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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Obsequio à el maestro
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 82, Delteil 84.
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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Porque esconderlos?
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 65
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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Qual la descañonan!
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 56, Delteil 78.
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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Subir y bajar
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della seconda edizione di dodici, stampata dalla calcografia di Madrid. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 56: figures falling through air, including satyr; from a bound album of the second edition impressions. 1799 Etching and burnished aquatint.From the second edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 91; Delteil 93.
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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Tan barbara la seguridad como el delito (Il prigioniero)
Acquaforte e bulino, circa 1810/15. Il titolo dell’opera è tratto da una scrittura a mano in una prova di stampa dell’opera che Goya include nell’album dei “Disastri della guerra” che donò al suo amico Ceán Bermúdez e che ora è conservato al British Museum di Londra. Il disegno preparatorio dell’opera è conservato al Prado di Madrid. Esemplare nel terzo stato di quattro, inserito nella Gazette des Beaux-Arts (1867); si tratta della prima vera edizione dell’opera, conosciuta altrimenti solo attraverso due prove di stampa. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cfr. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris ritiene che la matrice di rame si trovi in una collezione privata di Parigi. Bibliografia Harris 26 III/IV; Delteil 31. Etching and engraving, circa 1810/15. The title of this work is taken from the handwritten title of a state proof that Goya included in the album of his Disasters of War prints which he gave to his friend Ceán Bermúdez and which is now in the British Museum, London. The preparatory drawing for this etching is in the Prado Museum, Madrid. Example of the third state of four, form the Gazette des Beaux-Arts (1867), firts edition of this work, before known only for proof states. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cf. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris believes that the plate for this etching may be in a private collection in Paris. Literature Harris 26 III/IV; Delteil 31. Harris 26, III/IV; Delteil 31.
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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Y aun no se van!
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 94, Delteil 96.
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GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)
Ysele quema la Casa
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 53, Delteil 55.
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Goya, Francisco - Gassier, Pierre
Drawings. The Complete Albums.
New York und Washington, Praeger Publishers, 1973. 4°. 30 x 22 cm. 656 Seiten. Original-Leinenband.
Referenz des Buchhändlers : 64494CB
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Goya, Francisco ? Lachental, Francois [Hrsg]
Francisco Goya. Leben und Werk. Von Pierre Gassier und Juliet Wilson. Herausgegeben von Francois Lachenal. Vorwort von Enrique Lafuente Ferrari.
Berlin, Propyläen-Verlag, 1971. 4°. 34 cm. 399 Seiten. Original-Leinenband mit Original-Schutzumschlag.
Referenz des Buchhändlers : 56367BB
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Goya, Francisco de - Gassier, Pierre
Die Zeichnungen.
Berlin, Propyläen Verlag, 1975. 4°. 29,5 x 22 cm. 581 Seiten. Original-Leinenband mit Original-Schutzumschlag.
Referenz des Buchhändlers : 66241CB
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Goya, Francisco de - Gassier, Pierre
The drawings of Goya. The sketches, studies and individual drawings.
London, Harper & Row Verlag, 1975. 4°. 30 x 22 cm. 581 Seiten. Original-Leinenband mit Original-Schutzumschlag.
Referenz des Buchhändlers : 4490FB ISBN : 6011469
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Goya, Francisco de - Mayer, August L
Francisco de Goya. [Werkverzeichnis / catalogue raisonne].
München, Bruckmann, 1923. 4°. 27 x 21 cm. XI, 273, 261 Seiten. Original-Halbleinenband mit goldgeprägtem Deckel- und Rückentitel.
