SHAKESPEARE WILLIAMBiblio.com
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réf. PrakashN-9781604336153HCCP. Hardcover. New. ENGLISH HCCP hardcover
réf. PrakashN-9781604336153HCCP. Hardcover. New. ENGLISH HCCP hardcover
1821réf. 27348London: F.C. and J. Rivington; et al 1821. 21 volumes. The ‘Boswell’s Malone’ Edition first thus. With engraved frontispiece portraits of Shakespeare in Volume I and II and III engraved illustration of the Globe and folding leaves in Vol. III with steel-engraved plate in Vol. VIII a large folding engraved plate in Vol. XVI and printed music in Vol. XVII. 8vo handsomely bound in contemporary full smooth tan calf boards gilt ruled gilt decorated board edges spines attractively gilt tooled in panels between raised gilt tooled bands lettering labels in two panels of dark green and buff morocco smaller morocco volume labels at the tails all labels lettered in gilt a.e.g. A very handsome and stately set in proper bindings internally very fresh bindings with some minor age evidence some cracking to hinges on some volumes one cover detached and easily repairedstill a pleasing and handsome set. AN IMPORTANT AND EARLY PRINTING OF THE WORKS. This variorum edition not only forms a fine summery of the cumulative scholarship on Shakespeare during the 18th century but has time and again been called the foundation of modern Shakespearean scholarship. James Boswell the son of Johnson’s biographer had a hard task in ordering Malone’s papers - “I may add” he states in his 50 page introduction “that it is not everyone who could have deciphered his notes.” Along with all of Malone’s material this set contains three full volumes of scholarly works including the prefaces of all of the major editions of the previous century more then one life of Shakespeare Boswell’s life of Malone histories of the stage Shakespeare’s will Coat of Arms and other relative documents to the Bards life and extensive notes on and from the modern editions. In addition to all of this material is the extensive and very useful ‘Glossarial Index’ and an Addenda. No less then 35 publishers joined forces to produce these volumes and it is alone among the variorum editions to include a volume of Poems. Its influence was such that many years later the Sette of Odd Volumes a renowned bibliophile dining club limited its membership to 21 stating this in its list of rules; “The Sette of Odd Volumes to consist of twenty one this being the number of volumes of the variorum Shakespeare of 1821”. F.C. and J. Rivington; et al hardcover
réf. Prakash-9781435154476Sterling. HARD BACK. New. ENGLISH Sterling hardcover
réf. Prakash-9781435154476Sterling. HARD BACK. New. ENGLISH Sterling hardcover
1895réf. 10452G Napier & Co Birmingham and Tylston & Edwards Marsden London. Printed at the press of the Birmingham Guild of Handicraft. 1895. Printed by the Birmingham Guild of Handicraft. Large 8vo. 8.8 x 7.2 inches. iv154ppi Colophon. Decorative wood-cut Initial letters and borders on the text pages. Neat two line inscription on the title page. Early leather binding of half dark blue morocco. Spine which has been re-laid ruled lettered and decorated in gilt. Double gilt ruled lines on the morocco edges bordering blue cloth panels on the boards. Marbled endpapers with a strip of plain paper to both inner hinges where the book has been professionally re-cased. Top edge gilt. Some rubbing to the edges of the binding. A beautifully produced edition in the arts and crafts style of the period in a skilfully repaired but very good quality and still attractive early leather binding. G Napier & Co, Birmingham, and Tylston & Edwards Marsden, London. Printed at the press of the Birmingham Guild of Handi hardcover
réf. 9780521792554 KHBrand New. HARDCOVER Book Condition New U.S. EDITION. We Do not Ship APO FPO AND PO BOX. Printing in English language. Quick delivery by USPS/UPS/DHL/FEDEX/ARAMEX Customer satisfaction guaranteed. We may ship the books from Asian regions for inventory purpose hardcover
1734réf. 33902London: J. Tonson 1734. A pleasing and early octavo printing. Engraved frontispiece engraved head-piece and a six-line engraved initial at the beginning of the text Small 8vo bound in later blue wrappers hand calligraphed on the cover in brown ink. 96pp. A fine and well preserved copy the blue wrappers as pristine. VERY SCARCE. From the important Theobold oeuvre. Although Theobold ultimately gave way to Johnson in popularity he remains one of the pre-eminent Shakespearean editors. Churton Collins writing in the DNB claimed it “would not be too much to say that the text of Shakespeare owes more to Theobold than to any other editor.” The collection also draws on two rival editions J. Tonson’s and R. Walker’s. Although the two are nearly identical Tonson issued an advertisement warning the public against “such Useless Pirated and Maim’d Editions as are publish’d by the said R. Walker.” Henry VI Part II contains famous quotations among which are: Could I come near your beauty with my nails I'd set my ten commandments in your face. Eleanor Act 1 Scene 3 The fox barks not when he would steal the lamb. Suffolk Act 3 Scene 1 For where thou art there is the world itself With every several pleasure in the world: And where thou art not desolation. Suffolk Act 3 Scene 2 Small things make base men proud. Suffolk Act 4 Scene 1 True nobility is exempt from fear. Suffolk Act 4 Scene 1 The first thing we do let's kill all the lawyers. Dick the butcher Act 4 Scene 2 J. Tonson unknown
