GLUCK, LouiseBiblio.com
2,138 results
2012ref. 177567New York: Ecco 2012. First edition first printing inscribed by the author on the title page "for Adam Louise Glück with warm wishes". This compendium "is considered required reading by any aspiring poet - and arguably anyone serious about modern American literature" obit. Octavo. Original pale purple boards spine lettered in black. With dust jacket. Spine ends bumped; head of jacket mildly creased unclipped: a near-fine copy in like jacket. Clay Risen "Louise Glück 80 Nobel-Winning Poet Who Explored Trauma and Loss Dies" The New York Times October 13 2023. hardcover
1888ref. 77798Milano: Soc. ed. Libraria 1888 e seguenti. Disponibili i volumi dall'1 al 29 manca il 25 sono pi presenti il 37/38 parte quarta e il 39 parte prima. Complessivamente 33 volumi di cm. 24 pp. 200/1000 ciascuno. Legatura originale in cart. rigido a stampa. Qualche segno d'uso ai dorsi un paio con mancanze peraltro esemplare genuino ed in buono stato di conservazione. Soc. ed. Libraria unknown
1995ref. 100-49223Serpent's Tail 1995-04-01. paperback. New. In shrink wrap. Serpent's Tail paperback
1968ref. 6861New York: New American Library 1968. Paperwraps. Fine. Paperwraps. 1st edition long galley uncorrected proof original wire staple bound with custom archival box. The celebrated author's first book of poetry presented here in the first issue uncorrected proof format. Laid in is a signed letter from Stanley Moss on New American Review letterhead requesting a review from fellow poet William Meredith. Gluck won the Nobel Prize for literature in 2020. The long galley uncorrected proof is housed in a bespoke archival box. Minimal wear to edges else fine. Very scarce. Additional postage required. New American Library unknown books
1985ref. 1401169Doubleday & Company Inc 1985. Limited Edition. Hardcover. Fine/No Jacket. Fine special limited edition. INSCRIBED by Mickey Mantle to his friend and former NY anchorman and broadcaster. This book has been hand-numbered in a limited edition of 536 copies. Full leather binding with gilt signature on the front cover and gilt lettering on the spine. We will provide a certificate of authenticity for this item. Doubleday & Company, Inc hardcover books
2009ref. m36New York: Farrar Straus Giroux 2009 First edition. First printing. A pristine unread copy. No marks no smells etc. Perfect! SIGNED BY AUTHOR on title page. She has signed her name only without any other writing. Comes with program from the night of her signing at the 92nd Street Y in NYC. Signed by Authors. 1st Edition. Hardcover. New/New. Farrar Straus Giroux hardcover
ref. 352924New York: Antaeus Editions 1976. First edition signed issue. Limited to 50 numbered copies Signed by Glück of 500 total. 12pp. Tall narrow octavo. Green printed wrappers fine. First edition signed issue. Limited to 50 numbered copies Signed by Glück of 500 total. 12pp. Tall narrow octavo. Designed and printed by Ronald Gordon at The Oliphant Press. Very scarce. Glück received the 2020 Nobel Prize in Literature. Antaeus Editions unknown
ref. 2189New York: Antaeus Editions 1976. First edition limited issue. 12 pp. Stapled printed wrappers French flaps. A bit of toning to the spine else a fine copy. One of 50 signed and numbered copies of a total edition of 500. Designed and printed by Ronald Gordon at The Oliphant Press. A very attractive publication by the Nobel laureate. Antaeus Editions
1985ref. 49131New York: Ecco Press 1985. First Edition. Hardcover. Fine/fine. 60p octavo A very fine copy in like dust jacket inscribed by Gluck to Marita Garin who she worked with at Goodard College in Vermont. Later Garin moved to Black Mountain North Carolina where she worked in the Warren Wilson Writing Program. Ecco Press hardcover
1774ref. 29643Paris: Lemarchand 1774. Folio. 19th century quarter dark brown leather-backed marbled boards spine in decorative compartments gilt titling gilt. 1f. recto title verso publisher's catalogue 1f. recto dedication verso argument 217 pp. With an inscription signed by the Canadian conductor Wilfrid Pelletier 1896-1982 to Italian conductor Tullio Serafin 1878-1968 dated New York 1928 to front flyleaf. Bass figurings added in manuscript to pp. 10-12 Act I scene 1; final page of music signed by the publisher Lemarchand. Binding worn; edges rubbed; spine split at joints and hinges; chipped at head and tail. Slightly worn and browned; title soiled with outer edge reinforced with paper tape; some minor staining; several repairs to inner margins; occasional small holes. First Edition variant issue. Hopkinson 41Af. Wotquenne 41. Lesure p. 240. RISM G2852 not distinguishing among issues. "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms. It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France. Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Lemarchand unknown books
