prelude to the vaudeville: "On est des dieux l'image la belle quand on travaille au bonheur des humains. Hommage à la reconnaissance. [We are in the finest image of the gods when we work for the good of humanity. Homage to recognition.]" "This piece, written by the Marquis in honor of the director of the Charenton Asylum, M. de Coulmiers, was played in the Charenton theatre between 1810 and 1812, approximately a year before the total ban on the plays there was introduced on the 6 May 1813. This late work is the only play of Sade's entire theatrical output at Charenton that has come down to us." The play is historic testimony of Sade's genuine respect - despite the inevitable tensions - for the director of his final home, whom the play lauds under the transparently anagrammatic name of Meilcour. But La Fête de l'amitié is also, by its very subject, a precious source of information on the progress of psychiatric medicine, just freeing itself from its repressive accoutrements in favor of new therapeutic methods, like the drama productions to which Sade contributed heavily and to which he here pays singular homage. The piece is particularly Sadean in its approach of casting madness not in the negative form of an illness, but quite the opposite, through the character of the benevolent God Momus, the focal point in this atypical vaudeville. Essentially, though the feast the play describes is a celebration in honor of the director of an asylum similar to Charenton located in ancient Athens, the central figure is the god of insanity himself, whose presence completely upends the relationship between the sane and the sick - much like with the players in the production itself, in which you couldn't distinguish the professional actors from the inmates of the asylum. The whole production, including both song and dance, is made up of two plays - a prologue/epilogue, La Fête de l'amitié, followed by a vaudeville: Hommage à la reconnaissance, played by the same characters as the prologue. The complete production was played at the "festival for the Director." Each dramatic layer is an allegorical variant on the real situation and there's no doubt that the actors, as they got deeper and deeper into the piece, were still playing their own parts. The work of a polished writer in full control of his subject and all the various dramatic and narrative tools, this seemingly frothy piece - by virtue of belonging to the literary genre of homage, which is very conventional and strictly codified - nonetheless contains the subversive elements so dear to the Marquis. And it's also a man who has suffered the regular confiscation and destructio
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SADE Donatien Alphonse François, Marquis de
Les antiquaires. Manuscrit autographe complet et unique.
- S.n. , s.l. août 1808, in-8 (17,5x21,5cm), (40f.) (3f. bl.), broché sous chemise et étui. - SADE Donatien Alphonse François, Marquis de Les Antiquaires. [The Antiquarians] Unique complete autograph manuscript [Charenton asylum] August 1808, in-8: 175 x 215 mm (6 7/8 x 8 7/16 "), (40 f.) (3f bl.), original wrappers The complete original manuscript of one of Sade's first works, ruled in pencil throughout, comprising 40 leaves written recto and verso. This manuscript, like the other extant items from the Marquis, was dictated to a scribe and corrected by Sade himself. Contemporary green paper wrappers with a small lack to middle of spine. Ink title, partly erased, to upper cover: 9/ Net et corrigé en août 1808 - bon brouillon. Les Antiquaires. Comédie en prose en 1 acte [Copied and corrected August 1808 - a good draft. The Antiquaries. A prose comedy in 1 Act]. This title is repeated on the verso of the upper cover. Numerous manuscript corrections, annotations and deletions in Sade's hand, principally adding blocking, and rich in both stage and acting directions. Written in 1776 and re-copied at Charenton in 1808, and most likely augmented at the time with various topical references - notably including an allusion to Napoleon, "of whom he was hoping, in vain, to receive permission to leave the asylum at Charenton as a free man" (p.94) - Les Antiquaires is one of the first theatrical pieces written by the Marquis and therefore one of his first literary works overall, written eight years before the Dialogue entre un prêtre et un moribond [Dialogue Between a Priest and a Dying Man]. Though the precise dating of these pieces is made difficult due to the lack of the original manuscripts, several clues have allowed bibliographers to date the initial composition of this piece to 1776, possibly with a corrected version during the Revolution and a few final changes at the time of this last edit, which is today the only extant manuscript of this play. These clues include the status of the Jewish and English characters, the style of the dialogues, and Sade's correspondence with theatres; the strongest clue being biographical in nature. Les Antiquaires can essentially be considered the true "theatrical version" of Sade's Voyage en Italie with which it shows a sustained intertextuality. The play is about an antiquary - in the 18th century sense of the term, which is to say a learned devotee of Classical culture - who wants to marry off his daughter to a friend with the same passion, who nonetheless finds a way of convincing him to let her marry her young lover. Whether it be in the learned dialogues of the antiquaries or in their eccentric parody by the young lover imitating them, Sade draws upon his own experience and observations from his travels, which he expands or twists, according to the viewpoint of his various characters. Hence, the description of Mount Etna by the lover - Delcour - is a parody of Sade's detailed description of the Pietra Malla volcano, and the made-up "subterranean tunnel linking Etna to America" is directly inspired by the tunnel of the Crypta Neapolitana, described by Sade in his Voyage. The Marquis would reach back to this same experience of volcanoes in one of the most famous scenes in his Histoire de Juliette. Barely returned from his latest grand tour and almost at the same time as writing his passionate and detailed account of the experience, Sade was thus also writing a satirical version of his own work (until his problems with the military authorities). The work is at the same time a social critique of pointless erudition and a self-mockery of his own passion for history and of his "zeal to see everything, his insatiable curiosity" (cf. Maurice Lever, preface to Voyage en Italie). This virulent satire is paradoxically twinned with a very erudite display of the author's knowledge of the latest architectural discoveries and the major contemporary questions in the field. This was, in fact, the element cr
