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Un film écrit par Cecil Saint Laurent - réalisé par Jean Aurel
14/18
in-4 broché - 1964 - 109 pages - Ed. Solar
Reference : 42002
bon état
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Librairie Le Père Pénard
S.A.R.L. Nicolas RIVAT (gérant)
2, quai Fulchiron
69005 Lyon
France
librairie.le.pere.penard@wanadoo.fr
04 78 38 32 46
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5 book(s) with the same title
Æsopus i Byen, Comedie i fem Acter af Monsieur Boursault, oversat af R. (i.e. Laurentz Reerslev).
Sorøe, Lindgren, 1763. 8vo. In contemporary half calf with five raised bands. A few scratches to boards and old paper-label to top of spine. With previous owner's name to title-page. Internally nice and clean. 144 pp.
Rare first Danish translation of Boursault's ""Esope à la ville"" (1690).
Den vel-instruerede Skipper, eller fulstændig Anviisning, hvad en Skipper har at iagttage, baade førend han tiltræder Reysen, samt imedens den varer, og efter at den er fuldendt, med et Tillæg, hvorudi indeholdes de fornemste Søe-Contracter, Skibs-Doc... - [RARE DANISH MARITIME LAW MANUAL]
Kiøbenhavn, Friderich Christian Pelt, 1776. 8vo. In a nice recent full calf binding (Henning Jensen) with four raised bands and gilt lettering to spine. A few leaves slightly soiled but generally a nice and clean copy. (8), 544 pp. + 6 folded tables.
The rare first edition of the most comprehensive Danish navigation and maritime law manual of its age. Intended as a complete handbook for shipmasters, merchants, and those engaged in overseas trade, the work provides practical guidance on every stage of a voyage - preparation, execution, and conclusion. It also contains essential contract forms, examples of ship documents and detailed commercial instructions. Later editions were enlarged to include the entire Danish maritime code (Søe-Ret), regulations concerning the Danish pilotage service (Lootsvæsenet), and extracts of royal ordinances relating to navigation and trade. The book thus served not only as a nautical vade mecum but also as a legal reference work, indispensable to Danish-Norwegian skippers navigating the Baltic, North Sea and Mediterranean. Biblioteca Danica I, 658.
Laokoon, oder uber die grenzen der mahleren und poesie. Vol. 1 (All published). - [SEMINAL WORK IN ART THEORY - PMM 213]
Berlin, Christian Friedrich Voss, 1766. 8vo. An excellent copy in a late 19th century red half calf with five raised bands and gilt lettering to spine. Fore- and lower edge uncut. Upper edge coloured in red. Spine with a few scratches and a bit of wear. End-papers with annotations in pencil and remains of a removed book-plate. Internally in very nice condition, with light occassional brownspotting. (8), 298 pp.
First edition of Lessing’s landmark work in the history of art theory. In Laokoon, Lessing argues that each art form operates within its own distinct boundaries, that the principles of poetry cannot be applied to sculpture or painting, and vice versa. Lessing’s Laokoon was written as a response to Johann Winckelmann's ”Geschichte der Kunst des Alterthums” (1764). Lessing challenges Winckelmann’s interpretation of the famous Laocoon statue, arguing that Winckelmann portrays the figure’s suffering as too noble and composed - an expression suitable for poetry, but not for sculpture, whose medium cannot convey inner emotion in the same way. “Laokoon is perhaps Lessing’s best known work outside Germany, and it has had a world-wide influence. It takes its name from the famous statue discovered at Rome in the sixteenth century. It analyses the differences between the sculptor’s treatment of Laocoon wrestling with the serpents and Virgil’s treatment of the same theme, and from there goes on to discuss the limits and limitations of all the arts. It contains the first clear statement of the truth, which is now considered axiomatic, that every art is subject to limitations, and can achieve greatness only by a clear understanding of and self-restriction to its proper function. The most telling passages, and those which have borne most fruit, are those on poetry. Lessing knew more about this than about painting and sculpture, for which he was entirely dependent on Winckelmann (210). His exposition of the themes of Homer and Sophocles is especially effective, and he opened up a new prospect in the appreciation of Greek literature. Yet perhaps Lessing is best judged by the sum of his achievement. He was one of the principal figures in the Aufklärung, the emancipation of German literature from the narrow classicism of the French school. It was he, more than any other, who laid the foundations of the intellectual primacy of German writers and thinkers in the nineteenth century, a debt which they were not slow to acknowledge. Without attaching himself to any special philosophical school, he consistently opposed error and dogmatism, and in art, in poetry, in drama and in religion he provided new stimulation. In the words of Macaulay, he was ‘beyond all dispute the first critic of Europe’.” (PMM 213) PMM 213
What's Welsh for Zen? The Autobiography of John Cale. - [THE SCARCE NUMBERED EDITION, SIGNED BY CALE]
London, Bloomsbury, 1999 (1997/1998 ?). Folio. Unbound, as issued, unopened in original plastic protection, in the original cardboard box with photographic paper-label to lid and to back. Number 518 out of 1000 copies, signed by Cale. The lid of the cardboard box with very light edge wear, otherwise mint condition. Richly illustrated throughout with photographs, reproductions of manuscripts, artworks, and memorabilia from Cale’s archives. Also included is a copy of the nornmal, unnumbered edition, dated 1999, in the original cardboard-binding with photographic paper-label to front and back board and printed spine. This copy is opened and with the same illustrated contents as the limited signed edition, which is unopened in its original plastic protection. Corners slightly bumped, otherwise a very nice and clean copy. 272 pp.
