Oscar WildeBiblio.com
8.506 resultados
1906ref. feb553111906: First Finnish Edition of The Picture of Dorian Gray Dorian Grayn muotokuva Suomentanut Helmi Setälä
1942ref. feb520371942: First Romanian Edition of The Picture of Dorian Gray Portretul lui Dorian Gray Moderna
1979ref. 1435BIEVRES EN ESSONNE. PIERRE DE TARTAS. 1979. IN-FOLIO EN FEUILLES (30,5 X 39,5 X 6 CENTIMETRES ENVIRON) DE 116 PAGES, SOUS COUVERTURE CARTONNEE CREME REMPLIEE, PLAT SUPERIEUR GAUFRE REPRESENTANT LA PORTE D'UNE CELLULE DE PRISON, SOUS EMBOITAGE PERCALINE BEIGE DE L'EDITEUR AVEC FAC-SIMILE DE LA SIGNATURE DE L'ARTISTE, EN ROUGE SUR LE PLAT SUPERIEUR, ET TITRE DORE SUR DOS LISSE. ILLUSTRE DE 23 LITHOGRAPHIES EN NOIR IN ET HORS TEXTE, DONT 5 SUR DOUBLES-PAGES. PREMIER TIRAGE LIMITE A 514 EXEMPLAIRES NUMEROTES. UN DES 170 SUR ROMANA BEIGE, COMPORTANT UNE SUITE DES CINQ DOUBLES-PLANCHES TIREES SUR GRAND VELIN D’ARCHES SIGNEES PAR L’ARTISTE, AINSI QU’UNE PLANCHE DOUBLE SUPPLEMENTAIRE INEDITE SIGNEE PAR L’ARTISTE. EXEMPLAIRE NUMERO 57 CONTRESIGNE AU CRAYON PAR L'EDITEUR ET PAR L'ARTISTE, ET VISE PAR MINISTERE D'HUISSIER DE JUSTICE. BON EXEMPLAIRE.
1927ref. 121767Paris Javal et Bourdeaux 1927 1 vol. broché in-4, en feuilles, couverture rempliée, chemise et étui, 25 + XLV pp. Superbe édition illustrée d'un frontispice signé et de 14 gravures en couleurs (dont 8 à pleine page) par G. Cornélius (1880-1963). Cet artiste tourmenté, blessé de la Grande Guerre et converti au catholicisme en 1931, compose une illustration allégorique, hantée par la figure christique. Tirage unique à 225 exemplaires numérotés sur Japon Impérial, en parfait état sous chemise et étui décoré de l'éditeur.
1927ref. 121767Paris Javal et Bourdeaux 1927 1 vol. broché in-4, en feuilles, couverture rempliée, chemise et étui, 25 + XLV pp. Superbe édition illustrée d'un frontispice signé et de 14 gravures en couleurs (dont 8 à pleine page) par G. Cornélius (1880-1963). Cet artiste tourmenté, blessé de la Grande Guerre et converti au catholicisme en 1931, compose une illustration allégorique, hantée par la figure christique. Tirage unique à 225 exemplaires numérotés sur Japon Impérial, en parfait état sous chemise et étui décoré de l'éditeur.
