GARY RomainMareMagnum
Tulipe
- Gallimard, Paris 1970, 12x18,5cm, broché. - Edition définitive. Bel exemplaire. Envoi autographe signé de Romain Gary à madame Paul Peral. [ENGLISH DESCRIPTION ON DEMAND]
Librairie Feu Follet · Paris, FR920,00 €
3 371 résultats
Very Good Turkish Typescript document signed (TLS) by Mehmet Güleryü and Ercüment Kalmik. 30x21cm. In Turkish. Jury selection questionnaire for the "Artist of the Year and Young Artist" awards to be organized by the Society of Turkish Contemporary Painters. The questionnaire, which includes Metin Sözer as an art historian, Ferit Edgü as a critic, and Nuri Iyem, Yasar Yeniceli, Hamit Görele, Cihat Burak and Ferruh Basagaas painters, is signed by two contemporary Turkish painters (Güleryüz and Kalmik). Ercüment Kalmik was an artist and art historian, known for his work in studying the lyrical-abstract Turkish painters. In 1928, Academy of Fine Arts in the Department of Painting by entering the first Nazmi Ziya's, then Ibrahim Calli was a student. In 1937, after graduation time in various newspapers and magazines and worked. In 1939 Paris 'e went and André Lhote 's studied painting at the workshop. Sorbonne University also took courses in art history. After returning to Turkey in 1940 in Ankara and Istanbul, he was an art teacher at various high schools (1942-47). In 1947 Istanbul Technical University Faculty of Architecture 'in the colors and shapes began to teach composition. In 1967-68 Berlin Technical University's department of architecture as a guest lecturer in the basic design taught. Previously, impressionistic understanding Kalmik employees, located in Europe at the time of cubism was interested. Braque 'la Picasso 's, then Fernand Léger and Henri Matisse's figures were impacted by understanding. After returning to Turkey maintained a distinct outer line of figurative abstraction and had a strong sense of pattern. In the 1960s, fishermen, boats, and sailboats in front of abstract landscape imagery began funding. With a solid color stain, which highlights the contours of lyrical expression in the works of this period are seen. As well as the etching Kalmik also makes the picture in the 1960s in the figurative sense of the prints that are dominant. As well as objects and natural appearance of the figure given the place and occupancy of the space in this building has been used in a balanced manner. Domestically and abroad, participated in many group exhibitions, solo exhibitions opened. Picture, as well as many of the Republican era artists such as Turkish official's theoretical and philosophical concepts of articles on who wrote, conferences and radio talk, conducts the Kalmik, "The Color of Harmony Systems" and "Nature and Art Texture entitled" two books in the 1950s, Istanbul Technical was published by the University.
Very Good Turkish, Ottoman (1500-1928) Original typescript letter signed by Cahit Külebi. 15x21 cm. In Turkish. 1 p. Dated Bern, November 3, 1961. Typescript document. Signed by Külebi as 'cultural attache'. Külebi was a leading Turkish poet and author. He has an important place in contemporary Turkish poetry due to his adherence to folk poetry traditions. His poetry is enriched with simple yet ironic language, embellished with original descriptions.
