faust de goethe (Plus de 11 000 résultats)

Hardcover. Etat : Very Good. Dust Jacket Included. 1st Edition. Rare folio of twenty one engravings, eleven as loose full-sheet plates, and 10 drawings within the text. From an edition of only 50 copies on cream Arches, with an extra suite. Burgundy cloth-covered boards as folio covers. Pencil signature on title. Please inquire prior to ordering. Postage costs vary. We would like to avoid our ratings on ABE BOOKS affected by orders cancelled due to unexpected postage costs. Signed by Illustrator.

hardcover. Etat : fine. Translated into blank verse by Bayard Taylor. Illustrations by Ary Scheffer. Wilheml von Kaulback et. al., hand-colored frontispieces in 2 states in each volume, colored and uncolored. 4 volumes, 4to, magnificently rebound by the Riverside Press in full green crushed morocco mulitple gilt fillet borders: inner dentelles, and fully inlaid panels with floral borders and silk moire flyleaves, top edges gilt. Boston: Houghton Mifflin, 1906. Fine. Large paper edition. Number 4 of 650 copies.

Relié. 1 volume. In-folio. 160 pp. Sous étui bordé. Reliure plein maroquin rouge. Plats ornés d'un très large décor géométrique de filets dorés, dos à nerfs orné d'un décor doré de même. Plats doublés de maroquin crème encadré d'une large bordure de maroquin rouge avec filets dorés et petits rectangles de maroquin blancs, gardes de moire rouge, doubles gardes. Tranches dorées sur témoins. Reliure signée MERCIER, successeur de son père, 1928. Édition illustrée de 12 gravures hors-texte de DARAGNÈS, et de nombreux bois. Préface originale de Pierre Mac Orlan. SPLENDIDE EXEMPLAIRE DANS UNE RELIURE DOUBLÉE DE MERCIER. TIRAGE LIMITÉ à 439 exemplaires numérotés.EXEMPLAIRE UNIQUE, sur Japon ancien, provenant de la bibliothèque de Christian Lazard (1880-1943), banquier bibliophile et offert par Daragnès avec tous les lavis originaux.Il est enrichi de:- Une lettre manuscrite signée de Daragnès.- 2 lavis originaux à l'encre, dont l'un dédicacé à M. Lazard.- 1 dessin original au crayon.- Chacune des 12 planches avec plusieurs états signés et le lavis original signé ayant servi aux illustrations. 1. Lavis et 5 états - 2. Lavis et 6 états - 3. Lavis et 4 états - 4. Lavis et 6 états - 5 Lavis et 10 états - 6. Lavis et 4 états - 7. Lavis et 6 états - 8. Lavis et 4 états - 9. Lavis et 3 états - 10. Lavis et 4 états - 11. Lavis et 6 états - 12. Lavis et 8 états.Ex-libris Georges Pompidou.

Leather Bound. Etat : Near Fine. No Jacket. Limited Edition. Translated by Bayard Taylor. 4 Volume complete set. Number 199 of 650 copies. 3/4/ leather bound spine, tips and covers. Illustrated. Tight copies.