Signed, numbered edition - rarely found in the trade - of John Cale's autobiography, an artwork in itself. Cale was a founding member of the American rock band the Velvet Underground: ""arguably the most influential American rock band of our time"" (The New York Times, October 3, 2013). The book mixes text, poetry, and collage-like visual material in an experimental narrative reflecting Cale’s avantgarde style. It covers Cale’s early years in Wales, his work with La Monte Young and the Theatre of Eternal Music, his period with The Velvet Underground and his subsequent solo and production career with Nico, Patti Smith, Brian Eno, The Stooges, and others.
West-oestlicher Divan. - [ONE OF GOETHE’S LAST GREAT LYRICAL WORKS, UNITING EASTERN AND WESTERN POETRY]
Stuttgart, Cottaischen Buchhandlung, 1819. 8vo. Exquisitely bound in and early 20th century full morocco binding. Spine with gilt lettering and floral motifs and boards with gilt floral motifs within a gilt-ruled panel. End-papers with Moorish lattice forms. Upper edge gilt, fore- and lower edge uncut. Binding signed “AK”. Internally very fine and clean, overall a most attractive copy. 556 pp. + frontispiece. Pp 399-400 are counted twice whereas pages 495-496 are skipped so that the final page count remains correct. P. 9 'Talismane' instead of later 'Talisman', indicating the first issue. Housed in a slipcase. Withbound in the back are pp. 7-10, the corrected pages from the second issue.
A very fine copy of the first edition, first issue, of Goethe’s celebrated cycle of lyrical poems, inspired by the works of the great Persian poet Hafez. Intended as a poetic dialogue between East and West, “Divan” also reflects Goethe’s deep affection for the Austrian dancer Marianne von Willemer (1784–1860) who contributed several poems to the collection. Furthermore it represents one of the most important engagements with Eastern poetry in German Romantic literature and contains some of the finest verses of Goethe’s later years. “The West-Eastern Divan is in many ways a revolutionary book. Goethe himself was no revolutionary – far from it – and yet his book had the effect of capsizing conventional nineteenth-century conceptions of poetry. It represented nothing less than a decisive reconfiguration of poetry.” (…) By 1814, five years before the publication of the Divan, Goethe had come upon the poems of Hafiz in the translation of Joseph von Hammer (later von Hammer-Purgstall), a prolific Orientalist who had rendered the complete Divan of the Persian poet into German. The word divan (diwan in Arabic) is itself of Persian origin originally it meant a kind of register, a record. (The word has passed into European languages to designate border and customs controls, e.g., douane in French or dogana in Italian.) An early Arab philologist could state that ‘poetry is the diwan of the Arabs’. By that he meant that the poems of the pre-Islamic Arabs, with their very specific mentions of places and of tribes, of battles and skirmishes, of blood-feuds and clan rivalries, served as a record of events that would otherwise have been lost. (…) But the word divan also came to designate the collected works of a poet. And it is in conscious imitation of his beloved ?afi? that Goethe chose to use the word Divan for his own collection. Even so, there is a crucial distinction to be noted. Goethe calls his own collection the West-östlicher Divan, the West-Eastern Divan. His Divan is not to be simply an imitation of an Eastern model but a work that holds both East and West in firm but affectionate equipoise.” (From the introduction of Ormsby’s English translation to West-Eastern Divan).Hagen 416