8vo (115 x 162 mm). 100 ff. Arabic manuscript on paper. 21 lines, per extensum. Brown ink (as well as light red for rubricated terms) in an essentially drawn, compact, non-serifed Yemeni naskh calligraphy. 19th century Arabic manuscript copy of two much earlier mystical works concerning the virtues and benefits related to the knowledge and recitation of the Holy Qur'an, namely: - 1) Kitab al-Barq al-Lami wa’l-Gayt al-Hami ("The Book of the Shining Flashes and Showering Rain"), epitomizing the work of the early Islamic judge Abu Bakr al-Gassani, probably an abridged version of the "Kitab ad-Durr an-Nazim fi Fada'il al-Qur'an al-Azim" by the Yemeni mystic Muhammad ibn Ahmad ibn al-Hassab (fl. 1250s AD). - 2) Kitab Hawass Ayat min-al-Qur’an wa Fawatih al-Suwar ("The Book of Peculiarities of the Qur'anic verses and the Surahs’ overtures"), a late work by the famous Persian mystic and thinker Abu Hamid al-Gazali (d. 1111 AD), here referred to by his traditional honorific "Huggatu’l-Islam" ("Proof of Islam"). - The book contains an anthological commentary on specific Qur'anic verses (ayat) and their supposed virtues and talismanic properties. The first work’s initial chapter, e.g., deals with the virtues of those verses in the Holy Qur'an that name the Prophet (an-Nabi) Muhammad. Immediately afterwards, the Ayat al-Shifa’ (i.e., “Healing Verses”) are included. Here, they are nine Qur'anic verses deemed effective against illness if recited by a believer with pure heart. The second part of this codex quotes several Qur'anic verses suitable for specific occasions, listed after each Surah. - Dated in the first colophon, where Amr bin Abi Hurayra is mentioned, the son of a famously prolific Yemeni traditionist and hadith collector (Sunni scholars ascribed to Abu Hurayra more than 5000 hadiths). The scribe is named as Ahmad ibn al-Hagi Muhammad. Cf. F. Sobieroj, Variance in Arabic Manuscripts - Arabic Didactic Poems from the 11th to the 17th Centuries (Berlin 2016), pp. 90f. & note 128.
Two signed membership documents formally accepting English geographer Monica Mary Cole into two scientific societies for the learned, the Royal Geographical Society and the Geologists' Association, respectively. 8vo. Two separate printed documents, three leafs combined, each document completed, signed and dated by the respective society's secretary. Leafs measure approximately 20,5 x 26 cm. Creasing to one document, otherwise in very good condition. Monica Mary Cole (1922-1994) was an English geographer, lecturer, and author, an intellectual woman and polyglot, whose legacy has been described by her colleagues as "a leader in her chosen field of academic research" who "scaled the heights of a profession that, even today, finds too few women as the incumbents of chairs." She left the Royal Geographical Society £10,000 for it to establish a research travel grant for young female physical geographists. The Archives of the Royal Holloway, University of London holds a collection of papers relating to Cole. They include her personal papers and objects connected to her career as a geographer between 1967 and 1970. During her distinguished career she produced pioneering works in the fields of biogeography and geobotany, remote sensing and terrain analysis, and mineral exploration. Her research spanned Central and Southern Africa, Brazil, Venezuela, Australia, China and Finland. Cole was not the archetypal quiet and contemplative academic. She was a larger-than-life character, and people loved to be around her. She was elected as a Fellow in the Royal geographical Society on 22 June 1942. The following year, on 6 December 1943, she also became an elected member of the Geologists' Association of London. The present documents are her official membership declaration papers from each of these societies. In 1947, Miss Cole was appointed geography lecturer under Bill Talbot at the University of Cape Town. She conducted a detailed land utilisation survey on the soils and crop yield affected by climate anomalies in Elgin, Western Cape, which was called "one of the most thorough and useful land utilization surveys carried out anywhere in South Africa" by Stanley Jackson, in The Geographical Journal.