1734réf. 33903London: J. Tonson 1734. A pleasing and early octavo printing. Engraved frontispiece engraved head-piece and a six-line engraved initial at the beginning of the text Small 8vo bound in later blue wrappers hand calligraphed on the cover in brown ink. 96pp. A fine and well preserved copy the blue wrappers as pristine. VERY SCARCE. From the important Theobold oeuvre. Although Theobold ultimately gave way to Johnson in popularity he remains one of the pre-eminent Shakespearean editors. Churton Collins writing in the DNB claimed it “would not be too much to say that the text of Shakespeare owes more to Theobold than to any other editor.” The collection also draws on two rival editions J. Tonson’s and R. Walker’s. Although the two are nearly identical Tonson issued an advertisement warning the public against “such Useless Pirated and Maim’d Editions as are publish’d by the said R. Walker.” Henry VI Part III contains famous quotations among which are: How sweet a thing it is to wear a crown Within whose circuit is Elysium And all that poets feign of bliss and joy. Richard Act 1 Scene 2 O tiger's heart wrapt in a woman's hide! York Act 1 Scene 4 My crown is in my heart not on my head. King Henry Act 3 Scene 1 Yet hasty marriage seldom proveth well. Gloucester Act 4 Scene 1 For trust not him that hath once broken faith. Lady Grey Act 4 Scene 4 Fearless minds climb soonest unto crowns. Gloucester Act 4 Scene 7 And live we how we can yet die we must. Warwick Act 5 Scene 2 Suspicion always haunts the guilty mind. Gloucester Act 5 Scene 6 J. Tonson unknown
1735réf. 33901London: J. Tonson 1735. A pleasing and early octavo printing. Engraved frontispiece engraved head-piece and a six-line engraved initial at the beginning of the text Small 8vo bound in later blue wrappers hand calligraphed on the cover in brown ink. 96pp. A fine and well preserved copy the blue wrappers as pristine. VERY SCARCE. From the important Theobold oeuvre. Although Theobold ultimately gave way to Johnson in popularity he remains one of the pre-eminent Shakespearean editors. Churton Collins writing in the DNB claimed it “would not be too much to say that the text of Shakespeare owes more to Theobold than to any other editor.” The collection also draws on two rival editions J. Tonson’s and R. Walker’s. Although the two are nearly identical Tonson issued an advertisement warning the public against “such Useless Pirated and Maim’d Editions as are publish’d by the said R. Walker.” Henry VI contains many famous quotations among which are: My thoughts are whirled like a potter's wheel: I know not where I am nor what I do. Talbot Act 1 Scene 5 Here I prophesy: this brawl today Grown to this faction in the Temple garden Shall send between the red rose and the white A thousand souls to death and deadly night. Warwick Act 2 Scene 4 Defer no time delays have dangerous ends. Reignier Act 3 Scene 2 Here on my knee I beg mortality Rather than life preserved with infamy. John Act 4 Scene 5 She’s beautiful and therefore to be wooed; She is a woman therefore to be won. Suffolk Act 5 Scene 3 To be a queen in bondage is more vile Than is a slave in base servility. Margaret Act 5 Scene 3 J. Tonson unknown
1967réf. 11023Heinemann. London. 1967. Reprint. This edition originally published in 1963. 8vo. 7.2 x 4.9 inches. vi 194pp. Finely bound by Bayntun-Riviere in attractive full red calf binding. Spine with raised bands each decorated with gilt wavy lines. Compartments double ruled and decorated in gilt. Blue morocco label gilt. Board edges and turn-ins with decorative floral gilt tooling. All edges gilt. Marbled endpapers. Overall a lovely highly attractive volume. Heinemann. London. 1967 hardcover
1785réf. 11026John Bell. London. 1785. Two works in one volume. Early and first edition. 8vo. 5.8 x 3.6 inches. First work; 90pp. second work: 99pp. Some brown offsetting from the glue used in the binding to the first and last couple of leaves otherwise generally very good copies in an attractive late 18th century leather binding of half dark brown calf. Spine with decorative gilt bands. A new red leather title label lettered in gilt has been added to replace the missing original. Marbled paper on the boards. Some rubbing to the edges and the top hinge cracked but holding firm. Overall a pretty little volume. -- Early printing of Johnson & Steeven's Midsummer Nights Dream and First edition of their Annotations. John Bell. London. 1785 hardcover