1917ref. 149391917 plein chagrin rouge maroquiné, tête dor., couv. conservées. (LEVITZKY).(un petit manque à la pièce de titre). in-12, 144pp., (3ff.), illustré, Paris Crès 1917,
1996ref. BN647171996. 1996. 978E12 unknown
1908ref. 000872London: Methuen and Co. 1908. Bound in the publishers original ivory coloured buckram with gilt title lettering to spine and gilt tooling and title lettering to front board. This is the first Methuen edition. This Edition on handmade paper is limited to a 1000 copies for the United Kingdom and America. Top edge dyed gilt as published. All pages are present and correct and tightly bound. Book sits solid and square with no slacknes in the binding. Lighjt signs of handling and a little bumped to the corners but a very nice example of a sturdy and well made book. Photographs of this book are available on request. A very presentable copy of the first Methuen edition of this classic Oscar Wilde collection of prose pieces which is becoming extremely scarce. Contains the famous Canterville Ghost and the Model Millionaire amongst the seven pieces. First Edition. Very Good. FIRST EDITION. Methuen and Co. hardcover
1908ref. 21288London: Methuen 1908. A first edition first printing of 'Lord Arthur Savile's Crime' published by Methuen in 1908. Bound in the publishers original ivory coloured buckram with gilt title lettering to spine and gilt tooling and title lettering to front board. This is the first Methuen edition. This Edition on handmade paper is limited to a 1000 copies for the United Kingdom and America. A very good book. No inscriptions. Browning to the spine some rubbing. Thin line to the front board. The first Methuen edition of this classic Oscar Wilde collection of prose pieces. Contains 'The Canterville Ghost' and the 'Model Millionaire' amongst the seven pieces. Methuen hardcover
1913ref. 78263London: Duckworth & Co 1913. First edition thus. 134 pp. Gilt-decorated lavender cloth. Boards clean and the gilt to the upper is bright. Gilt at spine a little dulled with a little lean. Spotting to edges of text block and a little scattered through the text. Numerous in-text black & white illustrations. Colour frontis and 11 additional colour plates all with tissue guards illustrated by Charles Robinson. This is the first edition with the Robinson illustrations. A nice copy with rich illustrations. . Near Fine. Gilt Decorated Cloth. First Edition Thus. 1913. Duckworth & Co 1913 hardcover
1893ref. 371134Oxford: published for the Proprietor by James Thornton High Street 1893. 100 pp. Squarish 8vo. Blue printed paper wrappers. Some chipping and loss to covers; toning to pages. 100 pp. Squarish 8vo. Featuring "The Disciple" by Oscar Wilde and pieces by Lord Alfred Douglas H. M. Beerbohm and John Addington Symonds. published for the Proprietor by James Thornton, High Street unknown
1893ref. 371134Oxford: published for the Proprietor by James Thornton High Street 1893. 100 pp. Squarish 8vo. Blue printed paper wrappers. Some chipping and loss to covers; toning to pages. 100 pp. Squarish 8vo. Featuring "The Disciple" by Oscar Wilde and pieces by Lord Alfred Douglas H. M. Beerbohm and John Addington Symonds. published for the Proprietor by James Thornton, High Street unknown books
1929ref. 44391London:: Martin Secker 1929. First edition. publisher's cloth in dust jacket. A near fine copy in an attractive jacket with some chipping to two corners and the extremities of the spine not affecting any lettering. The jacket has a few neat internal repairs. It is extremely uncommon in our experience. . 8vo. Martin Secker, hardcover
1969ref. 50211Amsterdam: Stedelijk Museum 1969. First edition. Near fine. Scarce catalogue of the 1969 exhibition of Arte Povera and Conceptual Art less known but as innovative and groundbreaking as the same year's more-mythologized "When Attitudes Become Form" and similarly an expression of its own curator's personality and vision. "Op Losse Schroeven" and "When Attitudes Become Form" were conceived planned and exhibited more or less concurrently but independently: Stedelijk Museum director de Wilde though supervising one curator and friendly with the other apparently shared no information in either direction despite considerable overlap in vision. If the curators were not well informed on their peer's progress those artists invited to participate in both exhibitions were: one of those artists Ger van Elk "made the curious suggestion that the physical similarity of the two men - each was solidly built bearded and bohemian in style - made it interesting for an artist to work with them both as their quickly staggered studio visits turned into a kind of performance; that of a curator chased by his doppelgänger" Rattemeyer. With work by Carl Andre Giovanni Anselmo Joseph Beuys Bill Bollinger Gerrit Dekker Barry Flanagan Bruce Nauman Richard Serra Robert Smithson Lawrence Weiner and others. 10.75'' x 8''. Original wrappers housing two bound portfolios designed by Wim Crouwel and Jolijn van de Wouw of Total Design Amsterdam. Text in Dutch and English. Illustrated in black and white. Printed on multi-colored paper. Light edgewear and soil to wrappers minor creasing to page edges. Stedelijk Museum unknown
