‎GROOM Winston SZCZECINER Pierre‎
‎Only‎

‎Private memoir of Thomas Worthington, Esq. of Adena, Ross County, Ohio, Senator, Governor, Etc. Etc. by his daughter, printed for the use of his descendants only. ‎

‎ 1882 1882 Robert Clarke & Co., Cincinnati, 1882. Un volume in-8 relié pleine toile bordeaux, tranches dorées, photographie en frontispice de Thomas Worthington et photographie hors texte d'Eleanor Worthington, page de titre, 90 pages. Envoi non identifié. Bel état. ‎

‎ La librairie est ouverte du mardi au samedi de 9h30 à 12h30 et de 13h30 à 19h00. Commandes par courriel ou téléphone. Envoi rapide, emballage soigné. La librairie est ouverte du mardi au samedi de 9h30 à 12h30 et de 13h30 à 19h00. Commandes par courriel ou téléphone. Envoi rapide, emballage soigné. ‎

‎De Amatoriis Affectionibus Liber. Iano Cornario Zuiccauiensi interprete. [Peri Erotikon Pathematon]. - [EDITIO PRINCEPS OF PARTHENIUS' ONLY SURVIVING WORK]‎

‎Basel, in Officina Frobeniana (Per Hieronymum Frobenium, & Nicolaum Episcopium), 1531. Small 8vo. Bound in a lovely, charming early 19th century red half calf with gilt title and lines to spine and lovely gold and red ornamented ""romantic"" paper over boards. A bit of wear to spine. Internally a very fine and clean copy. Title-page slightly soiled, and a vague marginal dampstain throughout, on most leaves barely visible. Froben printer's device to title-page, and in a larger version to verso of last leaf. Four large woodcut initials. 76, (44) pp.‎

‎The extremely scarce first printing, of both the original Greek text and the translation into Latin, of Parthenius's only surviving work, the historiographically, mythographically, and literarily hugely important ""Erotica Pathemeta"" (or ""Sorrows of Love""), which constitutes the only prose work by a Hellenistic poet to survive in its entirety and one of the few extant works of its genre, i.e the mythological or paradoxographical handbook, preserved from any period. The ""Erotica Pathemata"" constitutes the only surviving work by the famous Greek poet Parthenius of Nicea (fl. 1st century BC, Rome), the Greek teacher of Virgil, and the favourite author of Hadrian and Tiberius, who is now often referred to as ""the last of the Alexandrians"".Parthenius was Born in Nicaea in Asia Minor, He was captured in the third Mithradatic war and taken to Italy, where he became the Roman poet Virgil's teacher in Greek. He is considered a main influence on the ""Neoteroi"" - the group of ""modernist poets"" led primarily by Callimachus, and he played an important role in spreading a taste for ""Callimachean"" poetry in Rome.In his time, Parthenius was primarily famous as a poet, but unfortunately none of his poetic works have survived, and only some small fragments have been preserved. What we have in their place is the prose treatise ""Erotica Pathemata"", which has survived in merely one manuscript, probably written in the mid 9th-century. In 1531 Froben printed the editio princeps of both the original Greek text and the Latin version of it, and only in 1675 did it appear again. The Froben editio princeps is of great scarcity.The ""Erotica Pathemata"" is a little prose treatise consisting of thirty-six love stories, all with tragic or sentimental endings. The work was dedicated to Cornelius Gallus, and was, Parthenius explains, meant as ""a storehouse from which to draw material"".""The very concatenation of poetry and prose is interesting, and perhaps important. It could be that the ""Erotika Pathemata"" were first collected by Parthenius for his own use as a poet. But the collection of prose anecdote by a poet also locates Parthenius in the same tradition as Callimachus ..." Nicander ... " and Euphorion of Chalcis ... . Parthenius' is in fact the only prose work by a Hellenistic poet to survive entire. It proclaims its purpose as utilitarian, and begins with an epistolary introduction in which Parthenius offers his work to the poet Gallus as potential raw material for hexameter and elegiac poetry. This detail is of some importance for literary history. The loss of the poetry - not only of Parthenius, but also of his friends in Rome, of Gallus, Cinna, and the other ""neoteroi"" - is admittedly grievous" but the treatise, and particularly the implications of the dedication, offers some insight of their own into literary production in Rome in the middle of the first century BC. It is a period about which we should like to be better informed, the age of the supposed epyllion, of nascent elegy, and of experimentation with new Greek genres. The dedication suggests, on the one hand, intriguing possibilities for the sort of narrative poetry, both hexameter and elegiac, which Parthenius might have expected Gallus and his friends to write and on the other the text can be read (and may also have been intended to be read) for pleasure as a prose work in itself. Thus regarded, it raises questions about the hellenistic historiography in which the stories were embedded, about the diverse kinds of mythography written in the hellenistic period and the two-way relationship between mythography and poetry" about the types of stories it contains, the manner in which they were generated, the structure they exhibit, the messages about social life which are encoded within them. And not the least intriguing question concerns its relationship to the Greek novel, a genre which seems to have been gaining momentum in the first century BC, and other sorts of prose fiction. Stylistically too, the work should be of interest to historians of Greek prose. It is preserved by a lucky accident in a single manuscript, possibly because its Atticism pleased the Byzantines' ear as much as it appealed to their penchant for story-telling, and it is one of the very few surviving works of Greek prose from the middle of the first century BC. Indeed it is one of few extant works of its genre, the mythographical or paradoxographical handbook, preserved from any period."" (Lightfoot, Parthenius of Nicea. The Poetical Fragments of the ""Erotika Pathemata"". Edited with introduction and commentaries. 1999, pp. 2-3). As such, the ""Erotica Pathemata"", along with its author, apart from being of pivotal importance to the study of the ancient novel (the earliest examples of which date from exactly this perioed), Greek prose, and the Greek language (""Parthenius' Greek is of no little interest in view of the dearth of surviving material which is comparable in genre and date"" - Lightfoot, p. 283), also plays a central role in Hellenistic literature and is of decisive character to the development of Roman prose and poetry in the 1st century BC. ""It was Parthenius who taught me Greek -Yes, a freed prisoner-of-war, whose giftWas perfect elegiacs, faultless poems.He gathered brief love-stories, so that GallusCould turn them into song. Parthenius sleepsWatched over by sea-deities, by Glaucus,Panopea, Melicertes - Ino's son -Beside a river graved in celandine."" (Virgil - see Lightfoot, p. (97)).‎

