Le Temps des Chansons · Paris, France30,00 €
8 223 résultats
19482110502150414157Kougiso 1948. Soft Cover. Fine. Volume: 1 Kougiso paperback
19812110502150413738Shueisha 1981. Soft Cover. Fine. Volume: 1 Shueisha paperback
2013Q-0878083383William Carey Library 2013-06-20. Paperback. New. In shrink wrap. Looks like an interesting title! William Carey Library paperback
19952090502113704830Not Available 1995. Soft Cover. Fine. The book is in fine condition. Not Available paperback
131452237X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
19932111902153100907Kyuryudo 1993. Soft Cover. Fine. Volume: 1 Kyuryudo paperback
183165276London: T. Hookham 1831. Small 8vo. viii 300 pp. Bound in blue paper boards with white paper spine. Boards are marked with rubbing to the extremities and some loss. Binding firm with some scattered spotting. The author Thomas Love Peacock was a great friend and contemporary to the romantic poet Percy Bysshe Shelley and was best know for his satiric novels. . Good. Paper Covered Boards. First Edition. 1831. T. Hookham 1831 hardcover
38415Melbourne The Miegunyah Press 2001. 4to xviii 200pp. Original boards in pictorial dustwrapper slightly edgeworn and chipped toward top edge of backstrip. Numerous full colour and b/w reproducitons of Amor's artwork. Name inscription of Leigh Astbury of ffe. A near-fine copy. First edition. Numer 38 in the second numbered series of the Miegunyah Press volumes. Melbourne, The Miegunyah Press, 2001. hardcover
27544P., Editions du Feu Nouveau (numéro spécial 1945 de l'Anneau d'Or), 1947, grand in 8° broché, 213pp. ; non coupé ; couverture faéne, petite déchirure sans manque en tête du dos.
18831919A Bruxelles, Chez Henry Kistemaeckers, 1883. In-8 de [2]-236 pages, demi-maroquin rouge à coins orné d’un double filet doré, dos à nerfs, tête dorée.
18824Royal Academy of Music High Street & Fitzjohns Avenue Hampstead etc London various pleaces and hotels when he travels 1926-1934. An unusual survival the letters of a composer Harold Jervis-Read to his lover illustrating the growth of a relationship and an ability to express his feelings against the backcloth sometimes foreground of his musical activities and his marriage. Total of letters circa 350 three hundred and fifty Autograph Letters 118 one hundred and eighteen apparently complete letters many start and end abruptly dated 432 four hundred and thirty two pages with some APCSs mainly 12mo 1-8pp. each 55 of these letters dated 1933 and 30 dated 1934 1926-1928 comprising one letter only. There are more than 140 undated letters and a similar quantity of apparently incomplete letters no. of pages c.150. Subjects and quotes: 1926 his one night a week flatmate found him unconscious; a lot to do; her birthday; 1928 "can't write about 'intimate things'"; 1927 asking how he should react to something she's written hot or cold etc.; 1929 lost coat; health; illness; suggestion that relationship is on the edge; social life; compliments her "fine"; dinner invitation; "My piece for Oulston went well"; quotes to illustrate attitude to her "If of herself she will not love thee ."; she has obviously complained that he doesn't show enthusiasm recurrent theme; "joy of creation" but not the "joy of human communication"; his human shortcomings; she cannot appreciate the "Marcia Buffa" because of lack of appreciation of satire in her; his company described; leaving flat for good; moving to 29 High Street NW3; his obsession with her perhaps only soluble legally marriage; nature of love and their relationship recurrent theme; movements; reference to Margery - his wife see below; he'd sacrifice all for his children; Margery has no money "I earn at an artistic profession enough for six of them"; £160 per annum private income; he describes "the littleness of her perceptions" on family finances; 6 Oct. 1929 he's been writing a lot - "a violin sonata"; suggests she book a ticket for the Royal Academy of Music where a Recital of some of his work is to be given finishing with his "6tet by professional players"; she shies away; says he'll never write a quartet; busy; "Everything here is called a 'Practice' Concert unless the Principal is personally responsible for it"; Margery wife happy for him to see Brynnie - she's had a lover for more than two years "a rich doctor"; 25 Nov. 1929 "The Concert was a good success" Malvern; literary reference recurrent - part of his not being comfortable writing about emotions. Note: Subjects from now on avoiding the personal or the ups and downs and insecurities of a relationship unless very revealing of character. Subjects continued: 1930 invitation to the Norwich Festival; too much work at the Academy; asked to give lectures where he was asked to play some of his music; lecture is being printed; asks about her progress at work Are you an Almoner yethe doesn't ask her about her work much; lecturing in Bristol then the Wigmore; 1931 "written lots of good stuff"; "I write incessantly - music lectures letters of all sorts"; "controversy with Percy Scholes on Musical Appreciation . I love fighting these doctrinaire writers"; "various new things"; Academy Lecture; "I do not follow Mac P or anyone in my method of grouping! Feste underlined; Trinity Dublin catalogue guesses published in 1933 is out ."; his pupils; Elkin & Co.; Murdoch's about to publish "other things" beside Feste; would she type a lecture of his "wanted for publication"; received a proof of a piano sonata; at studio with private pupils; getting on with his "Elegiac Symphony" discussed at length; ex-pupil Robin Tucker "starting music publishing company a most daring and novel proposition"; he advises outlines problems discusses the works he has provided them with; 1932 glad she likes the "sonatina. I love playing for you: I feel you get inside the music. You know men always like my music more than women: I wonder why this is" - theory follows about "feminine not effeminate content"; asks her of she really wants a piano - which he will provide; Troubadours book; accuses her of game-playing - adding "the sett is now finished"; "I am mezzoforte only today"; "two lines in Fioretta" misunderstood by most; pays two rents c.