Leipzig, 1790. Very nice contemporary half calf with beautifully gilt spine. Corners worn and some wear along hinges and capitals. But overall very nice and completely unrestored. Brownspotted, as usual due to the paper quality. With the famous engraved frontispiece (Faust in his study, by Lips, after Rembrandt) and the tittle-page stating "Goethe's Schriften. Siebenter Band.", with the large engraved vignette by Lips, picturing Bätely bandaging Jery's hand (different from the ones in the seven other volumes), and the half-title stating "Faust. Ein Fragment" and at the bottom "Goethe's W. 7. B." (which is also repeated on f. D). Old owner's name to front fly leaf and a corresponding small piece of front free end-paper cut out to show the name. The scarce first printing of one of the peaks of world literature, the magnum opus by Goethe, the greatest German poet ever and one of the all-times greatest writers of the world. Few other writers have been as influential as Goethe, and his works were an immense source of inspiration to everything from drama and music to science and philosophy. He is generally accepted as one of the most important thinkers within Western culture, and his main work, Faust, is considered one of the most important and influential works of world literature. "If Goethe may justly be called the last representative of the renaissance ideal of the "oumo universale", his "Faust" embodies the sum total of his poetical growth." (Printing and the Mind of Man: 298). "Faust" was first printed, as it is here, as volume seven of Goethe's Schriften in eight volumes from 1787 - 1790, and was also published separately, likewise under the title "Faust. Ein Fragment". The printing of Faust in the seventh volume of Goethe's works is the original printing, after the manuscript of the poet. It can be identified by the mistaken repetition on the bottom of page 144 of the three verses on top of page 145. Hagen 11:7: "Vom Bd. 7 Bg. F-T existieren zwei Drucke", between which there is no precedency. This is the Sm with all the pointers mentioned in Hagen (e.g. 89,1: leseni, 152,14: vollkomm'nes, 261,21: Er ist bitter)."Faust" is arguably the work for which Goethe is most famous, and this is not without reason. The novel emphasizes the strength of the individual and the right to freely investigate aspects of human and divine character. The novel also fights for man's right to determine his own destiny and is thus considered the first great literary work in the spirit of modern individualism. The work is also considered highly relevant to science and scientific thought, as Goethe here offers a holistic and non-analytic approach to these fields.Hagen: 11,7: sm.

Hardcover. Etat : Near Fine. 1st Edition. First Edition. This is the First Edition of "Faust" printed in English. The 1790 edition printed in German would be the TRUE FIRST EDITION. The book is bound in the scarce brown cloth. The binding is tight with NO cocking or leaning with minor wear to the boards. The pages are clean with NO writing, marks or bookplates in the book. A wonderful copy of this First English Edition. We buy Goethe First Editions.

455 x 320 mm. (18 x 12 3/4"). 2 p.l., 187, [1] pp.Edited by Hans Gerhard Gräf. IMPRESSIVE SCARLET CRUSHED MOROCCO BY E. A. ENDERS OF LEIPZIG (stamp-signed on rear turn-in) DESIGNED BY E. R. WEISS, covers bordered by three gilt rules, five-pointed star at each corner, upper cover with author and illustrator names and title in elegant lettering, raised bands, spine gilt in compartments with diagonal crossed fillets or a theatrical mask centerpiece, gilt lettering, gilt-ruled turn-ins, dark blue raw silk endleaves, top edge gilt. In a (slightly worn) gray cardboard slipcase. WITH 17 COLLOTYPE PLATES AFTER LITHOGRAPHS BY EUGÈNE DELACROIX. Sarkowski 581. â Tiny snag to leather on one corner, but A VERY FINE COPY inside and out, with only the most trivial imperfections. This is a specially printed and finely bound deluxe copy of Goethe's classic dramatic work, here illustrated with reproductions of an extraordinary suite of images by a leading painter of the French Romantic period. Originally made for the 1828 French edition, Eugène Delacroix's "Faust" illustrations were said by Ray to be the finest of their time. Delacroix's inspiration for these lithographs, Ray tells us, came not from the original text, but from seeing a London performance of "Faust" in 1825. The artist "intended them to be a manifesto for Romanticism in art" and resolved "to astonish the middle class" with this "deliberate act of aggression." Astonished they were: critics, accustomed to the classical French "stiff, formal" engravings, were outraged, and even Delacroix's fellow Romantics wondered if he had gone too far. However, the artist found a champion in none other than the author: Goethe declared, "One must acknowledge that this M. Delacroix has a great talent, which in 'Faust' has found its true nourishment. The French public reproach him for an excess of savage force, but, actually, here it is perfectly suitable. . . . I have to agree that M. Delacroix has surpassed the scenes my writing has conjured up in my own imagination." Ray praises "the drive, inventiveness, and sustained harmony of style of the entire series," concluding that it is "one of the supreme illustrated books of the world." The present work reproduces Delacroix's original lithographs using collotype--a photolithographic technique capable of generating multiple copies that are highly detailed and of excellent quality. Fine craftsmanship is also evident in the deluxe binding designed by Emil Rudolph Weiss (1875-1942), a German graphic designer, painter, typographer, and poet, and executed by the firm of Emil Alexander Enders. Family owned until 1929, the E. A. Enders bindery opened its doors in 1859, and by 1913, the year after this book was produced, the firm employed 500 workers and had 230 machines. The hand-bookbinding operation was directed by designer Walter Tiemann, who, according to an advertisement of the period, supervised "the most outstanding book artisans." The present copy is particularly special, having been printed outside of the limitation for Henry and Maria Newman. Henry Newman (1868-1917) was a wealthy merchant and art collector with a penchant for French and German Impressionists, and whose acquisitions included paintings by Monet, Degas, Van Gogh, and Max Liebermann. Though the present work departs a little from his usual collecting interests, the combination of a handsomely bound classic German text with strikingly unconventional illustrations by a major French painter must have proved too great a temptation. Copy specially printed for Henry and Maria Newman on Van Gelder handmade paper (in addition to 100 numbered copies on this special paper and a regular edition of 515 copies).

