2259 resultados
1972ref. 47297San Francisco: The Hoddypoll Press 1972. Magazine. Unpaginated 8.5x11 inches wraps fastened with light cord Japanese style. Prose poetry and graphics. The Hoddypoll Press unknown books
1968ref. 140949674New York: The New American Library 1968. First Paperback Edition. Near Fine. First paperback edition first printing of Louise Gluck's first book. Association copy signed by her on the dedication page inscribed to the poets Sandra McPherson and Henry Carlile the latter's address stamp to first page: " to Sandy Henry My crude beginnings reclaimed From their final home - source - under the suburb. Meant for your eyes only. Louise" iv 53 pp. Bound in publisher's printed white wraps. Near Fine with light wear and soiling to covers slight bump to upper right corner. Very tight binding. A lovely signed copy of the Nobel Prize-winner's first poetry collection which was issued simultaneously in cloth and wrappers. From the estate of Henry Carlile in Portland. The New American Library unknown books
ref. 52761New York: Greenwood Press Publishers. Very Good. c1929. Hardcover. 0837121701 . An edition in Very Good condition with some soiling to the front flyleaf and minor wear to the boards ; Mitchell Miner is a riveting and informative exploration of the life and labor of John Mitchell one of the most important figures in the history of American labor. Gluck tells the story of Mitchell's life and work as a coal miner in the dangerous and difficult days of the Gilded Age when men and women labored long hours in dangerous conditions for little pay. Mitchell was a pioneering organizer and leader of the coal miners' union and his negotiations with the coal companies helped to secure better working conditions and higher wages for his fellow miners. Gluck brings Mitchell to life with lively descriptive detail and his story is a testament to the power of collective organizing to improve the lives of working people.; 8vo; 270 pages; TBC . Greenwood Press, Publishers hardcover books
1881ref. 623209New York: Edward Schuberth & Co 1881. Softcover. Good. Sheet music. Folio. Two nested bifolia with a single-sheet-insert making ten pages. Notched and worn along the folds from once being bound within an album as a result the insert remains bound to the inner bifolium light offsetting throughout faint music shop stamp on the front cover and the exterior lightly soiled a complete but good only copy. An instrumental piece for piano. Plate imprint "E. S&Co. 712." OCLC locates a single holding The British Library. Edward Schuberth & Co unknown books
1996ref. 613567Hopewell New Jersey: The Ecco Press 1996. Hardcover. Fine/Fine. First edition hardcover issue. 60pp. Fine in fine price-clipped dust jacket. Inscribed by the author: "for Peter - Louise Glück. The Ecco Press hardcover books
1860ref. 41452Berlin: W. Zawitz 1860. The composer is depicted full-length standing facing forward dressed in a long coat an elegant waistcoat britches and stockings. He holds a writing quill in his right hand which partially rests on an open opera manuscript resting on a table next to the composer; volumes of his works and music paper rest against a leg of the table. Image size 400 x 275 mm; sheet size 522 x 372 mm. Printed by J. Hesse on wove paper on an off-white ground. Some minor wear soiling and repairs; creases from folding faintly visible on recto. Gluck a Bohemian-Austrian composer was "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." Jeremy Hayes Bruce Alan Brown Max Loppert and Winton Dean in Grove Music Online Hamman a Belgian painter and engraver specialized in portraying famous artists scholars and the nobility. W. Zawitz unknown books
1977ref. 47563Tehran New York London Ashiya: Bank Melli Iran 1977. First edition. Hardcover. g to vg. Small Folio. 416pp. 1 folding map laid in. Original tan cloth with gilt lettering on spine in photo-illustrated dustjacket blue lettering on spine. Light yellow endpapers. Vignette on half-title. Frontispiece color photograph. Title page printed in blue and black. A pictorial introduction to the contemporary Folk Arts and Art Crafts of modern Iran. Outstanding collection of 404 color and 236 b/w photographic reproductions of ceramics glass ware gold and silver ware jewelry textiles baskets woodwork musical instruments and painted objects with photographs and description of creative process. Laid in folding map of Iranian provinces and cities with index. Dustjacket with light wear along edges. Binding lightly rubbed with very light wear along edges. Title page with small square from distributor's label on verso bleeding through. Dustjacket binding and interior in overall good to very good condition. Bank Melli Iran hardcover books
1985ref. 48693Garden City: Doubleday & Company 1985. Very Good/Very Good. Garden City: Doubleday & Company 1985. Later Printing. Octavo 21.5cm; illustrated dust jacket with $15.95 price intact; red paper-covered boards and black cloth spine with silver lettering; xii248pp; 8pp b&w photos. Jacket shows a few shallow closed tears along edges with rubbing and tugging at spine ends; light toning to verso along spine. Boards are square with nudging at spine ends and a light scuff at head. Gift inscription on front free endpaper "To Michael M. Hannnon Autographed by "the Mick" himself! Merry Christmas - 1985 Bob & Mary Kay Abbey" Bob Abbey was a meteorology research director for the Office of Naval Research and American University adjunct Mary Kay a mathematics professor at Montgomery College Pages otherwise unmarked. Binding sound. Signed by Mantle without inscription on half title. Doubleday & Company unknown books