1774ref. 29643Paris: Lemarchand 1774. Folio. 19th century quarter dark brown leather-backed marbled boards spine in decorative compartments gilt titling gilt. 1f. recto title verso publisher's catalogue 1f. recto dedication verso argument 217 pp. With an inscription signed by the Canadian conductor Wilfrid Pelletier 1896-1982 to Italian conductor Tullio Serafin 1878-1968 dated New York 1928 to front flyleaf. Bass figurings added in manuscript to pp. 10-12 Act I scene 1; final page of music signed by the publisher Lemarchand. Binding worn; edges rubbed; spine split at joints and hinges; chipped at head and tail. Slightly worn and browned; title soiled with outer edge reinforced with paper tape; some minor staining; several repairs to inner margins; occasional small holes. First Edition variant issue. Hopkinson 41Af. Wotquenne 41. Lesure p. 240. RISM G2852 not distinguishing among issues. First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Lemarchand unknown
1968ref. 6849N. Y.: New American Library 1968. First edition of the Pulitzer Prize-winning poet's scarce first book. A fine copy. 8vo cloth dust jacket. A fine copy. New American Library unknown
1968ref. 6861New York: New American Library 1968. Paperwraps. Fine. Paperwraps. 1st edition long galley uncorrected proof original wire staple bound with custom archival box. The celebrated author's first book of poetry presented here in the first issue uncorrected proof format. Laid in is a signed letter from Stanley Moss on New American Review letterhead requesting a review from fellow poet William Meredith. Gluck won the Nobel Prize for literature in 2020. The long galley uncorrected proof is housed in a bespoke archival box. Minimal wear to edges else fine. Very scarce. Additional postage required. New American Library unknown
ref. Lit-0002A beautiful FIRST UK EDITION publish 1969 inscribed by author. Anvil Press Poetry hardcover
1934ref. 31822Amsterdam: N. V. Kunsthandel P. De Boer. As New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - 75 pages of text; 48 pages of black and white plates; text in Dutch. 227 works in the exhibition. -- with a bonus offer--; T-Deboe; N. V. Kunsthandel P. De Boer; Burchard L.; De Boer P.; Gluck G. De Helsche en de Fluweelen Brueghel en Hun Invloed op de Kunst in de Nederlanden naar aanleiding van de Tentoonstelling in de N. V. Kunsthandel P. De Boer Amsterdam - 10 February - 26 March 1934 . 1934. N. V. Kunsthandel P. De Boer paperback
ref. 49672Tehran Iran: Soroush Press / Published under the Auspices of the Shahbanu Farah Foundation and the National Iranian Radio and Television 1977. Very Good. Tehran Iran: Soroush Press / Published under the Auspices of the Shahbanu Farah Foundation and the National Iranian Radio and Television 1977. Third Edition Second Impression. Sixteen Quarto volumes; blue-gray cloth stamped in silver. Plates and illustrations some color. No dust jackets. Mild rubbing; spotting to spines; spotting to edges of text block of two volumes; interiors unmarked; overall a Very Good example of an impressive production. In the preface to the final volume volume two of the bibliography editor Jay Gluck laments the recent death of Phyllis Ackerman who was pre-deceased by her husband co-editor Arthur Upham Pope in 1969 though notes they will both be buried at a twin-domed mausoleum in Isfahan. "Which will be their lasting monument: the brick and stone and tile by the River Zayadeh; the tens of thousands of volumes of paper and buckram of the Survey; their impact on their patrons and the artisans of Iran who were reawakened to their traditional arts and crafts; or the places they took in their hearts of their colleagues and students Soroush Press / Published under the Auspices of the Shahbanu Farah Foundation and the National Iranian Radio and Television unknown
1969ref. 8307Middlesex: Anvil Press Poetry 1969. First U.K. Edition. First Impression cloth issue. Octavo 22.5cm; burgundy cloth with titles stamped in gilt on spine; dustjacket; viii23-533pp. Signed by the author on the title page. Spine slightly askew light wear to heel and lower board edges else a clean Near Fine copy. Dustjacket is unclipped priced 21/- with light wear to extremities a few tiny nicks and tears with some mild creasing at base of spine and upper rear panel; Very Good. The Nobel Prize-winning author's first book. "Her poems deal in wastelands the lost lives of cripples the hopeless and loveless; yet her landscapes have a stern beauty a mythic size that looms behind the everyday. Arid merciless stinging yet full of life these are strikingly original poems" from front flap. 8307. Anvil Press Poetry unknown