Etat : Near Fine. First Edition. 309 pp. German language. First Edition of the first segment in its complete form, though previously appeared in 1790 as a partial printing, Faust, A Fragment. In an unusual three-quarter early 20th-century art binding with brown marbled paper over metallic patterned cloth. Near Fine. Light working to front cover. Foxing throughout. Browning and light, old tidemark to preliminary pages. Loss to lower marine of page 293 with no textual loss. A beautiful copy of what is considered by many to be one of the finest works of German literature. Part II was completed in 1831, and was not published until after Goethe's death in 1832.

Couverture rigide. Etat : Très bon. Salvador DALI (illustrateur). Ed. numérotée. - DESCRIPTION : portfolio in leaves in a red case. - MEDIUM : portfolio illustrated with 21 drypoint etchings by Salvador DALI. - LIMITED : to only 293 copies. - SIGNATURE : Handsigned in pencil at the justification page. - EDITION : published by Argillet / Graphik Europa Unstalt, Paris 1969. - SIZE : 12 x 16". - PAPER : Arches Vellum. - REFERENCES : Field 69-1 (p. 50-51) / Michler & Lopsinger 298 to 318. - INFORMATIONS : Considered as the best portfolio of Dali edited by Argillet. - CONDITION : Excellent. ASK FOR EXTRA PICTURES. Signé par l'illustrateur.

380 S. Einband berieben, bestoßen. Durchgehend etwas fleckig. Handschriftlicher Besitzereintrag (Louise Stockmayer) auf dem fliegenden Vorsatz und Besitzerstempel (Dr. G. Pfeilsticker-Stockmayer) auf dem Titel. Insgesamt recht guter Zustand. Enthält: Faust, Puppenspiel, Fastnachtspiel, Bahrt, Parabeln, Legende, Hans Sachs, Mieding, Künstlers Erdewallen, Künstlers Apotheose, Epilog zu Schillers Glocke, Die Geheimnisse, Lili`s Park. Hier vorliegend der Erstdruck des Faust I, des wohl bedeutentsten und meistzitierten Werks der deutschen Literatur. WG II, 66. Bei Louise Stockmayer handelt es sich wohl um Friedrike Louise Stockmayer geb. Frommann, die sich 1804 standhaft für die Landschaft und ihren Ehemann den Landschaftssekretär Amandus Friedrich Stockmayer, gegen Kurfürst Friedrich stellte. Dr. Gertrud Pfeilsticker-Stockmayer war eine der ersten Studentinnen der Universität Tübingen, an der sie sich 1904 für Philologie und Geschichte eingeschrieben hat. Sprache: Deutsch Gewicht in Gramm: 1100 19 x 12 cm, Pappband der Zeit mit Rückenschild.