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SADE Donatien Alphonse François, Marquis de
Lettre autographe inédite signée du Marquis de Sade, alors en liberté, au commencement de la Terreur
- 1er avril 1793, 15,6x20cm, une page sur un feuillet. - Lettre autographe inédite datée et signée, rédigée à l'encre noire et adressée à un notaire. Au verso, probablement de la main d'un secrétaire, la mention « Sade du 1er avril 1793 » ; sous cette mention, une courte phrase de la main du Marquis : « pour que j'écrire à Gaufridy de lui envoyer de l'argent ». Quelques pliures transversales inhérentes à la mise sous pli. Longue lettre adressée à un notaire alors que le Marquis, rendu à la liberté le 2 avril 1790 par l'abolition des lettres de cachet, est libre et tente de mettre de l'ordre dans ses affaires. Après la Révolution ses fils ont émigré et il ne les a pas suivis. Son nom figure pourtant sur la liste des personnes ayant quitté la France en raison des troubles révolutionnaires : « J'espère qu'avec tout cela je parviendrai à faire effacer mon nom de dessus cette fatale liste d'émigrés. » Soucieux de ne pas être considéré comme un ci-devant Marquis en cette période précédant la Terreur, il insiste sur la persécution dont il serait victime malgré sa bonne volonté : « C'est une atrocité sans exemple que de m'avoir joué un pareil tour à moi qui n'ai pas quitté Paris depuis la révolution, et qui depuis cette époque n'ai pas cessé de donner les preuves les moins équivoques de mon patriotisme ». Sade dénonce également dans cette missive la complexité des rouages de l'administration française après la Révolution : « Je viens d'envoyer à M. Lions le certificat de résidence qui convient et j'y ai joint une pétition au district qu'il me dit être (...) essentielle. » Impécunieux, il prie son avocat « d'exciter le zèle de ceux qui [lui] doivent et de les engager à compter le plus d'argent qu'il percevront tout de suite à M. Gauffridi (sic) » et n'hésite pas à se montrer complaisant pour arriver à ses fins : « ne me ménagez pas alors je vous en conjure (...) conservez moi toujours votre soin et votre amitié (...) Je vous embrasse et salue de tout mon cur. » Les efforts de Sade seront vains, en décembre 1793 il est incarcéré aux Madelonettes, avant d'être admis, grâce à sa bonne amie Mme Quenet, à la maison Coignard de Picpus, un établissement de santé abritant les riches suspects. Intéressante lettre inédite montrant l'infortuné Marquis aux abois, lors de l'un de ses rares moments de liberté. [ENGLISH DESCRIPTION ON DEMAND]
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SADE Donatien Alphonse François, Marquis de
Lettre autographe à sa femme. Hommages à la Présidente : « Faire noyer vive l'exécrable coquine qui depuis neuf ans (...) suce mon sang... »
- s.l. (Vincennes) s.d. (circa 1781), 15,7x20,1cm, une feuille. - SADE Donatien Alphonse François, Marquis de Autograph letter to his wife. Hommages à la Présidente: "Faire noyer vive l'exécrable coquine qui depuis neuf ans [...] suce mon sang..." N. p. [Vincennes Castle] n. d. (circa 1781), 157 x 201 mm (6 3/16 x 7 15/16 "), single leaf "The more I think about it, however, the more I think you have to have quite a nerve to dare write to a poor suffering unfortunate..." Autograph letter unsigned from the Marquis de Sade to his wife. One page, closely written in ink on 31 lines. This letter was written during Sade's imprisonment at Vincennes, probably in April 1781, if one is to believe the occasional indicators of date referenced by the writer. Sade mentions the end of his "exile from Marseilles", referring to the decision of the court in Aix-en-Provence to overturn his conviction for debauchery and libertinage on the 14 July 1778, but which nonetheless banned him from living in or visiting Marseilles for three years. Sade also mentions one of the defining episodes of his life, his flight to Italy between January and November 1776: "they may as well have killed me straight off as left me in that foreign country where I was." Sade also mentions the "amazing favor" that befell him of "moving house", which is to say his potential transfer to the fort at Montélimar. In April 1781, Madame de Sade, through the good offices of her friend Madame de Sorans, got authorization from the King for her husband to be transferred to the prison there. Sade explains in the letter: "I think you have to have quite a nerve to dare write to a poor suffering unfortunate who has been beset these nine years...telling him to thank, ever so humbly, the woman who obtained for him the amazing favor of moving house." Sade is here no doubt referring to the famous Madame de Sorans, a lady of Louis XVI's sister's bedchamber and a friend of his wife's who, out of a spirit of adventure, accepted the task of petitioning the King in his favor. It was to Commissioner Le Noir, referenced in this letter, that Renée-Pélagie left the task of breaking the news to the prisoner: "Ah, I see now what this nice little visit by M. Lenoir means, I'm used to seeing him in the middle of my incarcerations." Despite the fact that, as Pauvert points out in Sade vivant, this change of "house" occupied the Marquis' thoughts to a large extent, he was never actually moved, preferring to stay in the gaols of the keep at Vincennes. At this point, Sade had been imprisoned for several years and this letter, full of movement, reveals his thirst for freedom. This letter was written when Madame de Sade withdrew to the convent at Sainte-Aure. If she saw this act as a liberation from the yoke of her marriage, the Marquis for his part was obsessed by the idea of his own liberation and mentions a potential date: October 1783. His long incarceration, which began in 1777, would last till April 1790, when lettres de cachet were abolished. Madame de Sade's visits were not reauthorized by the prison authorities until 13 July 1781, after four years and five months of separation. Several important themes in Sade's correspondence already appear in this letter from his first years in prison. First of all, his hatred for his mother-in-law, the Présidente de Montreuil, an "execrable wretch who drinks [my] blood...disgraces [her] children, who has not yet done scattering her horrific deeds and platitudes" and whom he would like to "drown alive". The Marquis also complains of his poor physical health: "my head spins and in my condition I hardly need any more misery", using very Sadean epithets to express his despair. "A poor suffering unfortunate who has been beset these nine years"; "what have I done, what have I done dear Lord, to suffer for twelve years?". Provenance: family archives.