1908réf. 10595Heinemann. London. 1908. FIRST RACKHAM EDITION. 1st printing. 4to. 10.1 x 7.7 inches. Colour frontis and thirty nine tipped-in colour plates each with a printed tissue paper guard and 30 fine line drawings by Rackham throughout the text some full page. Finely bound in recent full tan morocco. Spine with raised bands the compartments ruled decorated and lettered in gilt. Red title label gilt. Some light foxing throughout but still a very good copy of this beautiful book in an attractive leather binding. Rackham at his very best. Heinemann. London. 1908 hardcover
réf. 10121Heinemann. London. 1929. REPRINT RACKHAM EDITION. 4to. 9.7 x 7.2 inches. Colour frontis and thirty nine tipped-in colour plates each with a printed tissue paper guard. Thirty black and white illustrations some full page throughout the text. A lovely clean copy. Small crease to the bottom corner of the frontis plate otherwise a very good copy Finely bound for Henry Sotheran of London in recent full dark brown Levant Morocco. Spine with raised bands the compartments ruled in blind and lettered in gilt. Marbled endpapers. Decorative gilt border roll on the inside of the boards. All edges gilt. Original blue cloth spine and both boards bound in at the back. A fine copy of this beautiful book. Rackham at his very best. Heinemann. London. 1929 hardcover
réf. 9950Macmillan and Co. Limited. London. 1907. Reprint of the revised 1891 edition. 8vo. 7.3 x 5.1 inches. Some foxing to the blank endpapers and to a lesser extent on the first and last couple of pages of text otherwise clean throughout. Fine attractive early twentieth century binding of full dark green morocco by Zaehnsdorf of London. Spine with five raised bands each with gilt piping. Compartments decorated ruled and lettered in gilt. Triple gilt ruled border on boards. Institute of Chartered Accountants in England and Wales arms stamped in gilt to the front board and their prize label dated 1907 signed by the President Vice President and Secretary of the Institute on the front paste down endpaper. Gilt inner dentelles. Dark green endpapers. All edges gilt. Spine faded to a mellow brown but overall a fine attractive binding. Macmillan and Co. Limited. London. 1907 hardcover
1888réf. 9014Ernest Nister. London. Printed in Nuremberg. ND. 1888. FIRST AND ONLY PRINTING OF THIS EDITION. Folio. 15 x 11.7 inches. Illustrated with six stunning full colour chromolithographic plates and twenty-seven sepia vignettes throughout the text. The artist is Julius Höppner a master of fairy and fantasy illustration. Original white cloth with elaborate full gilt decoration to spine and front board which also has a sunken panel with a bevelled gilt tooled edge where a full colour illustration is placed. Silk patterned paper endpapers. All edges gilt. Binding a bit loose. The board edges are rubbed and marked & there is some minor foxing to most pages but overall this is a near to very good copy of a truly beautiful book. Ernest Nister. London. Printed in Nuremberg. ND. 1888 hardcover
1920réf. 33912London: Thomas Nelson & Sons ca.1920. 6 volumes. A sweet little set printed by Nelson around the turn of the century. With a colour frontispiece illustration to each volume. Small 8vo publisher's original soft flexible crimson leather the spines lettered and decorated in gilt the covers blocked in blind top edges gilt. A sweet little set with some rubbing to the bindings and a bit of wear to the extremities some cracking to the hinge of Volume 6. The text-blocks are all in very good order. THE EDITION OF SHAKESPEARE'S DRAMATIC AND POETIC WORKS PUBLISHED BY THOMAS NELSON. All of Shakespeare's plays including Pericles are found within the set. Included also are the most famous of the poetical works: Venus and Adonis The Rape of Lucrece The Sonnets A Lover's Complaint and The Passionate Pilgrim. Thomas Nelson & Sons hardcover
1904réf. 31872Stratford-On-Avon: The Shakespeare Head Press 1904. 10 volumes. First Edition printed by the Shakespeare Head Press. Limited and Numbered this being copy number 525. Illustrated with the Droeshout and Chandos portraits as frontispieces as well as the additional gravure frontispieces of known portraits of Shakespeare to every volume. 