£200 pa; his wife wrote to Brynnie's mother; "3 new private pupils at £2.2.0 per hour!"; recalls the Wagner Brunhilda; recalls meeting her at a concert; a bit of musical notation two others in other parts of correspondence; going to the Academy for a concert; received proofs of the new song 31 March; examining at the RC; numerous literary allusions some quotes; their options secret marriage etc; she is his "musical" inspiration; his reading; going to a concert expecting a violinist in the evening and commenting on proofs "the cover of Winter Tree"; someone commenting on his writings; reminiscences; temptations; several references to George Moore as if strong influence; recurrently cruel words; meets the singer of his sonatas Marjorie Grant; thinks of them as Heloise and Abelard repeated theme involving learned discussion; angry report on poor candidate not just playing but her smell; another was the opposite; his itinerary; compares his situation to Peter Warlock's - near suicide 25 July; two new songs; enjoyment of Welsh tour; 1934 "Ethel Smythe's music is an example of what happens to a woman when she seeks inspiration of man rather that sic of God . It is insufferably dull monotonous ." 6 March; encounter with policeman while loitering at night near her flat; he gets more expressive as time goes on - inhibition goes somewhat; jealous thoughts; planning to see her father marriage though his wife is capable of "any subterfuge" including private detectives; he writes as if she's wants to break up driving him to pleading; misery; the odd meeting referred to; his misery has interfered when he's working well and he's worried about becoming "a 'hack' conventional musician - which I am not"; only his "writing" is more important than her; finds northerners "sallow and ill-featured"; shown two articles about himself in musical periodicals 3 July; he's "finished his final movement" 8 Aug.; he's hardly ever discussed or referred to her work; proofs of his book arrive but he's not able to deal with them because of her and other factors; he quotes himself on the nature of music "music never discloses her ultimate secret"; last dated letter 9 Sept. 1934. WITH: A large quantity of typed and two autograph notes and letters drafts duplicates indicating second thoughts some or many abruptly ended or unfinished from Brynhild Granger to Jervis-Read which mirror Jervis-Read adding her own thoughts accusations words of love attendance at musical events responses to his music and information about her life. She gives reasons for not marrying at one point. AND: 10 ALSs two incomplete and/or damaged undated from Margery Jervis-Read wife of Harold Jervis-Read to Brynnie attempting to undermine the relationship between Harold and Brynnie discussing the situation and Harold's character he has "good points" but. "numerous love affairs he had had and always will have" her own affair etc suggesting that she should marry but not Harold and including references to meetings. NOTE: Brunhild Granger was a member of the "Ferguson Gang" see Wikipedia - a group of women raised money for the National Trust before the War characterised by masks and mystery and recently published Anna Hutton-North's book "Ferguson's Gang: the Maidens behind the Masks". She was "Sister Agatha". [Royal Academy of Music, High Street & Fitzjohns Avenue, Hampstead, etc, London], various pleaces (and hotels) when he travels, hardcover
193327821933 une revue, brochée crème in-octavo, Monogramme ex-libris manuscrit en rouge : G C de Georges Courville célèbre Libraire Balzacien de la rue bonaparte sur la couverture au recto, de la page 721 à la page 960 + table du cinquième volume + 8 pages de publicité, 1933 Paris Editeur Imprimerie Brodard et Taupin,
188519897Londres (Paris), s.n. (Marcel Seheur), 1885 (1932) ; 3 tomes, petit in 8 carré, plein chagrin noir, dos à nerfs soulignés d’un pointillé doré et double cadre doré sur les caissons, double pièce rouge de titre et tomaison, double encadrement des plats, tête dorée, contreplats et gardes en suédine rouge, couverture rose illustrée et dos conservés, non rogné, étui de suédine rouge bordé de box noir (reliure de l’époque) ; 138, [6] pp. bl. ; [4] bl., pp. 153-272 ; [4] bl., pp. 281-403, [3], [2] ff. bl. avec bien entendu les faux-titres, titres et frontispices à chaque volume ; 26 lithographies libres hors-texte, aquarellées au pochoir et au pinceau, très nombreux dessins, en-têtes et culs-de-lampes libres tirés en bistre, dessin répété aux trois couvertures tiré en bistre, par le peintre Berthommé-Saint-André.