‎Samling af den danske Scenes Dragter i 48 colorerede Fremstillinger. - [ONE OF ONLY A HANDFUL OF COPIES KNOWN]‎

‎Kjöbenhavn (Copenhagen), Steens Forlag, 1834. 12mo (15 x 9,5 cm). Lovely contemporary brown half calf with gilt ornamentation to spine. General wear along hinges and edges of boards. But overall a very nice copy. Tight and fine. Book-plate of Kaj Christensen (1960'ies) to inside of front board and and ownership signatures to front free end-paper (""W. Unsgaard"" and ""N. Neiidendam / 1900"") along with blindstamped ovnership stanp of Johan G. Melbye. Later pencil-annotation to inside of front board (stating that only tow copies are said to be preserved on private hands). VI, (2) pp. + 48 engraved and finely handcoloured plates. All the blank leaves inbetween the plates preserved as well. ‎

‎Exceedingly scarce - one of only a handful of copies knwon to exist - first, and only, edition of Bruun’s “Collection of Costumes From the Danish Scene” from 1834, which contains 48 wonderful, engraved and handcoloured plates of costumes from some of the most famous plays and operas performed at the height of the Danish stage, including nine costumes to four of Mozart’s operas: La Nozze di Figaro, Don Giovanni, The Magic Flute, and Seraglio. These 48 magnificent plates showcase the wonderful diversity of the Danish stage at the time, the strong Gothic influence, the great influences of both German and French romanticism, and the influence of the Orient upon costumes of the Danish stage as well (eg. Seraglio, Lulu). In addition to the costumes for the operas by Mozart and for some of the most cherished Scandinavian plays (primarily Holberg), we have costumes for a wonderful array of other plays and operas that showcase the great influx upon Danish performance from many parts of Europe – Austria, Germany, France, Italy, United Kingdom. We have for instance Cinderella (Cendrillon), Monteverdi’s The Combat of Tancredi and Clorinda, La Dame Blanche, Beckford’s Azemia, Weber’s Der Freischutz and his Preciosa (which is based upon a novella by Cervantes). The full list of costumes is as follows: 1: Saft - i Sovedrikken. 2 & 3: Salomon Goldkalb & Brant – i Kong Salomon og Jörgen Hattemager. 4-6: Anna, Casper & Samiel - i Jaegerbruden. 7: Pantsatte Bondedreng – i Stykket af samme Navn (i.e. in the play by the same name). 8. Joseph – i Joseph og hans Brödre. 9 & 10: Montefiascone & Cendrillon - i Cendrillon. 11: Wenceslaus - i Herman von Unna. 12: Roux – i Röverborgen. 13: Hans Mortensen - i Aprilsnarrene. 14: Amenaide - i Taneredo. 15: Geert Westphaler - i Stykket af samme Navn (in the play by the same name). 16: Geske - i Den politiske Kandestöber. 17: Barthel - i Viinhösten. 18: Azemia - i Stykket af samme Navn (in the play by the same name). 19: Don Juan - i Stykket af samme Navn (in the play by the same name). 20 & 21: Jane & v. Thyboe - i Jacob v. Tyboe. 22 & 23: Preciosa & Pedro - i Preciosa. 24: Ariel - i Alfen som Page. 25 & 26: Valborg & Erland - i Axel og Valborg. 27 & 28: Hvide Dame & Georg Brovn – i Den hvide Dame. 29 & 30: Syvald & Rödhætten - i Deodata. 31-33: Almaviva, Bazile & Figaro - i Figaros Giftermaal. 34. Trampel - i Fugleskydningen. 35 & 36: Constance & Blonde - i Bortförelsen af Serailet. 37-39: Dilfeng, Barka & Lulu - i Lulu. 40 & 41: Mad. Voltisubito & Ledermann - i Recensenten og Dyret. 42: Zoe - i Væringerne i Miklagard. 43-45: Papageno, Monostatos & Papagena - i Trylleflöjten. 