1975ref. 501001New York: The Ecco Press 1975. Hardcover. Fine/Fine. First edition hardcover issue. Fine in fine dust jacket with a tiny closed tear on the front cover. Signed in the title page and additionally Inscribed on the facing page to poet and editor Douglas Blazek: "For Doug Blazek with good wishes Louise Glück." The Poetry Foundation calls Blazek "one of the instigators of the Mimeo Revolution" and a "force in the American poetry 'underground' of the 1960s." In addition to publishing heavily early in his career Blazek also founded and edited the magazine Ole and the small press Open Skull where he published Bukowski Robert Crumb d.a. levy and other "underground" writers. A lovely copy of the Nobel laureate's second book with an excellent association. Housed in a fine custom royal blue clamshell case with the spine titled in gilt and the author's gilt facsimile signature on the cover. The Ecco Press hardcover
ref. 173715Hopewell New Jersey: The Ecco Press 1992. Crying yes risk joy / in the raw wind of the new world First edition inscribed by the author to a fellow gardener-poet on the half-title "For Meryl. After the airport. Louise Glück". Meryl Natchez first encountered Glück's works when she bought this copy at an airport bookstore. Natchez evidently told this story to Glück who had Natchez in attendance while giving a poetry reading at Moe's Books Berkeley on 9 February 2012 and at her Stanford lectures. Natchez has published two poetry collections Jade Suit 2001 and Catwalk 2020. Glück's Pulitzer Prize-winning collection contains some of her best-known poems including "Snowdrops" "End of Winter" and "The Silver Lily". Octavo. Original dark blue quarter cloth spine lettered in gilt yellow paper-covered sides with publisher's blind device on front. With dust jacket. Publisher's mailing slip loosely inserted. A fine copy in fine unclipped jacket. hardcover
1779ref. 40424Paris: Chez des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Prouvaires Ou trouve aussi toutes sortes de papiers réglés pour copier la Musique 1779. Folio. Contemporary quarter dark brown calf with marbled boards spine in decorative compartments gilt with titling gilt to spine. 1f. recto title verso blank 256 pp. With blank overpaste to title obscuring the words "Par M. Le Baron de T." Signature "L. Wessén" in ink to front pastedown and "A. Benzinger" to free front endpaper. Binding worn rubbed and bumped; lower portion of upper joint partially split. Occasional small stains foxing browning tears and light dampstaining; minor loss to blank outer margin of pp. 139 and 149; several small holes to p. 237. Quite a good copy overall on quality paper. First Edition variant issue. Hopkinson p. 63 with attributes of 47Ac except here there is no plate number and the price "40" appears in manuscript and 47Ae as "Royale" has been erased here in pencil. Wotquenne 47. BUC p. 386. RISM G2739 First performed in Paris at the Opéra on 24 September 1779. "Echo et Narcisse was a failure at its early performances largely because the audiences and critics expected high drama along the lines of Alceste Armide and Iphigénie en Tauride. But Echo et Narcisse is a different type of work; it belongs to the pastoral tradition still popular at this date and a genre to which Gluck frequently returned. Comparisons were and are still made with Gluck's more popular dramas because Echo et Narcisse contains numbers and scenes similar to those that had made greater impressions before. It is not a weak opera and there is much fine music in it ." Jeremy Hayes in Grove Music Online Gluck was a "Bohemian-Austrian composer of Italian and French opera a leading figure in opera of the second half of the 18th century and the person chiefly credited with the 'reform' of opera after the age of Metastasian opera seria. . Force of circumstance may have led Gluck to Paris to complete his operatic career but in artistic terms Paris can be seen as his inevitable final destination. His years of grounding in opéra comique and the ballet and via Traetta his response to the French tragédie lyrique tradition had already provided the impetus for his overhaul of the opera seria; now it was time to confront that tradition on its own territory. On more than one occasion indeed Gluck explicitly owned the French influence and its particular effect on his preparation for Paris. Between them the eight operas that he produced for the Académie Royale de Musique in Paris - the two Iphigénie operas; the radical revisions for Paris of the Vienna 'reform' operas Orfeo and Alceste; the similar revisions of the Vienna opéras comiques Cythère assiégée and L'arbre enchanté; Armide a new opera on a libretto that Quinault had written for Lully more than 90 years earlier; and the last opera Echo et Narcisse - are all different attempts at the confrontation and revival of that lyric tradition." Jeremy Hayes Bruce Alan Brown Max Loppert and Winton Dean in Grove Music Online. Chez des Lauriers Md. de Papiers, Rue St. Honoré à côté de celle des Prouvaires Ou trouve aussi toutes sortes de papiers ré unknown