4to handsomely bound in three-quarter emerald-green morocco over turquoise cloth covered boards the spines with raised bands gilt stopped the compartments with panels in gilt featuring double fillet border lines corner tools and central ornamental tooling all in gilt two compartments lettered and numbered in gilt marbled endleaves top edge gilt. The text-blocks and illustrations are all in good order clean and fresh and very handsome the bindings have wear to the edges and tips one board detached but easily repaired an honest set internally very pleasing one portrait with a small water stain at a corner of the blank portion of the leaf. FIRST AND BEST EDITION PRODUCED BY THE SHAKESPEARE HEAD PRESS IN STRATFORD-ON-AVON. The Shakespeare Head Press was the dream child of A. H. Bullen who wished to produce beautiful editions of Shakespeare’s works-- set printed and bound in the famed author’s home town of Stratford-Upon-Avon. The press expanded significantly over the years and printed many wonderful editions by a plethora of writers. The books were printed for A.H. Bullen and F. Sidgwick at the press in the house of Julius Shaw the poet's friend and one of the witnesses to his will. The text with essays by H.C. Beeching Robert Bridges Henry Davey E.K. Chambers J.J. Jusserand and M.H. Spielmann. The type was composed under the supervision of T.E. Summerton. The whole was printed by F.S. Cooper. The work was begun in July 1904 and finished in January 1907. Colin Franklin writing in THE PRIVATE PRESSES says that in the years after the death of A. H. Bullen the Press's founder the Shakespeare Head Press "became the most mature and sophisticated of the private presses producing some works in the grand manner which are a great pleasure to read and examine now" p. 147. This set indeed is "in the grand manner" beautifully printed on fine paper and very handsomely bound and presented. This is a pleasing set internally showing the full effect of the beautiful Shakespeare Head Press printing of Shakespeare. The bindings have seen much better days but are still reasonably presentable. The Shakespeare Head Press hardcover
1911réf. 30764London: J.M. Dent and Sons Limited 1911. 3 volumes. First of the edition and first with the illustrations by Sullivan. Beautifully illustrated with 39 gravures after original illustrations by E.J. Sullivan. Thick 8vo very handsomely bound in full red morocco and signed by Bayntun Riviere & Son with edges gilt the covers bordered with gilt fillet lines spines with raised bands with gilt rules at the borders separating the compartments which are decorated with center tools in gilt picturing symbols of the stage two compartments with gilt lettering feathered marbled endpapers all edges gilt. 14 848; 8 887; 8 982 pp. A marvelous set all gilt still handsome and bright the bindings as pristine and without wear. A VERY FINE AND HANDSOME SET. This is a well-glossed and intelligently edited set of Shakespeare’s plays complete with a biographical section about Shakespeare. This edition also contains a plethora of intricate and delightful illustrations by E.J. Sullivan. A truly beautiful set. J.M. Dent and Sons, Limited hardcover
1858réf. 15651London: George Routledge & Co. Farringdon Street 1858. 3 volumes. First edition edited by Howard Staunton and illustrated by John Gilbert. Engraved frontispiece of the Bard and a great profusion of engraved illustrations throughout both within the text and as full page plates. 8vo original midnight-blue three-quarter morocco edged in gold over pebbled cloth boards spines richly gilt separated into compartments with gilt lettering gilt ruled raised bands and elaborately decorated gilt panel designs within the compartments marbled endpapers a.e.g. lxviii 746; 768; 816 pp. A fine set all gilt and all bindings still very handsome and bright with only expected minor foxing to the prelims. A HANDSOME SET INDEED. Staunton has painstakingly researched Shakespeare’s original language and manuscripts when possible in an attempt to wrap himself around the Bard’s mind “to explain his obscurities to disentangle his intricacies and to illustrate his allusions” preface. The result is a well-glossed and intelligently edited set of Shakespeare’s plays complete with an extensive biographical section about Shakespeare miscellaneous documents relating to his estate and a reprint of his famous will in which he bequeaths to his wife his “second best bed with the furniture.” This edition also contains a plethora of intricate and delightful illustrations by John Gilbert. A truly beautiful set. George Routledge & Co. Farringdon Street hardcover
1935réf. 27293London: Oxford University Press 1935. Early printing of the edition. Illustrated with a black and white frontispiece of Shakespeare. 8vo beautifully bound in full dark-green crushed morocco the spine with raised bands richly gilt separating compartments with fully gilt panels incorporated broad central gilt tools and elaborate borders one compartment lettered in gilt the covers fully gilt with elaborately tooled borders enclosing very finely and broadly tooled inner designs in gilt all edges gilt end-leaves of fine marbled paper. 1352 pp. including a very extensive glossary. A very fine copy especially well preserved very handsome and a beautifully bound book. A WONDERFUL COLLECTION OF THE COMPLETE WORKS OF THE VENERABLE BARD. Besides of full complement of the plays the Sonnets and the longer poems are all included. There is a fine glossary an index of first lines and an index of characters. Oxford University Press hardcover