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SADE Donatien Alphonse François, Marquis de
Lettre autographe à sa femme. Souffrance et philosophie : « si l'on pouvait lire au fond de mon cur, voir tout ce qu'elle y opère cette conduite-là, je crois qu'on renoncerait à l'employer ! »
- s.n., s.l. 17 août 1780, 10x16cm, 2 pages sur un feuillet. - Handwritten letter to his wife. Sufferance and philosophy: "Punish as much as you like, but do not kill me: I did not deserve it [...] Ah! If you could read to the bottom of my heart, see everything that happens there, I think you would give up using it!" August 17, 1780, 10 x 16 cm, loose leaves Handwritten letter from the Marquis de Sade addressed to his wife. One recto-verso leaf written in fine, tight writing. It has the partial date at the top "ce jeudi 17" "this Thursday 17th." Two slight signs of folding. The end of the letter was mutilated at the time, probably by the prison administration which destroyed the Marquis' licentious correspondence. So, several months later, in March 1781 his wife wrote to him: "My dear, you really must change your style so that your letters can reach me whole. If you give the truth, it offends, turns against you. If you give any untruths, they say: this is an incorrigible man, always with the same head that ferments, ungrateful, false etc. In any case, your style can only harm you. So change it." The letter was found as it was when, in 1948, the Marquis' trunk, that had been sealed by the family since 1814, was open and it was published in this reduced form in the correspondence of the Marquis de Sade. Provenance: family archives. This letter was written on 17 August 1780, during the Marquis' incarceration in Vincennes Prison. Following the umpteenth altercation with the prison guard, the right to go for a walk was taken away from him on 27 June and was not reinstated until 9 March the following year. The Marquis' physical and mental health is strongly affected by not being able to go out and he constantly begs Renée-Pélagie for the right to be quickly reinstated: "I urge you to let me get some fresh air: I absolutely cannot take it any longer." The suffering caused by these deprivations is a pretext for setting up a mechanism of guilt and blackmail with his wife: "There, three days that I have felt an awful dizziness, with blood rushing to my head so much so that I do not know how I have not fainted. One of these days, they will find me dead and you will be responsible, after having warned you as I do and having asked you for the help which I need to avoid it." Here, the Marquis is intentionally pulling on Renée-Pélagie's heartstrings, really putting her Christian values to the test and giving her the role of grand inquisitor: "You can grant me what I ask for, whilst keeping, on your signal, the same strength." We note, as in Tancrède's letter, a new appearance of "signal," which masks completely different semantics. An essential component of the Marquis' prison mindset, this encoded language, like the fantasised interpretations of his correspondents' letters, feeds the theories of researchers, philosophers, mathematicians... and poet biographers. As such, Gilbert Lely estimates that, far from being symptomatic of psychosis, the return to signals is "his psyche's defence reaction, a subconscious struggle against despair where, without the help of such a distraction, his motivation could have declined." Missing from his correspondence during his eleven years of freedom, these enigmatic semantic depths, "a real challenge to semiological judgement" (Lever p.637), reappear in his Charenton diary. This letter is also an opportunity for the Marquis to deploy his rhetorical panel, confronting the sadistic antonyms in the same sentence. "Pleasure" is synonymous with "abominable" "revolting," "cemetery"and "garden" are superimposed, "I suffer" is conjugated as "I enjoy" and "softness" stands alongside "darkness." The mastered practice of this eloquence exercise is united with the depths of Sadian thought: sufferance and pleasure are closely mixed, simultaneously endured, inflicted and desired. Through these associations, we glimpse the sensitive Manicheism of the Marquis's philosophical thought, which reaches its climax at the en
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