Referenz des Buchhändlers : 66495CB
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Goyen William
Cuentos Completos: William Goyen Biblioteca Formentor
Barcelona: Seix Barral 2012. First Spanish Edition stated 1st Printing. Hardcover. Fine/Fine. 574 Pp. First Edition Stated. The Scarce Hardcover Issue White Boards Printed In Green. Fine In Fine Dj. <br/> <br/> Seix Barral hardcover
Referenz des Buchhändlers : 035011 ISBN : 843220966x 9788432209666
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Goytisolo Juan; Juan Goytisolo Author; Helen R. Lane Translated from the Spanish by
Count Julian: A Novel
New York: A Richard Seaver Book/ A Viking Compass Book/ The Viking Press 1975. Viking Compass Edition . Trade Paperback. Good. 8vo or 8� Medium Octavo: 7�" x 9�" tall. Roy Kuhlman Cover Design. 204 pp. Solidly bound copy with moderate use and clean text. Damage to front cover. Stains on lower spine bottom edge near spine and back cover near lower spine. Spine slightly slanted. <br/> <br/> A Richard Seaver Book/ A Viking Compass Book/ The Viking Press paperback
Referenz des Buchhändlers : 2ivCi0046 ISBN : 067000586X 9780670005864
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Goytisolo Juan translated from the Spanish by Helen R. Lane
Count Julian a novel
New York: The Viking Press 1974. Hardcover. 204p. some vintage illustrations very good first US English-language edition in boards and bright white unclipped dj. Young 1548. Spanish exile novel set in Tangier. Some Uranian content the author compared to James Joyce. The Viking Press hardcover
Referenz des Buchhändlers : 71576 ISBN : 0670244074 9780670244072
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Goytisolo Juan translated from the Spanish by Helen R. Lane
Juan the Landless a novel
New York: The Viking Press 1977. Hardcover. 268p. very good first US edition quarter-cloth boards in unclipped dj. The Viking Press hardcover
Referenz des Buchhändlers : 248244 ISBN : 0670410047 9780670410040
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Goytisolo Juan translated from the Spanish by Helen R. Lane
Juan the Landless a novel
New York: The Viking Press 1977. Hardcover. 268p. very good first US edition quarter-cloth boards in unclipped dj with sunned spine. The Viking Press hardcover
Referenz des Buchhändlers : 12125 ISBN : 0670410047 9780670410040
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Goytisolo Juan; Helen R. Lane Translated from the Spanish
Makbara
New York: Seaver Books / Grove Press 1981 Stated first printing and stated first edition on the copyright page. Faint toning to pastedowns else book in fine condition; minor shelf wear and toning to spine and jacket margins else dust jacket in fine condition. Seaver Books / Grove Press hardcover
Referenz des Buchhändlers : 001581 ISBN : 0394518039 9780394518039
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Goytisolo Juan Translated From The Spanish Jose Yglesias
THE PARTY'S OVER : Four Attempts to Define a Love Story
New York: Grove Press. 1966. First Edition; First Printing. Hardcover. Very Good in a Very Good dust jacket. 3/4 inch chip to spine heel some light edge wear. Stated First Printing; Original unclipped dust jacket protected by archival Brodart cover. All domestic orders shipped protected in a Box. . Grove Press hardcover
Referenz des Buchhändlers : 32395
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Goytisolo Juan translated from the Spanish by John Rust
The Young Assassins
New York: Knopf 1959. Hardcover. viii 273p/. note on the characters lightly-worn first US edition stated in red boards with black cloth spine decorated in gilt topstain purple unclipped lightly-edgeworn but bright dj. The author's first novel and his first appearance in the US. A story of bored bourgie kids in postwar Madrid who decide to assassinate a Fascist politician. Goytisolo was bisexual. Knopf hardcover
Referenz des Buchhändlers : 247946
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Goytisolo Juan translated from the Spanish by Helen R. Lane
Juan the Landless a novel
New York: The Viking Press 1977. Hardcover. 268p. very good first US edition quarter-cloth boards in unclipped dj. The Viking Press hardcover books
Referenz des Buchhändlers : 248244 ISBN : 0670410047 9780670410040
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Goytisolo Juan translated from the Spanish by Helen R. Lane
Juan the Landless a novel
New York: The Viking Press 1977. Hardcover. 268p. very good first US edition quarter-cloth boards in unclipped dj with sunned spine. The Viking Press hardcover books
Referenz des Buchhändlers : 12125 ISBN : 0670410047 9780670410040
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Goytisolo Juan translated from the Spanish by Helen Lane
Landscapes After the Battle
New York: Seaver Books 1982. Hardcover. 159p. very good first US edition first printing stated in quarter-cloth boards and bright price-clipped dj. Told from the perspective of a Spanish exile in Paris Goytisolo continues his assault on the conventional boundaries of bourgeois society and western sexual categories. Seaver Books hardcover books
Referenz des Buchhändlers : 53638 ISBN : 0805003932 9780805003932
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Goytisolo Juan translated from the Spanish by Helen R. Lane
Makbara
New York: Seaver Books 1981. Hardcover. 270p. very good first US edition first printing stated in quarter-cloth boards in dj. Novel set in North African cemeteries where young couples meet to have sex. Spain's greatest modern novelist according to some. Seaver Books hardcover books
Referenz des Buchhändlers : 64129 ISBN : 0394518039 9780394518039
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Goytisolo Juan translated from the Spanish by John Rust
The Young Assassins
New York: Knopf 1959. Hardcover. viii 273p/. note on the characters lightly-worn first US edition stated in red boards with black cloth spine decorated in gilt topstain purple unclipped lightly-edgeworn but bright dj. The author's first novel and his first appearance in the US. A story of bored bourgie kids in postwar Madrid who decide to assassinate a Fascist politician. Goytisolo was bisexual. Knopf hardcover books
Referenz des Buchhändlers : 247946
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GOYTISOLO, José Agustìn (Barcellona 1928-1999),
Salmos al viento
Prologo de José M. Castellet . 8vo. pp. 62. Dedica e firma autografe dell'Autore, datata Marzo 1980 (Inscription signed by the Author, dated mars 1980). Molto buono (Very Good). . . .