1831réf. 25030London: William Pickering 1831. The fine and very scarce Pickering edition in one volume. This copy WITH FINE PROVENANCE having come from the library of Austin Dobsin with his decorative plate and identifying ownership label. Thick 8vo in a beautiful English binding of three-quarter crimson morocco over feather marbled boards lined in gilt at the turnovers the spine with raised bands dividing the compartments which are decorated with gilt framed panels and lettered in gilt in two of the compartments t.e.g. others untrimmed. 4 763 pp. A very fine and bright copy beautifully preserved the morocco binding in excellent condition and the text-block too in very fine condition. A BEAUTIFULLY BOUND EARLY PRINTING OF THE MASTER’S WORKS THIS COPY WITH FINE PROVENANCE HAVING BEEN OWNED BY AUSTIN DOBSIN. The fine Pickering production of Shakespeare’s plays is still one of the most famous of the early 19th century printings and this copy is especially attractive in fine binding and ownership history. ‘Austin Dobson was distinguished as both poet and biographer. Those who study his work are struck by its maturity. It was about 1864 that he turned his attention to writing original prose and verse and some of his earliest work was his best. It was not until 1868 that the appearance of St Paul's a magazine edited by Anthony Trollope gaveDobson an opportunity and an audience; and during the next six years he contributed some of his favourite poems including "Tu Quoque" "A Gentleman of the Old School" "A Dialogue from Plato" and "Une Marquise." Many of his poems in their original form were illustrated—some indeed were written to support illustrations. By the autumn of 1873 Dobson had produced enough verse for a volume and published Vignettes in Rhyme which quickly went through three editions. During the period of their appearance in the magazine the poems had received unusual attention George Eliot among others encouraging the anonymous author. The little book immediately introduced him to a larger public. The period was an interesting one for a first appearance since the air was full of metrical experiment. Swinburne's bold excursions into classical metre had broken new ground; it was hopeless to attempt to compete and the poets of the day were looking for fresh forms and variations. Early in 1876 a small body of English poets discovered the French forms of Théodore de Banville Clement Marot and François Villon and determined to introduce them into English verse. Austin Dobson who had already made successful use of the triolet was at the head of this movement and in May 1876 he published in The Prodigals the first original ballade written in English. This he followed by English versions of the rondel rondeau and villanelle. An article in the Cornhill Magazine by Edmund Gosse "A Plea for Certain Exotic Forms of Verse" appearing in July 1877 simultaneously with Dobson's second volume Proverbs in Porcelain drew the general eye to the possibilities and achievements of the movement. The experiment was deemed a success. In 1883 Dobson published Old-World Idylls which contained some of his most characteristic work. By this time his taste was gradually settling on the period with which it has since become almost exclusively associated; and the spirit of the 18th century was revived in "The Ballad of Beau Brocade" and in "The Story of Rosina" as nowhere else in modern English poetry. In "Beau Brocade" the pictorial quality of his work is at its very best. He has been compared with Randolph Caldecott with which it has much in common; but Dobson's humour was not so "rollicking" and his portraiture not so broad as that of the illustrator of John Gilpin. His appeal was more intellectual. After 1885 Dobson was engaged mainly in critical and biographical prose by which he added considerably to the general knowledge of his favourite 18th century. His biographies of Henry Fielding 1883 Thomas Bewick 1884 Richard Steele 1886 Oliver Goldsmith 1888 Horace Walpole 1890 and William Hogarth 1879-1891-1897-1902-1907 are studies marked alike by assiduous research sympathetic presentation and sound criticism. In Four Frenchwomen 1890 in the three series of Eighteenth-Century Vignettes 1892-1894-1896 and in The Paladin of Philanthropy 1899 which contain unquestionably his most delicate prose work the accurate detail of each study is relieved by a charm of expression which could only be attained by a poet. In 1901 he collected his hitherto unpublished poems in a volume entitled Carmina Votiva.’ William Pickering hardcover