1969ref. 3979First UK Edition; A Presentation copy double SIGNED by the author and inscribed to publisher Herb Yellin. A Near Fine book in a Near Fine dust jacket with only light rubbing to the board and panel edges and a couple of tiny chips out of the spine head and top edge. An outstanding copy of this collection of poems the Pulitzer winning author's first collection; scarce in the first edition and signed unique with the association to Herb Yellin. An important addition to any Gluck or modern poetry collection. Not remaindered not price-clipped the limited edition is price clipped not ex-library; in a protective Mylar cover and will ship securely wrapped in a sturdy box. Anvil Press hardcover books
1990ref. 46841New York: Ecco Press 1990. Very Good. New York: Ecco Press 1990. First Paperback Edition Stated. Slim octavo 22.5cm; publisher's glossy pictorial card wrappers; 68pp. Light soil and curling to wrappers else Very Good internally clean and sound. Signed by the author on title page and additionally inscribed and signed on facing blank "For Faith / with good wishes / Louise Glück. Ecco Press unknown books
ref. 27445BRUEGHEL GLUCK Gustav. PIETER BRUEGHEL THE ELDER. Paris: Hyperion Press 1937. 4to. Cloth dust jacket. 34 2 pages 63 plates of which 38 colored. First edition. Comprehensive catalog of the works of Pieter Brueghel the Elder the sixteenth century Renaissance artist from the Netherlands. Originally written in German it is translated into English by Eveline Byam Shaw. Filled with illustrations and thirty-eight colored plates tipped in the text. Signatures at beginning and end of book are loose. unknown books
1994ref. 613545Hopewell New Jersey: The Ecco Press 1994. Hardcover. Near Fine/Near Fine. First edition. 134pp. Octavo. Ink owner on first page and hint of edgewear near fine in near fine dust jacket with some sunning to the spine and indentation and a few creases to the rear wrap. The Ecco Press hardcover books
1951ref. 140943263Elizabeth NJ: Published by the Author for FAPA and SAPS 1951. For the 14th SAPS mailing and the 53rd FAPA mailing. Original mimeographed side-stapled sheets. Very Good with toning and light general wear. Vertical crease to center throughout. Scarce with very little information available on this title. The title is spelled differently on the front cover than as it is on the rear. Published by the Author for FAPA and SAPS unknown books
2008ref. 465198Iowa City Iowa: University of Iowa Center for the Book 2008. Unbound. Fine. Broadside. Measuring 12" x 26". Fine. Limited to 150 copies. This is copy 129. Signed by the poet. Issued in honor of Glück's visit to the Iowa Writers Workshop in April 2008. University of Iowa Center for the Book unknown books
ref. 625458Paris: A. Durand & Fils no date. Softcover. Very Good. Sheet music. Small quarto. 2 27pp. Stiff cardboard wrappers. Minor edgewear throughout sunning to the boards wear along the spine very good. Varied instrumental arrangements for three pieces: No. 1 "Danse Des Athletes D'Elena E Paride" No. 2 "Menuet D'Iphigenie En Aulide" No. 3 "Passacaille D'Elena E Paride. A. Durand & Fils unknown books
1994ref. 70964New York: Parthenon Publishing Group 1994. Hardcover. 139p. 8.5x11 inches foreword introduction selected bibliography index illustrationscolor photos of diseased bodies tables figures very good first edition in boards and unclipped dj. The Encyclopedia of Visual Medicine Series. Parthenon Publishing Group hardcover books
1812ref. 41214Berlin: Schlesinger's Buch= und Musikhandlung Unter den Linden No. 34. PN 50 1812. Oblong folio. Contemporary dark brown mottled calf-backed marbled boards with oval label titled in manuscript to upper. 1f. recto title verso blank 3 "Personen" and incipits 4-123 i blank pp. Provenance Noted American harpsichordist Louis Bagger 1926-2024 Binding worn rubbed and bumped. Very occasional minor soiling to blank lower margins; occasional minor showthrough; small stains to title with small circular publisher's handstamp to inner margin. Hopkinson 46Ca. Gluck's work is a tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides's work of the same name. "Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online It was first performed in Paris at the Opéra on 18 May 1779 "with excellent singers; Rosalie Lavasseur sang Iphigénie Larrivée Oreste Legros Pylade and Moreau Thoas. . The opera had a great success immediately and even Grimm wrote of it - I do not know whether this is melody but perhaps it is something better. When I hear Iphigénie I forget I am at the opera; I seem to be listening to a Greek tragedy with music by Lekain and Mlle Clarion. It was the crowning point of Gluck's career. Guillard had provided an excellent libretto more classical than Goethe's poem less Christian and more ruthless; and Gluck had seized on the contrast between Scythians and Greeks upon the perfectly dramatic figures of Iphigenia and Orestes and had produced a work which both re-created a part of Greek tragedy and at the same time foretold a new world." Cooper: Gluck p. 258. Schlesinger's Buch= und Musikhandlung, Unter den Linden No. 34. [PN 50] unknown books