1969ref. 50211Amsterdam: Stedelijk Museum 1969. First edition. Near fine. Scarce catalogue of the 1969 exhibition of Arte Povera and Conceptual Art less known but as innovative and groundbreaking as the same year's more-mythologized "When Attitudes Become Form" and similarly an expression of its own curator's personality and vision. "Op Losse Schroeven" and "When Attitudes Become Form" were conceived planned and exhibited more or less concurrently but independently: Stedelijk Museum director de Wilde though supervising one curator and friendly with the other apparently shared no information in either direction despite considerable overlap in vision. If the curators were not well informed on their peer's progress those artists invited to participate in both exhibitions were: one of those artists Ger van Elk "made the curious suggestion that the physical similarity of the two men - each was solidly built bearded and bohemian in style - made it interesting for an artist to work with them both as their quickly staggered studio visits turned into a kind of performance; that of a curator chased by his doppelgänger" Rattemeyer. With work by Carl Andre Giovanni Anselmo Joseph Beuys Bill Bollinger Gerrit Dekker Barry Flanagan Bruce Nauman Richard Serra Robert Smithson Lawrence Weiner and others. 10.75'' x 8''. Original wrappers housing two bound portfolios designed by Wim Crouwel and Jolijn van de Wouw of Total Design Amsterdam. Text in Dutch and English. Illustrated in black and white. Printed on multi-colored paper. Light edgewear and soil to wrappers minor creasing to page edges. Stedelijk Museum unknown books
ref. 62462US: Oxford University Press. Hardback. Very Good /Very Good . Quarter red-orange cloth over textured orange paper-covered boards with gilt-debossed particulars to spine. Pages are clean and unmarked. A few spots of foxing to top edge close to spine; otherwise text block is clean and unmarked. Boards are clean and bright. Corners bumped and lightly rubbed. Binding is tight spine slightly cocked. Dust jacket is clean and bright with light creasing to corners and headcap. Dust jacket is covered in a protective mylar jacket. Oxford University Press unknown
1907ref. 23487Leipzig 1907. Boards. Very Good. Aubrey Beardsley. The 1907 1st German appearance with the seminal Aubrey Beardsley illustrations. Solid and VG- to VG in its gray boards over navy-blue leather spine. Mild spotting to the boards especially at the rear board a degree of chipping along the spine affecting the gilt-titling and the gilt-rule. Lovely former owner bookplate to the front pastedown offsetting at the colophon darkening along the rear blank endsheet. Still though a very presentable copy and uncommon as such with Aubrey Beardsley's 15 magnificent plates including frontispiece and title page beautifully complementing Oscar Wilde's text. #283 of 825 copies issued. unknown
1907ref. 23487Leipzig 1907. Boards. Very Good. Aubrey Beardsley. The 1907 1st German appearance with the seminal Aubrey Beardsley illustrations. Solid and VG- to VG in its gray boards over navy-blue leather spine. Mild spotting to the boards especially at the rear board a degree of chipping along the spine affecting the gilt-titling and the gilt-rule. Lovely former owner bookplate to the front pastedown offsetting at the colophon darkening along the rear blank endsheet. Still though a very presentable copy and uncommon as such with Aubrey Beardsley's 15 magnificent plates including frontispiece and title page beautifully complementing Oscar Wilde's text. #283 of 825 copies issued. unknown books
1909ref. mon0004059945THE PEARSON PUBL 1909T. hardcover. Good. . 10-volume set. deluxe library edition half morocco by Brentano's with raised bands and gilt decorations top edges gilt marbled boards. some of the spines with professional repair joints starting top boards on 2 of the volumes detached. the ""Poems in Prose"" volume contains work by Lady Wilde ""De Profundis"" is from the original unexpergated German edition translated by Henry Zick there is an introduction by Richard Le Gallienne a 296-page biography of Wilde and Wilde's translation of Barbey D'Aurevilly's ""What Never Dies"" is included. THE PEARSON PUBL hardcover