Two manuscript signed letters, Dated 22 February & 10 May 1799, sent by the Assessor and Quaestor of Bückeburg, addressed to both Princess Juliane Wilhelmine Louise of Schaumburg-Lippe and Johann Ludwig Reichsgraf [Count] von Wallmoden-Gimborn, who were jointly governing the Principality of Schaumburg-Lippe, concerning a specific incident in delayed transportation of corn to Prussian troops. Text is in German. Quarto. 3 pages in manuscript, combined. Double leafs measuring approximately 20 x 32 cm, each with two watermarks, and armorial paper seal impressed over red wax. Very slight creasing, otherwise in very good and original condition, a most interesting correspondence from the fiefdom rule of beloved Princess Juliane. Manuscript
Nikolayevsk-on-Amur, Chita, Sretensk, Blagoveshchensk, TransBaikal villages, 17 May 1861 - 23 September 1880. Two manuscript journals of an English Engineer in Russian Far East, contracted to test and repair some of the pioneering steamships on the Rivers Amur and Shilka, and other important works in the Trans-Baikal region, beginning his work some 24 years before the founding of the Eastern Siberian Inland Navigation Company, and interacting several notables who were involved in the development projects. 8vo. The earliest volume comprises 113 pages of manuscript entries dating from 17 May 1861 to 22 July 1861 and then a few pages from and then from 1 January 1868 to 22 May 1870, with a tipped-in folding map of the Amur River. The subsequent volume contains 135 pages in manuscript and dates from 14 August 1876 to 23 September 1880. Cloth over marbled boards. Volumes measure approximately 19 x 24 cm and 17 x 20 cm, respectively. Map measures approximately 46 x 20 cm. Wear to boards, hinges loose, otherwise internally clean, an exceedingly scarce and early primary source account of early developments of steam navigation in the Far East of Russia. This account is very early for the region, particularly the inner reaches of the Amur river and its tributaries, where there were scarce inhabitants or even visitors, and thus are even fewer surviving manuscript accounts. It pre-dates the founding of the important "Eastern Siberian Inland Navigation Company" which would be founded in 1885, twenty-four years after the writer began his pioneering work. It also pre-dates the Trans-Siberian Railway which would be built between 1891 and 1916 under the supervision of Russian government ministers personally appointed by Tsar Alexander III and his son, the Tsarevich Nicholas (later Tsar Nicholas II). The writer's arrival occurs only three years after the Aigun Treaty in 1858, through which the area north of the Amur belonging to the Manchu Qing dynasty since the 1689 Treaty of Nerchinsk was suddenly ceded to Russia. The Amur River has formed Russia's border with China since the 1858 Aigun Treaty and the 1860 Treaty of Peking. A folding map compiled in 1858 according to contemporary Russian sources, delineates the winding route of the Amur River throughout the Russian-Chinese borderlands, from Lake Baikal, to the mountainous Transbaikal region, to the Sea of Okhotsk snd the Strait of Tartary. Manuscript
107pp.+ plates out-of-text, in the series "Studi e Testi" vol.230, 25cm., VG
Very Good Turkish Original two manuscript ALSs and one manuscript autobiography including 30 lines. 1 p.; 2 p.; 2 p. In Ottoman script. Only one letter with date and letterhead of 'Vecih Bereketoglu'. In his first letter dated April 26, [19]44, he talks about the painting and oil painting he is working on. He states that he has met Fazil Bey since 1923. Another paper includes a two-pages autobiography. Second ALS includes 19 lines. Hasan Vecih Bereketoglu was a Turkish painter, influenced by impressionistic aesthetics, who took painting lessons from Halil Pasha and at the Julian Academy in Paris. He is one of the painters of the 1914 Generation. He was the son of Kazasker Bereketzade Cemil Bey. Since his father was a civil servant, he completed his primary education in Egypt. He completed high school in Rhodes. He studied at Istanbul Darülfunun Law Faculty. He took his first lessons in painting from Halil Pasha between 1916 and 1920. He became one of the names that supported the establishment of the Fine Arts Union. He was in Paris between 1922-1923 and continued at the Art Academie Julian. Upon his return to Turkey in 1923 he became the Chairman of Kadikoy Halkevi. When he moved to Ankara in 1943, he became the Presidential office manager. During these years, he produced still life works. He produced such works by adopting the impressionist understanding of his art life in general. It was seen that he was influenced by Halil Pasha, Hikmet Onat, and Nazmi Ziya Güran in his works on Istanbul. He was mostly remembered as an 'open-air painter' with his paintings with the views of Fenerbahçe, Kurbagalidere, and Göksu. In these paintings, he did not see the light element as the element that determines the color and presented it with the reflection it's created in nature.