1793réf. 20837London: Printed for and Under the Direction of John Bell 1793. 20 volumes. The important Bell’s Shakespeare with the Prefaces by Pope Theobald Hanmer Warburton and Johnson and with both Rowe’s and Malone’s Life of Shakespeare and with many other important essays notes and emendations. Engraved frontispiece portraits of Shakespeare and of the Prince of Wales of Pope Warburton Hanmer and Johnson as well as others of Shakespeare’s house and with a profusion of finely engraved plates throughout the volumes 12mo beautifully bound in full red Regency straight-grain morocco with handsome gilt ruling to the borders of the upper and lower covers the spine with compartments separated by gilt bands gilt tooled Regency decorative motifs and lettering in gilt within the compartments gilt tooled edges and gilt rolled turnovers marbled end-leaves all edges gilt. An excellent and important set very handsome beautifully preserved fresh and clean. AN IMPORTANT PRESSING OF THE SHAKESPEARE PLAYS AND OF THE SCHOLARLY WRITINGS AND DISCUSSIONS UP TO THE CURRENT TIME. The plays are from Steevens' and Johnson's Scholarly Edition of Shakespeare 1773. This edition prints a two volume Prolegomena which consists of prefaces written for Shakespeare's plays over many years. A PROLEGOMENA TO THE DRAMATICK WRITINGS OF WILL. SHAKSPER includes along with all the most important prefaces both Rowe’s and Malone’s ‘Lives of Shakespeare’ the 1623 preface of Heming and Condell as well as Shakespeare's Will Commendatory Verses and an attempt to determine the original order of the plays. With 97 portraits vignettes and character plates including a foldout of signatures on Shakespeare's Will in Vol. II "an example of fans" in the Merry Wives' Annotations a foldout of the Morris Dancers in Henry IV part 1's Annotations and an extra vignette in Titus Andronicus. This the "Literary" Shakespeare was published serially beginning in 1785 and collected in 20 vols. What distinguishes this edition from the others by Bell is the elaborateness of the presentation. This was the culmination of a 15 year effort to publish an edition of the Bard's works which had a high cultural value due to its edition annotation and beauty of its typography and illustration. Indeed this edition proved a social triumph for Bell with his assembled 1800 subscribers including the Royal Family ex-cept for the Sovereign along with the Queen of France monsieur the Kings brother and a collection of 70 nobles. The edition was printed on smooth wove paper gilt edges and handsomely bound in calf probably in Bell's own bindery. In this edition Bell first replaced the long s � with the modern small rounded s an innovation which quickly caught on. There are many more portraits in this edition than in the earlier "acting" editions of Shakespeare. In the Prolegomena alone there are 8 portraits as well as several engravings of places and things related to Shakespeare. Throughout the rest of the collection each play has between 2 and 4 character portraits featuring prominent actors in the roles. In contrast to the engravings of the earlier edition these portraits have oval borders and lush backgrounds. The actors themselves are rendered in a much softer more romantic style. The artists Bell commissioned were all under the age of 25 and relatively unknown. Most notable among them was the young Johan Heinrich Ramberg who had come to England from Hanover under the patronage of George III. It is because of these young artists that these portraits are so different from those in the "acting" edition. Ramberg brought with him a European aesthetic and all the artists brought the burgeoning romantic artistic trends to the drawing boards. Printed for and Under the Direction of John Bell hardcover
1944réf. 6199First edition of 'Antony and Cleopatra' translated by Pasternak. This is the only separate edition of his translation. Printed during wartime approved for printing on June 3 1944. This is the third Shakespeare play translated by Boris Pasternak 1890-1960 commissioned by the Moscow Art Theatre. He began work on it immediately after completing the translation of 'Romeo and Juliet'. By the end of June 1943 the translation was ready for printing. Soviet literary critic Mikhail Morozov described this translation as 'the most successful' emphasizing that it transcended mere translation to become a poetic dialogue between two poets. Pasternak himself likened Cleopatra to 'the Nastasya Filippovna of antiquity' drawing parallels with heroines such as Anna Karenina and Madame Bovary. Illustrations were created by Mikhail Pikov 1903-1973 a student of VKhUTEMAS under Vladimir Favorsky known for his mastery of woodcut techniques. Zakharenko 1995. # 114. OGIZ, Goslitizdat paperback
réf. 1172139768.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