ref. 51-2530Mount Horeb Wisconsin: Perishable Press Walter Hamady 1985. Original handmade paper covers. 26 x 19 cm. Full page illustrations. Unpaginated. Edition of 200 copies. Fine.Mailing label from Perishable Press included. John Wilde an American surrealist associated with the Magic Realist school of painting whose fantastic darkly humorous images brought him fame far beyond his native Wisconsin died on March 9 2006 at his home in Cooksville. He was 86.The cause was cancer said his dealer Tory Folliard of the Tory Folliard Gallery in Milwaukee.Mr. Wilde pronounced WILL-dee dedicated his six-decade career to painting with an exacting touch narratives involving grotesque doll-like people in otherworldly situations. He was inspired partly by Salvador Dalí and partly by Northern Renaissance masters like Bosch and Grünewald.Mr. Wilde often painted himself into his pictures giving himself a weirdly oversized and misshapen head. He also created intensely detailed colorful and mysteriously glowing still lifes.Although he lived his whole life in Wisconsin -- except for a wartime stint in the Army -- Mr. Wilde rejected the regionalism of artists like Grant Wood and John Steuart Curry. Instead he became part of a loose community of like-minded Midwesterners -- including Marshall Glasier his teacher at the University of Wisconsin and the Chicago-based fantasy painter Gertrude Abercrombie -- who advocated idiosyncratic and freely imaginative forms of expression. His paintings also relate to those of New York-based Magic Realists like Paul Cadmus and George Tooker. For Mr. Wilde's solo exhibition in New York at the Edwin Hewitt Gallery in 1950 the ballet impresario Lincoln Kirstein a friend of Cadmus and the New York Magic Realists wrote the brochure text.Paintings by Mr. Wilde were included in "Surrealism USA" a major exhibition at the National Academy Museum in New York last year. Currently two shows of Mr. Wilde's works are on view: at Spanierman Gallery in New York and at Tory Folliard Gallery in Milwaukee Mount Horeb, Wisconsin: Perishable Press (Walter Hamady), 1985 unknown
1903ref. 006235Paris London: Leonard Smithers 1903. Wilde's satire of upper-class life premiered in 1893. This particular publication is a rather deceptive edition LIMITED to 250 copies. No publisher is given but per COPAC it is Wilde's friend Leonard Smithers who published many of the "decadent" writers of his day including Captain Sir Richard Burton. The city of publication is named as Paris but even this is in doubt and is most likely London; citing Paris may have allowed a hint of scandal to attach. Tan cloth binding with titling and the date "1903" in gilt on the spine. Clean text;154 pages. Very Good condition with minor rubbing to the margins and some red stains on the rear cover. There is a signature on the limitation page and a different one on the Title Page. The only real defect to be noted is the presence of many more signatures - as if practicing - on the endpapers and half-title page. One would be tempted to call this "juvenalia" but these appear to be adult handwriting. Some of these are pencil and others ink. Limited. Hard Cover. Very Good/No Jacket. 8vo - over 7¾" - 9¾" tall. [Leonard Smithers] Hardcover
1906ref. 140212Sunderland: Keystone Press 1906. First edition of Wilde's report on his lecture tour throughout America in 1882. Octavo original stiff paper wrappers. One of fifty numbered copies this is number 24. Very good with the majority of the original dust jacket. Wilde’s “theme is not as is often supposed art’s divorce from life but its inescapable arraignment by experience. His creative works almost always end in unmasking. The hand that adjusts the green carnation suddenly shakes an admonitory finger. While the ultimate virtue in Wilde’s essays is in make-believe the denouement of his dramas and narratives is that masks have to go. We must acknowledge what we are. Wilde at least was keen to do so. Though he offered himself as the apostle of pleasure his created world contains much pain” Ellmann xvi. Keystone Press unknown
1891ref. 40615New York: Dodd Mead and Company 1891. First American Edition. Octavo pink cloth stamped in yellow. Of a total of 1500 copies printed 900 were for sale in the UK and 600 were bound with the Dodd Mead and Company title page. Very Good condition spine darkened time toned paper. No dust jacket. Dodd, Mead and Company hardcover
1905ref. 45608London: Arthur L. Humphreys 1905. Softcover. g to vg. Duodecimo. 222pp. Bound in a beautiful period grey-brown morocco binding with gilt lettering and ruling on the front cover with raised bands and gilt stamped motifs and lettering on a red label on the spine. Top edge of the book block in gilt. Gilt dentelles and decorative pattered endpapers. The binding was created by acclaimed London-based firm Sangorski & Sutcliffe for sale in the book department of the famous Chicago department store Marshall Field & Company. Binder's ink stamp on the verso of the front endpaper. Reprinted from the "Fortnightly Review" by permission of Messrs Chapman & Hall. Publication in the Belles Lettres series of Humphreys's Royal Library. Contains epigrams and aphorisms and the essay "The Soul of Man" a reprint of the essay originally published with the title "The Soul of Man Under Socialism." Mason # 633. Binding with light rubbing to extremities including head and tail of spine as well as raised bands. Small stain on the front cover. Covers sunned along the edges. Interior with some smudging to the half-title. Binding in very good- interior in near fine condition overall. Arthur L. Humphreys unknown
1928ref. BOOKS005552INew York: Macy/Masius: Vanguard 1928. 1st . Hardcover. Good. Lynd Ward. Near fine in restored dust jacket. Macy/Masius: Vanguard hardcover