New New English Original bdg. Dust wrapper. Large 4to. (34 x 30 cm). In Turkish. 227 p., color ills. Turkish - Islamic pioneers in astronomy. The largest share, in the achievement of the present level of civilzation, belongs to share. In studying the historical development of scimade discoveries throughout history and leading the scientific development, were Turkish-Islamic scientists. The monumental names such as Birunî, Bedîüzzaman Cezerî, Farabi, Gazal, Harezmi, Ibn-i Firnas, Cabir bin Hayyan, Ibn-i Sina among many others shaped science, especially astronomy, and set their directions. The culture and the value system put forward by Turkish-Islmic countries, between the ninth and fifteenth centuries, have affected then and continue to affect the humanity.".
- Gallimard, Paris 1970, 12x18,5cm, broché. - Edition définitive. Bel exemplaire. Envoi autographe signé de Romain Gary à madame Paul Peral. [ENGLISH DESCRIPTION ON DEMAND]
8vo, 154 pages, 80 pages of ads, bound in original publisher's cloth, heavily annotated and inscribed by author on title page, a rare Presentation Copy in very good condition. A linguistic and and folkloric study, issued in the publisher's Oriental Series. Scarce in the first edition. Tsuni-Goam is a figure in the Khoikhoi mythology. He is sometimes called a trickster figure, similar to Cagn of the related Bushmen people. In other contexts, he appears as a patron of hunters and in some stories he even had a part in creating the world. The multiple roles of have been called a reflection of the fluidity of the Khoisan's religious resources and rituals, which are usually ambiguous and lack in standardization. He was also a life-death-rebirth figure, dying and resurrecting himself on numerous occasions. Resulting from this, his funeral cairns can be found in many locations in southern Africa, and it is customary to throw a stone onto them for good luck Manuscript
Agence de Coopération des Bibliothèques de Bretagne - 1990 - 2ème édition - In-4 - Broché - Couverture rempliée illustrée en couleurs - Nombreuses illustrations ien texte, couleurs, certaines PP - 300 pages - Bel exemplaire
Paris, Drouot, novembre 1998. Un volume de format in 4° de 168 pp.; nombreuses reproductions en couleurs. Reliure de l'éditeur en pleine toile vert armée, titres dorés. Bel état. 149 numéros décrits soigneusement par J. Vidal-Mégret et T. Bodin.
This is a very good softcover copy with just light cover wear. Completely clean inside and out. Text in French. Essays by Marie-Rose Seguy, Georges Le Rider. This catalog was prepared to accompany the exhibition at the Bibliothèque Nationale in 1979. The exhibition celebrated the expeditions into Central Asia of Paul Pelliot (1878- 1945), best known for his discovery of many important Chinese texts among the Dunhuang manuscripts. Illustrated with 8 color plates + black & white photographs, etc. 10" high X 7" wide, 113 pages. This book will be securely packed and shipped with tracking.