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GOYTISOLO, Juan
CHRONIQUE D'UNE ILE - Gallimard 1961
París, Gallimard, 1961. Traduit de l'Espagnol par Robert Marrast. Préface de M.-E. Coindreau. 220 p. 1 h. 8º. Cubiertas originales levemente rozadas. Ejemplar levemente mareado. 1ª edición francesa. Traducción de la novela "La isla".
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Goytisolo, Juan
Disidencias
First edition of this collection of essays. 8vo, original wraps. Ownership signature on title-page. Minimal wear to extremities, spine lightly darkened. Otherwise near fine.
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GOYTISOLO, Juan
EXAMEN DE CONCIENCIA - SPANISCHE GEWISSENS ERFOSCHUNG - 1966
Ebenhausen, Langewiesche-Brandt, 1966. 96 p. 8º menor.
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Goytisolo, Juan
Makbara
First edition of this important modern Spanish novel. 8vo, original wraps. Ownership signature on title-page. Minial wear to extremities, internally fine and bright.
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GOYTISOLO, Juan
PAISAJES DE GUERRA CON CHECHENIA AL FONDO - Madrid 1996 - 1ª edición
Madrid, El País - Aguilar, 1996. 118 p. 1 h. 8º mayor. Rústica editorial. Muy buen ejemplar. 1ª edición. Primera edición. 1st edition. First edition
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Goytisolo, Juan
SeÒas de identidad [with] Reivindicacion del Conde Don Julian [with] Juan sin tierra
Three volumes, complete. ALL THREE VOLUMES ARE SIGNED FIRST EDITIONS. GOYTISOLO RARELY SIGNS BOOKS, AND THIS SET MAY BE THE ONLY COMPLETE SIGNED SET EVER OFFERED FOR SALE. This trilogy established Goytisolo as a major modern writer and remains his greatest accomplishment. SeÒas de identidad was published in Mexico City in 1966 in an edition of 4100 numbered copies. Don Julian was published in 1970, also in Mexico City, in an edition of 5000 numbered copies. Juan sin tierra was published in 1975 in Goytisolo's native Barcelona. 8vo. First two volumes near fine in publisher's cloth, with very good djs. Third volume very good in publisher's wraps. SeÒas de identidad signed by Goytisolo on half-title, with prior owner's signature on front free endpaper. ReivindicaciÛn signed and inscribed by Goytisolo on front free endpaper. Juan sin tierra signed by Goytisolo on title-page, with prior owner's signature underneath. ALL THREE VOLUMES WERE SIGNED IN TANGIER IN AUGUST, 2013. Included with this set: a great digital photograph of Goytisolo signing the the books.
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GOYTISOLO, Juan (Barcellona 1931),
I sobborghi
Traduzione di Luisa Orioli . 16mo. pp. 266. . Molto buono (Very Good). Fioriture ai tagli (Yellowing of edges). Prima edizione italiana (First Italian Edition). .
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GOYTISOLO, Juan (Barcellona 1931),
Le terre di Nijar e La Chanca
. 8vo. pp. 284. . Molto buono (Very Good). Dorso con lievi bruniture (Sunned spine). Prima edizione italiana (First Italian Edition). .
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Gracián, Baltasar - Pelegrín, Benito (trad., éd.)
Art et figures de l'esprit. Agudeza y arte del ingenio, 1647. Traduction de l'esagnol, introduction et notes de Benito Pelegrín
Paris Editions du Seuil 1983 in-8 broché Paris, Editions du Seuil, 1983. 20,5 x 14 cm, in-8, 362 (7) pp., broché sous couverture imprimée.
Referenz des Buchhändlers : 5107 ISBN : 2020064863
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GRACILASO, GOMARA, HUMBOLDT, etc.