46 – 47: Mad. la Fleche & Arv - i Jean de France. 48: Jeppe - i Jeppe paa Bjerget. Many of the costumes with depiction of the actors and actresses are important in themselves and not only in a broader perspective - setting the tone for how to depict the characters in some of the most famous plays and operas for decades to come. An example of an individually highly significant illustration in the present work is the drawing of Christine Zrza in Constanze’s costume in Seraglio, wearing a so-called “Turkish” costume as a woman of the harem of Selim Pasha’s palace. Zrza herself was a significant figure in the foundation of Mozart’s operas on the Danish scene, playing also the first Countess Almavira in Figaro’s Marriage, the first Sextus in Titus, and the first Queen of the Night in The Magic Flute. The work is of immense scarcity, with only very few copies known to exist. Apart from the copy in the Royal Library in Copenhagen, OCLC list merely one copy, at Harvard. This copy only collates as having merely 1f. in addition to the 48 plates, where as our copy has all the four leaves in front consisting in title-page, contents-leaves and half-title. We have been able to locate one copy sold at auction, that having merely 43 plates. It is said that merely two copies are knbown on private hands. The great book collector Oscar Davidsen had a copy in his collection (nr. 5 in his auction catalogue (1940), where it is said of it that ""this collection is of great scarcity). Krohn:1482.‎

‎Philon Elena. Only shine. Only play. Only listen (3 books) In Russian /Filon El‎

‎Philon Elena. Only shine. Only play. Only listen (3 books) In Russian /Filon Elena. Tolko siyay. Tolko igray. Tolko slushay (3 knigi) The series: Generation Love ACT 2016. Contact us for details or to request photos of available books. Delivery of this book could take longer than normal due to additional handling time before shipping, and no rush delivery options are available. Please let us know if you have a specific date by which you need to receive your order. SKUalbd05b7c174249bbe8‎

‎EYES ONLY Classic Cars, extraordinary individuals cars.‎

‎Antwerp, Crafted by EYES ONLY STUDIOS, 2025 Hardcover, Cloth, Pages: 303, Photographs: 300 curated images, Language: English, Dimensions: 24,5 × 33 x 3,5 cm, Weight: 2.5 kg, Printed on luxurious Paper: 170 gsm, FSC-certified, Edition: First print *Brandnew. ISBN 9789090396477.‎

‎EYES ONLY - Classic Cars Life?s finest moments, for your eyes only. Crafted by EYES ONLY STUDIOS, this limited and numbered edition brings together 20 extraordinary individuals from around the globe, each selected for their deep affinity with automotive art, heritage, and craftsmanship. Through their eyes, we uncover the intimate stories behind the machines: tales of discovery, devotion, and the quiet power of obsession. Inside, over 300 handpicked photographs unfold like a cinematic reel, capturing the essence of form, texture, and time. Printed on luxurious 170 gsm FSC-certified paper, each page offers a tactile, analog experience. Bound in a linen hardcover and designed to complement and elevate any interior, this 303 page volume is a testament to the art of collecting and the value of slowing down. Measuring 24,5 × 33 x 3,5 cm and weighing 2.5 kg, it becomes a sculptural presence. This is where people meet passion, where machines become muses, and where storytelling is preserved in its purest form.‎