- Médan 1er décembre 1882, 13,6x21,4cm, 2 pages sur un double feuillet - enveloppe jointe. - Lettre autographe signée d'Emile Zola - apparemment inédite - rédigée à l'encre noire sur un double feuillet et adressée à Léon Carbonnaux, chef de rayon au Bon Marché. Pliures inhérentes à l'envoi. Enveloppe jointe. On ne connaît que deux lettres de Léon Carbonnaux à Emile Zola : elles sont consultables dans la numérisation du dossier préparatoire du Bonheur des Dames mis en ligne par la Bibliothèque nationale de France. On sait cependant grâce à ce même dossier, dans lequel figure une longue section intitulée « Notes Carbonnaux », que ce chef de rayon au Bon Marché fournit à Zola un nombre important d'informations, notamment sur les murs des employés, leur rémunération et surtout sur les techniques d'inventaire. Les deux hommes se sont sans doute rencontrés alors qu'Emile Zola, avide de renseignement quant au fonctionnement des grands magasins, mena une enquête de terrain en février et mars 1882. Très importante lettre inédite apportant un éclairage nouveau sur la publication pré-originale d'Au bonheur des dames. Dans sa biographie d'Emile Zola, Henri Mitterrand écrit : « Avant même que le roman ne soit achevé, Zola en donne un extrait au Panurge, en novembre ; et le 23 novembre 1882, le Gil Blas en annonce la proche publication dans ses colonnes. » Notre lettre, évoquant justement cette prétendue prépublication dans le Panurge, atteste qu'il s'agit tout bonnement d'une plaisanterie et dément ainsi Henri Mitterrand : « Mais votre lettre m'étonne et me chagrine un peu. Comment avez-vous pu vous laisser prendre à la plaisanterie imbécile du Panurge ? Vous n'avez donc pas remarqué que tout le numéro est une « farce » ? Pas un des articles n'est authentique, ce sont des pastiches, et même fort mal faits. » En effet, la lecture dudit extrait ne peut tromper le lecteur assidu de Zola, malgré l'introduction que les journalistes ont rédigée : « Après Nana et Pot-Bouille, ces épopées du vice élégant et du vice bourgeois, M. Emile Zola a voulu faire celle de l'honnêteté : Au bonheur des Dames, qui va paraître prochainement, est une peinture rassérénante de l'innocence et de la vertu ; le plus grand succès est assuré à cette nouvelle uvre dont les personnages se meuvent dans le décor d'un grand magasin de nouveautés ; le haut commerce parisien n'attendra pas longtemps son observateur et son peintre. Nous remercions Emile Zola d'avoir bien voulu, tout spécialement pour Panurge, découper quelques feuilles de son ouvrage encore inédit, et nous sommes fiers de donner les premiers au public un extrait de cette uvre d'une si haute moralité et d'un si puissant intérêt. » (Panurge n°4 du 22 octobre 1882) Les phrases de ce faux texte zolien sont exagérément longues et le Panurge a pris la liberté de doter le roman d'un personnage principal masculin, Denis Mouret, amalgame de Denise (véritable héroïne du livre à paraître) et Octave Mouret. On peut penser qu'il s'agit d'un texte composé à partir d'éléments de Pot-Bouille, précédent volume des Rougon Macquart où Octave - futur patron du Bonheur des Dames - exerçait la fonction de commis avant sa fulgurante ascension sociale : « Depuis déjà plus de deux mois, il était attaché au rayon des « soieries et fourrures » ; il arrivait le matin à sept heures pour ne rentrer chez lui, sa journée finie, qu'à neuf heures du soir, quand Paris tout entier bruissait étrangement d'une animation fiévreuse de plaisir et de jouissance, et, en s'en retournant, il suivait badaudant les grands boulevards encombrés, où flambaient les cafés pleins de filles, et où, sur l'asphalte, à la porte des théâtres, se bousculait la foule avec, ça et là, dans la rumeur vague du piétinement et de la presse, l'intonation voyou des cris des marchands de programmes et des vendeurs de billets. » (Panurge) Dans sa lettre du 30 novembre 1882, Léon Carbonnaux - lisant l'extrait du Panurge - avait reproché à Zola ses erreurs : « Nulle part excep
A BEAUTIFULLY-EXECUTED CONTEMPORARY CALLIGRAPHIC MANUSCRIPT COPY of this extremely rare book. 41 pp. plus etched frontispiece on Chinese paper depicting Troyes by Deseaube after Fleury, and an additional lithograph depicting the Porte Saint-Jacques, that no longer exists (the printed edition was unillustrated). Since only eight (8) copies of the book were printed, it was surely unobtainable to all but a select few--and thus somebody executed this wonderful manuscript copy on fine bluish laid paper, with huge margins. 4to. Bound in pebbled morocco-backed boards. Spine worn but structurally solid. Internally FINE AND BRIGHT.