2023ref. 54004Paris Editions d'Art FMA 2023 Deux leporelli in-4 maroufls et contrecolls en regard, (8 feuillets pour le texte, 4 feuillets pour la suite), assembls dans une chemise en velours bleu nuit. Etui (reliure de l'diteur).Inspir de lOdysse d'Homre, rcit fondateur de la culture occidentale, le rcit-pome indit de Michal Glck enlumin des ?uvres originales de Bernard Alligand nous transporte dans une toile arachnenne immersive, lumineuse et envotante. Les ?uvres parcourent lensemble du livre. Elles nous invitent suivre la main narrative de Pnlope par lillusion du tissage faisant cho au rcit-pome de lauteur. Le choix des matires (diffrentes textures de papier et gravures), rsine, poudres dor et dargent, le tumulte des effets marins (bleu/mer), la succession de bandes (tissage), la figuration suggestive (geste de Pnlope) ou symbolique des personnages (or/Dieux), crent une intensit particulire l?uvre-livre (extrait de la prsentation de l'diteur). Edition originale, illustre par Bernard Alligand de somptueuses compositions en couleurs qui ornent presque toutes les pages du livre et qui ont ncessit prs de 9.000 interventions manuelles (hors essais), selon de multiples techniques appliques soit sur un papier imprim offset bleu et recouvert dune acrylique blanche, soit sur un papier mtallis: photographies de compositions originales, impressions numriques, colorations avec de la rsine, enduits et incrustations de poudres argent et or. La mise en pages des lments dcoratifs a t ralise par des dcoupes, des assemblages et des collages. Certaines pages ont t rehausses d'empreintes froid obtenues par l'utilisation de plaques graves en carborundum avec des apports de matire et des passages sous presse sec bande/bande. Tirage limit 31 exemplaires numrots sur papier Moulin du Gu, signs par l'auteur et l'artiste. Un des 18 premiers exemplaires, seuls comporter une suite de 7 ?uvres originales en couleurs runies sous la forme d'un leporello sign par Bernard Alligand et mont en regard du livre. Cet ouvrage est une relle russite, tant par la qualit du texte et des illustrations, que par la typographie utilise et la mise en pages. Chacune des illustrations entirement ralises la main, est unique.
ref. 187177New York: The Ecco Press 1980. It is a deep relief to love so consistently First edition inscribed by Glück to her fellow poet and close friend Hugh Seidman: "Hugh - the experience of profound regard is not easy since it contains so much yearning. So much envy. Your poems seem sometimes that which I derive from that which I aspire to -- finally. It is a deep relief to love so consistently. Louise". Glück's admiration for Seidman's poetry was intense and long lasting. She published an essay celebrating his work On Hugh Seidman in her 1994 Proof & Theories: Essays on Poetry. In it she said of his 1970 volume Collecting Evidence that "I know few collections so lacking in complacency so adamant in their refusal to charm or console so fiercely intelligent" p. 48. Octavo. With the publisher's advertising slip printed in purple. Original purple cloth spine lettered in silver. With dust jacket designed by Loretta Li. Upper edge a little faded; jacket unclipped spine a little creased edges a little rubbed with 3 tiny closed tears: a near-fine copy in very good jacket. hardcover
ref. 500249New York: Antaeus Editions/ Printed by The Oliphant Press 1976. Softcover. Fine. First edition signed issue. Tall narrow octavo. 12pp. Sewn green printed wrappers. Fine. Limited to 50 numbered copies Signed by Glück of 500 total. Nicely designed and printed by Ronald Gordon at The Oliphant Press. Very scarce. Housed in a fine custom royal blue clamshell case with the spine titled in gilt and the author's gilt facsimile signature on the cover. Glück received the 2020 Nobel Prize in Literature. Antaeus Editions/ (Printed by The Oliphant Press) unknown
1969ref. 136043Oxford: Anvil Press Poetry 1969. Signed limited first edition of the Pulitzer and Nobel Prize-winning poet's first book one of only 50 numbered copies. Octavo original cloth. Signed by Louise Gluck on the half-title page. Fine in a near fine dust jacket. "This book introduces Louise Gluck who at twenty-four is already a poet of terrifying accomplishment. Miss Gluck's work gives us a sense of defiled life made whole again by courage wit and intelligence" Stanley Moss. Anvil Press Poetry hardcover
1932ref. C93639Anton Schroll & Co. . As New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in German. 102 pages; 41 illustrations. Gemälde Gemalde Catalogue Raisonne Catalog Raisonné Complete Works Leben Und Werk Oeuvre-Katalog Kritischem Oeuvrekatalog Raisonnee -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . 1932. Anton Schroll & Co. hardcover