1943138724Perth: British and Foreign Bible Society 1943. Hardcover. Very Good. Perth British and Foreign Bible Society 1943 revised edition/ 1930. Octavo 64 pages. Flush-cut blind-stamped limp blue cloth lettered in blind 'Mark' on the front cover; all edges dyed red; minimal loss to silverfish to the leading edges of the first and last leaves both blanks; an excellent copy. James Robert Beattie Love 1889-1947 clergyman and missionary was Superintendent of the Presbyterian mission at Kunmunya north of Derby from 1927 to 1940. British and Foreign Bible Society hardcover
193219788Paris, aux dépens de la Société des Bibliophiles du Papier, 1932 (Imprimerie Stelmans) ; in 8, vélin ivoire, titre imprimé sur le premier plat, tête dorée, garde de papier marbré à tourbillons, façon XVIIe (reliure non signée mais très probablement de Canape et Corriez) ; [1]f. bl., [8], 125, [1] pp., [1] f. bl., frontispice gravé par Omer Bouchery et bandeaux dessinés par J. Bruna, étui.
201110721Paris, Flammarion, 1999 ; in-4, 167 pp., cartonnage de l'éditeur. Avec jaquette.
20A Paris. Chez Louis Janet, libraire. Sans date [vers 1820]. In-24 de (1) f., 16, (24), 17 à 32 pp., 8 planches hors texte : maroquin rouge à grain long, dos richement orné, roulette et filet dorés sur les plats, coupes et tranches dorées. Etui de papier maroquiné à l’identique.
194720378Paris, Emile-Paul Frères (imprimerie de Daragnès), 1947 ; petit in-4° en feuilles sous couverture crème illustrée, chemise-étui de l'éditeur ; 266, [6] pp. et [2] ff. blancs et en tout, 32 eaux-fortes et aquatintes y compris celle de la couverture, dont 16 hors-texte.
15484Bernard Quartich 11 Grafton Street New Bond Street London. Printed by Taylor and Francis Red Lion Court London 1911. 3pp. 8vo. Bifolium. On aged card with wear to extremities. The text attributed to Wallis by the British Library catalogue is on the verso of the first leaf; and facing this behind a tissue guard is the print. Wallis discusses the 'feeble' nature of the 'various engaged portraits of Shelley' and explains Peacock's reservations in endorsing Lasinio's engraving of Leisman's painting. Uncommon: five copies on COPAC the British Library entry attributing the publication to Henry Wallis. Image on application. Bernard Quartich, 11 Grafton Street, New Bond Street, London. Printed by Taylor and Francis, Red Lion Court, London, 1911. unknown
1975LFA-126722765Revue de 128 pages, format 155 x 240 mm, illustrée, brochée couverture couleurs, publiée en 1975, bon état
1777110809A Genève, [Cazin] Sans ed. 1777 Deux tomes en un. In-18 reliure d’attente, titre et tomaison manuscrits au dos lisse.. 13 cm sur 7,4. Frontispice- XIV-178-1f.-frontispice-194 pages -1f. Les deux frontipices sont les portraits des amants gravés sur cuivre et signés Boily. Bandeaux et culs-de-lampe. Reliure quelque peu patinée avec menus frottement et rousseurs. Petite auréole d’humidité sans atteinte au texte sur huit derniers feuillets. Infime manque sur feuillet blanc in fine. Intérieur assez frais. Bon état d’occasion.
176618295Paris, Veuve Duchesne, 1766 ; in-8, bradel de papier marbré à tourbillons, pièce de titre bordeaux (reliure du XIXe) ; 30 pp., [1] f. blanc, frontispice et vignette de Eisen.
19239621923 Paris, Images de Paris, 1923. 21,5 x 14 cm, non paginé (12 ff. n. ch.), 2 gravures sur bois originales à pleine page, ill. en noir dans le texte, agrafé.