- Paris 11 février 1844, 10,4x13,6cm, quatre pages sur deux feuillets. - Trois lettres autographes signées par Gérard de Nerval (2 pages signées «?Gérard?»), Théophile Gautier (1 page) et un troisième scripteur qui n'a pas signé (1 page), adressées à Louis Desessart. La troisième lettre a été rédigée par un certain «?Robert?» (cf. la lettre de Nerval) Louis Desessart, éditeur attitré de Théophile Gautier, publia avec Barba la pièce Léo Burckart de Nerval en 1839. À la suite d'ennuis financiers, il fut contraint de se réfugier «?dans cette triste et charmante ville de Bruxelles?». Les trois amis rédigent ce courrier à Paris, où ils se sont retrouvés au retour du long voyage en Orient qu'entreprit Nerval?: «?J'ai vu l'Égypte 6 mois?; puis j'ai séjourné en Syrie 3 mois - à Constantinople 4 mois le reste en route. C'est assez beau. Je ne m'amuse plus qu'en voyage et je vis double autant que je puis.?» Ce voyage force l'admiration de Théophile Gautier qui ne se rendra que des années plus tard en Turquie et en Egypte?: «?Je suis à Paris et voudrais être au Caire d'où Gérard arrive.?» L'exotisme des voyages lointains contraste ici violemment avec la tristesse et l'austérité de l'Europe?: «?Quelle tristesse que Paris quand on revient des pays éclairés du soleil.?» (Nerval) D'autant plus que, loin des rêves d'évasion, Paris rime avec travail et mélancolie?: «?Nous sommes comme les gens malades qui ne se trouvent bien nulle part. Je crois que le bon temps est passé et que les bonnes heures d'autrefois où nous disions tant de sages folies ne reviendront plus. À quoi sert de vivre puisqu'il faut travailler et qu'on ne peut ni voir ses amis ni leur écrire ni rien faire de ce qu'on voudrait ??» (Gautier) Les deux écrivains sont très compatissants quant à l'exil belge de leur ami, Bruxelles apparaissant ici comme la capitale du spleen?: «?Quoi?! Vous êtes encore dans cette triste et charmante ville de Bruxelles?! [...] Bruxelles est encore plus noir, pauvre garçon?!?» (Nerval) Cette triple lettre a en réalité été rédigée à l'initiative de «?Robert?»?: «?N'est-ce pas, mon cher ami, que je suis habile à faire oublier mes torts ? [...] je trouve le moyen en compensation, de t'envoyer ces autographes de deux de tes [...] camarades, de tes plus doux souvenirs, de deux célébrités qui malgré toutes leurs sympathies, toute leur affection pour toi, ne t'eussent jamais écrit un mot, si je ne leur avais pas taillé leurs plumes, affrété leur papier, comme à de petits enfants boudeurs, et si je ne leur eusse dit?: écrivez tout de suite, tout de suite à l'exilé que vous aimez le mieux.?» [ENGLISH DESCRIPTION ON DEMAND]
- Paris s.d., 13,5x21cm, en feuillets. - Trois lettres autographes signées d'Emmanuel Mounier, 7 pages à l'encre noire sur papier en tête comportant l'adresse du siège de la revue Esprit. Corrections de la main de l'auteur. Pliures inhérentes aux mises sous pli. Ensemble de lettres apportant des suggestions de correction sur un texte d'un auteur non identifié traitant du catholicisme. La position de Mounier, chrétien engagé, l'amène à écrire ces lignes pleines d'ironie : « Prenez ceci pour ce que vous voudrez. Un certain snobisme à la fois de sectaire et d'archéologue s'est bien emparé de la manière d'écrire le dieu (article et minuscule), au dieu, que cela agace un peu. Pourquoi pas Dieu, comme dit à la fois l'incroyant et l'homme de peuple athée ? C'est tellement plus sympathique. » [ENGLISH DESCRIPTION ON DEMAND]
