Title First Verse (7 results)

Chinese Poetry in English Verse by Herbert A. Giles. Published in London by Bernard Quaritch and Shanghai by Kelly & Walsh, Ltd., 1898. First edition. An early and increasingly collectible work of translated classical Chinese poetry by noted Cambridge scholar and sinologist Herbert A. Giles, Professor of Chinese at the University of Cambridge. This volume presents English verse translations of traditional Chinese poetry and remains an important early Western interpretation of Chinese literary works. This copy has been professionally rebound in later black cloth boards with gilt spine lettering ("Chinese Poetry - Giles"). Text block appears complete. Pages show expected age toning with scattered light foxing/spotting. Title page has a tear near the gutter/spine edge (see photos), but remains present and attached. Binding is secure and overall the book presents well as a solid reading or reference copy of this scarce 1898 edition. Includes vintage bookseller label for "The Seven Bookhunters" of New York on rear pastedown. A desirable title for collectors of Chinese literature, poetry, Asian studies, translation history, and antiquarian books. Condition: Good. Rebound in later cloth. Title page torn at gutter. Light foxing and age toning throughout. Binding sound. No dust jacket, as issued.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. HBDJ, PICTORIAL COLOR BOARDS, 1976, Stated first; VG-/VG, EX-LIBRARY USUAL WEAR RUB STAMPS cloth library binding with all around harvest picture; endpapers with animal designs bound in, in jacket identical to boards; 8.5x11.25;OVERSIZED ,About the running Battle between a Farm Family & Mischievous animals that Plunder their Fields. Crows peck at freshly Sown Seeds, Ducks eat New Strawberry Plants. RABBITS. NIBBLE ON TENDER LETTUCES. RACCOONS DINE ON EARS OF RIPENING CORN. All Summer Long the Young Farmer & His Wife are hard pressed to protect their growing Crops, But autumn comes at Last & Surprisngly after All th eAnimals Feasting there's a Plentiful Harvest. Bushels of Red Tomatoes, CELLAR FULL OF APPLES FOR CIDER. & PUMPKINS FOR PIE. & Fat Turkey for Thanksgiving Dinner.

Printed song sheet, 8 x 4 7/8 inches, the title in a nice display type, the text in dialect; printed on Venice Mill paper, with its blind stamp. First line: "I wish I was in de land of cotton." Wolf 487a. Magnus 220. Publication data given here comes from cataloguing for the copy in the Kenneth l. Goldstein collection of American song broadsides at Middle Tennessee State University ("assigned by the collector based on matching fonts, same-title publications, and/or textual references"). Traces of mounting on verso, otherwise a very good example, the original coloring bright. Folded. (10803).

ELVERY, Beatrice. (illustrator). (Cuala Press). ELVERY, Beatrice. Hand coloured photoengraved card No. 66. Commonly titled 'Mother of God! No lady thou?' due to the first verse of Mary Coleridge's famous poem being often printed below image (see below for alternative title). Image signed in the plate by the artist. Dublin: Cuala Press, nd (early/mid 1900s). Printed on Irish paper made at Saggart Mill for the Cuala Press. Image size: 95mm x 110mm; Card unfolded size: 240mm x 185mm; Card folded: 120mm x 185mm. Fine copy, as issued. Note: Highly regarded image "Designed by Beatrice Elvery, later Lady Glenavy, Our Lady Ironing was produced by the Cuala Press as a hand-coloured print and as a Christmas card. Cuala Press prints produced culturally distinctive and affirming images of Irish life and people. Here the artist Gaelicised the Christmas story, in this heart-warming domestic scene, the Virgin Mary looks over her sleeping red-haired Christ child in a decorative, archaic cottage interior. Mary irons and gently admonishes two angels to be quiet. The window frames an Irish landscape. This image of divine motherhood is set in historical rural Ireland." Written by Dr Billy Shortall, Ryan Gallagher Kennedy Research Fellow at Trinity Irish Art Research Centre.

Sofia: Vezni [Pridvornata Pechatnitsa], 1920. Octavo (25 × 16.5 cm). Original printed wrappers; [31] pp., [1] frontis three-color linocut by the author. Printed on laid paper. Wrappers lightly discolored; some expert paper repair to edges and spine extremities; overall about very good. First edition of this book of expressionist and anti-militaristic poems by Geo Milev (1895-1925), perhaps the leading Bulgarian literary critic and poet of his time. The work was also his first published volume of poems. Milev was also active in the visual arts; this volume, the third title in his series of "Books for bibliophiles" features a striking linocut in black, blue, and bright orange. With handsomely executed typography, printed in green and black. "In Bulgaria, Expressionism appeared as a result of the experience in the war which led to a turning point in the individual consciousness of the intellectuals in conjunction with a sharpened social and spiritual crisis. The Expressionist artistic form developed by Geo Milev during and after the war proved that the moment had come for a new way of combining the 'native' with the 'foreign'" (Evelina Kelbetcheva, "Between Apology and Denial: Bulgarian Culture during World War I," in Aviel Roshwald and Richard Stites, eds, European Culture in the Great War: The Arts, Entertainment and Propaganda, 1914-1918, p. 235). Milev began his career as a translator and popularizer of Western poets and philosophers such as Friedrich Nietzsche. He became a leading propagandist of modernist and avant-garde tendencies in Bulgaria and edited the eponymous avant-garde and modernist journal, which appeared from 1919 to 1921. By the early 1920s, his own work became increasingly political and in 1924 he began publishing the leftist journal "Plamak" (Flame). Milev began to provoke scrutiny by the authorities and was evidently killed during an interrogation after the bombing of a Sofia cathedral by communists. Scarce, with KVK, OCLC showing copies at New York Public Library and Chicago only (both rebound as part of a convolute?).

Collection of satirical plates and illustrated poems related to Het groote tafereel der dwaasheid, a famous collection of texts and plates satirizing the Englishman John Law, his Mississippi Company, and the international land and trading speculation in worthless shares, known as the South Sea Bubble of 1719-1720, which resulted in an international scandal. Nearly every copy or set has a different makeup.The present set of plates doesn't include the text, but does include a set of 10 very rare broadsheets with satirical poems and woodcut illustrations, according to Muller "the woodcuts especially are very rare, for some I have seen no other copy than the one described here". Other rare items in the collection are the 2 copies of a, non-satirical, engraved map of the coast of South America and the South Sea, in two parts with the titles "De Zuyd-zee" and "De Pacifische of Zuyd zee", not listed by Muller, and a series of 8 engraved prints, with letterpress text, by Jan de Ridder.Many items, including the rare broadsheets, untrimmed, with most deckles intact. Some items slightly worn, especially among the loose prints, but the others in very good condition, only occasionally restored at the folds.l Frans de Bruyn, "Het Groote Tafereef der Dwaasheid and the Speculative Bubble of 1720", in: Eighteenth-Century Life, vol. 24, no. 1 (winter 2000), pp. 62-87; Muller, Historieplaten, pp. 103-132. The whole kept together in a large 20th-century green half cloth portfolio, chemical-marbled sides (50 x 70 cm).