1951ref. 148501Vienna: Anton Schroll 1951. hardcover. very good. Mounted plates many in color. Oblong folio orange cloth. Wien: Anton Schroll 1951. Very good. Anton Schroll unknown books
1985ref. 30926New York: The Ecco Press 1985. Very Good/Very Good. New York: The Ecco Press 1985. First Edition. Octavo. 60 pp. Printed dust jacket $13.50 price present. Gray and light red boards with spine stamped in gilt. Dust jacket lightly rubbed along edges with mild wrinkling; dampstaining along spine and bottom edge with associated discoloration. Boards shelfworn with bumping to extremities; discoloration to base of spine; a touch faded and soiled along top edge. Binding sound and pages unmarked; a Very Good copy. Melville Kane Award sticker affixed to upper jacket panel. The Ecco Press unknown books
1974ref. 71571London: Early English Text Society and Oxford University Press 1974. Hardcover. Very good. Hardcover. xlvii 178pp. Previous owner's ink name and 'chop' stamp on front free endpaper else a very good hardback in a rubbed jacket that is suned on the spine and has a closed etar to the top of the front fold. Early English Text Society and Oxford University Press hardcover books
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 books
1774ref. 40430Paris: Chez Mr. Lemarchand . A.P.D.R. 1774. Folio. Unbound. Sewn. 1f. recto title verso publisher's catalogue 1f. recto dedication verso "Argument" 52 pp. Engraved. Incomplete with only first act and three pages of second act present. Worn overall with occasional staining foxing and soiling throughout primarily to blank margins; title worn and heavily browned stained and soiled with paper loss to edges; corners slightly bumped and creased; signatures separated; binder's holes to blank inner margin. First Edition unrecorded variant. Wotquenne 41. Hopkinson p. 43 41A. BUC p. 386. Lesure p. 240. RISM G2582. 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. Chez Mr. Lemarchand ... A.P.D.R. unknown books
1783ref. 40431Paris: Chez Des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Provaires 1783. Folio. Early full dark brown leather with double rule gilt to edges of boards spine in compartments gilt with titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto dedication verso "Argument" 217 pp. Bound with an extra title that of Hopkinson 41Ak. 1f. recto title verso blank 1f. recto blank verso "Argument" pp. Binding quite worn rubbed and bumped with loss to spine. Occasional minor soiling to blank outer margins; paper repairs to blank inner margins of approximately fifteen leaves; small binder's holes to blank inner margin of numerous leaves; occasional staining; worming to blank inner margin of final third of volume; extra title and Argument worn and soiling with worming to blank margins. Second edition of the French version. Wotquenne 41. A variant issue of Hopkinson 41Ai but with the price of 36 instead of 24 tt. Lesure p. 240. RISM G2853. 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. "More successfully than any of his contemporaries Gluck translated the widespread agitation for reform of opera and theatrical dance on the part of European intellectuals into actual works for the stage first in pantomime ballets and Italian serious operas for Vienna and then in operas of various sorts for Paris." Bruce Alan Brown and Julian Rushton in Grove Music Online "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. Chez Des Lauriers, Md. de Papiers, Rue St. Honoré à côté de celle des Provaires unknown books
1934ref. 28968Paris: Choudens PN A.C. 15000 1934. Large octavo. Original publisher's ivory printed wrappers. 1f. recto title verso blank 1f. recto notes on first performance and named cast list verso blank 1f. recto contents verso blank 2f. preface 177 i blank pp. Occasional lyrics translated into Norwegian in pencil and black ink. Named cast includes Fernand Ansseau Aline Vallandri Yvonne Brothier and Marthe Coiffier. Wrappers slightly worn and soiled and worn; former owner's handstamp "Hjørdis Wied Koncertsangerinde" and small price handstamp to lower margin of upper wrapper; spine worn with some loss. Wied's handstamp to upper margin of free front endpaper and lower margin of three leaves; annotations in pencil and red crayon to contents; tear to outer margin of pp. 87-92. Revised Paris version. Re-issue of Hopkinson 41Cu. First performed in Paris at the Theâtre National de l'Opéra-Comique on 11 October 1921 under Albert Carré and Isola A. Frères. "Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Choudens [PN A.C. 15000] unknown books
1900ref. 28969London: Novello Ewer & Co 1900. Large octavo. Full dark red blindtooled cloth with titling gilt to upper and spine all edges gilt. 1f. recto title verso blank 1f. recto cast list and argument verso explanation of abbreviations 137 i blank 1f. recto index verso printer's device pp. Binding slightly worn rubbed and bumped. Some signatures split or partially split. A tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides Iphigénie en Tauride was first performed in Paris at the Opéra on May 18 1779. "Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online. Novello, Ewer & Co unknown books