EL PAIS DEL ORO ( Descubrimiento y conquista del Perú ). Escrita en presencia de las obras de Gracilaso, Gomara, Humboldt, etc. Tomes I-IV
Madrid Urbano Manini, Editor [Imprenta de Santos Larxé] 1869 in 8 (21x14,5) 4 volumes reliures demi basane maroquinée bleue de l'époque, dos lisses muets (Ejemplares en media piel de época), 591 pages, 671 pages, 480 pages, 519 pages, avec des illustrations hors-texte (grabados fuera de texto). Bon exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
Referenz des Buchhändlers : 32920
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GRACIAN Baltasar
L'homme de cour.
Paris, Imprimerie Léon Pichon, 1924. 10 x 18, 303 pp., broché, bon état.
Referenz des Buchhändlers : 70532
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Grabar Oleg
La formacion del arte islamico / the Formation of Islamic Art (Arte Grandes Temas segunda edicion)
Catedra Ediciones 2004 256 pages 16 4x1 4x23 8cm. 2004. Broché. 256 pages.
Referenz des Buchhändlers : 100134030
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Gracian, Baltasar
Le Criticon: 1. Dans le printemps de l'enfance et dans l'été de la jeunesse ; 2. Philosophie judicieuse et avisée, dans l'automne de l'âge viril, Traduit de l'espagnol par Eliane Sollé
Paris Editions Allia 1998 2 in-8 broché Paris, Editions Allia, 1998-1999. 22 x 14,5 cm, 2 volumes in-8, 222 (2), 258 (3) pp., brochés sous couvertures (à rabats pour le 2e volume) imprimées.
Referenz des Buchhändlers : 5108
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GRACIAN, Baltasar.
L’homme détrompé ou le criticon. Traduit de l’espagnol. Préface de A. Coster. Collection Le Cabinet Cosmopolite, Série Classique, n.° 3.
Paris, Librairie Stock 1931, 185x130mm, XXV - 316pages, broché. Nom du possesseur sur le haut de la page de faux-titre, autrement bel exemplaire, en partie pages non coupées. Edition originale sur papier vergé d’alfa Outhenin Chalandre, numéroté n.° 695 / 1750.
Referenz des Buchhändlers : 83181
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GRACIAN, Baltasar
PAGES CARACTERISTIQUES. Précédées d'une étude critique par André Rouveyre. Traduction originale et notices par Victor Bouillier
Paris Mercure de France 1925 in 8 (21x13,5) 1 volume broché, couverture rempliée, portrait en frontispice, 322 pages [1], et 2 hors-texte. Collection d'auteurs étrangers. Précédées d'une étude critique par André Rouveyre. Traduction originale et notices par Victor Bouillier. Baltasar Gracián y Morales, Belmonte del Río Perejil 1601 - Tarazona 1658, écrivain et essayiste jésuite espagnol. Celui-ci un des 850 exemplaires numérotés sur papier pur fil d'Arches (seul grand papier). Importante éloge manuscrite de Baltasar Gracian signée par le préfacier André Rouveyre (16 lignes à la plume sur le faux-titre). Bel exemplaire, exempt de rousseurs ( Photographies sur demande / We can send pictures of this book on simple request )
Referenz des Buchhändlers : 39394
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Grace, Gillian; et al
Canadian House & Home, Canada's Magazine of Home & Style, May 2010 - Go Greener / Rick Leong / Jaime Hayon
Features: Home of the Month - Retiring couple Barb Flynn and Buzz Carroll turn to designer Melody Duron to carve out an idyllic summer home on Georgian Bay; Green Living - Vancouver architect Clinton Cuddington's passion project pulls out all the stops to create a dynamic family home; Global Style - Australian design blogger Anna Spiro's eclectic Brisbane bungalow comes alive with fresh colour combinations; Garden Design - Interior designer Sharon Mimran reimagines her city garden as a classic all-seasons courtyard with a decidedly European sensibility; Stylish patio furniture and accessories; Cuban Cuisine; Interview with Spanish design sensation Jaime Hayon who shares his thoughts on art, graffiti and Canada; A Pretty Palette freshens up a farmhouse kitchen; Natural Instinct - striking architectural features add a modern twist to a historic country retreat, Perrett Farm in the Beaver Valley; The Enlightened Home - Creative couple Mona Zaidi and Eric Yealland craft a Zen-eclectic Victorian; Rick Leong - this Montreal painter revamps Chinese painting traditions with bold colour and imagination; A Sweet Finish - Dufflet Rosenberg and architect Martin Kohn combine gourmet takeout with a homemade dessert; Delicious recipes from Dufflet; A Fine Arrangement - Design editor Joel Bray creates 3 layouts in 1 living room, just by moving the furniture (and adding a few new things); What Makes a Garden Work? - Visiting with Vancouver landscape architect Ron Rule in his own garden; Top designers share tips for going easy on the planet; Bloom Box - dress up your front door, patio or balcony with the season's best planters; and more. 216 pages. Short mend to front cover. Unmarked with average wear. A sound copy. Magazine
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Gracian Balthasar translated from the Spanish By Joseph Jaocbs
The Art of Worldly Wisdom
London Canada: Macmillan & CO 1913. A solid bright book blue boards with btight gilt titles and stamped design on front cover. Front free endpaper has previous owner`s `rhyme`re return of book printed with indelible ink and there is a signature on the paster front endpaper otherwise unmarked. Title page prtoected by tissue. All pages are rough cut. Reprint. Hard Cover. Very Good/No Jacket. 16mo - over 5�" - 6�" Tall. Macmillan & CO Hardcover
Referenz des Buchhändlers : 001109
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GRACIAN, Baltasar
Oracolo manuale ovvero l'arte della prudenza
Traduzione e note di Giulia Poggi, con un saggio di Marc Fumaroli (tradotto da Graziella Cillario) . 8vo. pp. 363. . Molto buono (Very Good). . . .