- Plon, Paris 1956, 14x21cm, broché. - Second issue published a few months after the first edition from October 1955. No deluxe copies were issued. Plon, Paris 1956, 14x21cm, soft cover with dust jacket. This publicly and critically acclaimed masterpiece did not qualify as a novel and could not be awarded the prestigious Goncourt prize. The Goncourt jury even issued a statement expressing regret. Following this statement, the book was reprinted with a photographic dust jacket replacing the original cover drawing of a caduevo woman. Handsome copy with its dust jacket, with chips and short tears on the edges. Rare copy, signed and inscribed by Claude Levi-Strauss "To Madame Lise Deharme, dressed in purple like a tropical bird, very respectful and admiring homage, Claude Lévi Strauss" "A madame Lise Deharme, vêtue de pourpre comme un oiseau des tropiques, en très respectueux et admiratif hommage, Claude Lévi Strauss". A precious and poetic tribute to the muse of the Surrealists, a close friend of Lévi-Strauss since their first meeting with André Breton in New York during the Second World War. "The Surrealists and I have the same sources, the same origins (...). The surrealists were attentive to all that appears as irrational and they tried to exploit it from an aesthetic point of view. It is the same material I use, but, instead of exploiting it to aesthetic ends, I seek to bring reason to this irrational" (Press interview, 1984). [FRENCH VERSION FOLLOWS] Second tirage sous nouvelle jaquette, postérieur de quelques mois à l'édition originale d'octobre 1955, dont il n'a pas été tiré de grands papiers. Après le communiqué du jury Goncourt, regrettant de ne pouvoir décerner le prix à un ouvrage scientifique et les recensement élogieux des plus grands écrivains et critiques, le chef d'oeuvre de Levi-Strauss fut en effet réimprimé à l'identique sous une jaquette photgraphique en place du dessin d'une femme caduevo. Iconographie. Agréable exemplaire complet de sa jaquette illustrée, infimes déchirures marginales sur cette dernière. Rare et bel envoi autographe signé de Claude Lévi-Strauss : "A madame Lise Deharme, vêtue de pourpre comme un oiseau des tropiques, en très respectueux et admiratif hommage, Claude Lévi Strauss". Précieux et poétique hommage à la muse des Surréalistes, dont Lévi-Strauss resta très proche depuis sa rencontre avec André Breton à New York durant la seconde guerre. « Les surréalistes et moi avons les mêmes sources, les mêmes origines (...). Les surréalistes ont été attentifs à tout ce qui apparaît comme irrationnel et ils ont cherché à l'exploiter au point de vue esthétique. C'est le même matériau dont je me sers, mais, au lieu de l'exploiter à des fins esthétiques, je cherche à réduire cet irrationnel à la raison »
- Pierre Seghers 1952, 13,5x15,5cm, broché. - Edition originale sur papier courant. Iconographie. Petits manques angulaires sur le dos et les plats. Précieux envoi autographe signé de Tristan Tzara : "A André Masson de tout coeur (un petit coeur dessiné). Tristan Tzara 10 Juillet 52." [ENGLISH DESCRIPTION ON DEMAND]
P., Bibliothèque nationale, 1988. In-4 broché, 157 pages, abondamment illustré en couleurs.
Las dos primeras dirigidas al Duque de Osuna, una de dos hojas en 4º, fechada el 4 de Abril de 1773 concediendo al Conde de Hervias el uso de uniforme una vez retirado y la segunda de una hoja en 4º, fechada el 4 de Diciembre de 1775 comunicando la incapacidad del Conde de la Jarosa por el que solicita su retiro como capitán del Regimiento bajo su mando. Y la tercera, una hoja en 4º, fechada el 9 de Mayo de 1780 comunicando a D. Felipe de Cabanes el nombramiento de Comandante General de Artillería al Conde de Lacy por fallecimiento de Conde de Gazola.
30.5x23.5 cm. XIII+163 pages. Hardcover. Cover edges slightly bumped and worn. Spine edge slightly bumped and torn. Else in good condition.
PART I: Reprint of London edition. 17.5x24 cm. XXIV+72+2+65+XXIV pages. Gilt hardcover. Cover and spine slightly worn. Cover corners slightly and spine edges bumped. Pen inscription on first whitepage. Pages slightly yellowing. Otherwise in good condition.