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Graeme Jocelyn; Fahlman Ruth; Henderson May
Celebrations / Les Fetes / Celebraciones HAND IN HAND series
Toronto: Addison-Wesley Publishing Company Inc. 1990. Picture book illlustrated with full-colour photographs. A look at holidays celebrated by Canadians of many backgrounds with parallel text in English Spanish French and Chinese. Simple language for young children. Terrific book for multicultural families or classrooms. Firmly staple-bound white card covers are unworn back cover lightly soiled. YMCA Our House printed inside front cover. Soft Cover. Very Good. Illus. by Photographs. 9 x 8.5 in. 23cm x 21.5cm. Addison-Wesley Publishing Company, Inc. Paperback
Referenz des Buchhändlers : C700500 ISBN : 0201546566 9780201546569
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Graeme Jocelyn; Fahlman Ruth; Henderson May
One Nose Two Hands / Un Nez Deux Mains / Una Nariz Dos Manos HAND IN HAND series
Toronto: Addison-Wesley Publishing Company Inc. 1990. Picture book illlustrated with full-colour photographs. Counting book with parallel text in English Spanish French and Chinese. Simple language for young children. Terrific book for multicultural families or classrooms. Firmly staple-bound white card covers are unworn back cover lightly soiled. YMCA Our House printed inside front cover. Soft Cover. Very Good. Illus. by Photographs. 9 x 8.5 in. 23cm x 21.5cm. Addison-Wesley Publishing Company, Inc. Paperback
Referenz des Buchhändlers : C700498 ISBN : 0201546590 9780201546590
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Graeme Jocelyn; Fahlman Ruth; Henderson May
Rainy Day Friends / Amis Sous la Pluie / Amigos en la Lluvia HAND IN HAND series
Toronto: Addison-Wesley Publishing Company Inc. 1990. Picture book illlustrated with full-colour photographs. Book about seasons and weather with parallel text in English Spanish French and Chinese. Simple language for young children. Terrific book for multicultural families or classrooms. Firmly staple-bound white card covers are slightly scuffed on front back cover lightly soiled. YMCA Our House printed inside front cover. Soft Cover. Very Good -. Illus. by Photographs. 9 x 8.5 in. 23cm x 21.5cm. Addison-Wesley Publishing Company, Inc. Paperback
Referenz des Buchhändlers : C700499 ISBN : 0201546531 9780201546538
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GRAHAM, Kenneth.
Don Quijote en Yanquilandia.
Madrid, Ediciones Ensayos, 1955. 4to.menor; 224 pp., con ilustraciones de Ignacio Rived. Cubiertas originales.
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Gramsci, Antonio
La formacion de los intelectuales. Version al espanol de Angel Gonzalez Vega. [Von Antonio Gramsci].
Mexico: Editorial Grijalbo 1967. 159 Seiten. 8° (17,5-22,5 cm). Orig.-Broschur. [Softcover / Paperback].
Referenz des Buchhändlers : 96974
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Granado, JosÈ T. del
Plantas bolivianas
Red cloth taped spine quarto, color illus; 3 preliminary leaves, [9]-284 pages illustrations, color plates, maps 23 cm In Spanish. Scarce. || Botany -- Bolivia
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