Hardcover. Etat : Very Good. 1st Edition. First Edition, First Printing of this English Edition published 1821. This First edition in English of Goethe's Faust, translated by Samuel Taylor Coleridge is in excellent condition. The binding is tight with light wear to the spine and boards. The pages are clean with scattered foxing to pages. The book is complete with the plates present. There is NO writing, marks or bookplates in the book. A lovely copy Translated by Coleridge.

Hardcover. Etat : Sehr gut. Erste Ausgabe. 1 Blatt, 214 S., 4 Blatt; 1 Blatt, 323 S., 3 Blatt; 1 Blatt, 147 S., 3 Blatt. Großformatige Orig.-Pergamenteinbände auf 5 Bünden mit goldgeprägten Rücken, goldgeprägtem Linienrahmen auf den Deckeln, goldgeprägten Stehkanten sowie Kopfgoldschnitt, jeweils im Schuber und signiert Ernst Rehbein. Das Papier wurde von Moritz von Bethmann und Hans Passavant gestiftet. Gesetzt aus der Antiqua von Christian Heinrich Kleukens, einer "eigens vom Drucker für die Presse bearbeiteten Schrift", und gedruckt in Rot und Schwarz. Stürz: Ernst Ludwig Presse, Nr. 51; Rodenberg: Deutsche Presse, S. 81 und Nachtrag, S. 498; Schauer II, 65. Vollständige Exemplare aller drei Teile in so schönen, originalen Einbänden des "Kleukensbinders" Ernst Rehbein, der zu den "Meistern der Einbandkunst" (MDE) gehörte, sind selten (so findet sich bemerkenswerterweise weder im Katalog der Barbara Achilles-Stiftung noch des Germanischen Nationalmuseums ein Exemplar). Bei Band 3 weicht das verwendete Pergament durch leichte Äderung etwas ab, insgesamt handelt es sich jedoch um ein schönes, gut erhaltenes Exemplar in einwandfreiem Zustand.

Goethe's Faust II in einem außergewöhnlich schönem und prachtvollem Einband. Mit 20 blattgroßen Orig.-Radierungen von Bruno Goldschmitt. Eines von 200 nummerierten Exemplaren. Der Druckvermerk vom Künstler signiert. Tadellos erhalten. Meisterwerke der Weltliteratur mit Orig.-Graphik, Band 14.

Munchen & Berlin, Bruckman, Verlag, s.d. (1874-1876). In fol. (cm. 51x39). Pp. 144 quasi tutte illustrate con elaborati capilettere, grandi scene (anche a mezza pagina o 2/3 di pagina), testate, finalini, etc. siglate AK (August Kreling) e incise da Brand Amour, Walla, W. Heckt etc Ogni pagina del testo è racchiusa entro doppia filettatura. Inserite tra le pagine numerate vi son 14 vere grandi fotografie non numerate, applicate a mano su cartoncino, entro la loro triplice filettatura, dei dipinti originali ad olio di Kreling, conservati nel Goethe Museum di Dusseldorf. Tuttavia la incredibile importanza di questo esemplare consiste nella sua legatura in pieno cuoio, sbalzato e inciso con niello d oro, e arricchito di 6 medaglie di lega di argento inserite sul piatto anteriore con le figure di Mefistofele, Faust, Margherita, Valentino, Wagner, Schwerdtlein (sic) e con quattro raffinatissimi angolari incisi, sempre in lega d argento, agli angoli del piatto. Parimenti sul piatto posteriore, sempre in cuoio, vi sono le quattro simili decorazioni in lega d argento poste agli angoli e una diversa al centro. I 3 tagli in oro. La legatura è firmata in oro lungo uno dei fregi del piatto anteriore M. Brod Muenchen. I risguardi dei piatti, in seta, sono decorati con i motivi ispirati da quelli incisi sul piatto anteriore. La qualità della legatura, la sua perfezione nei minimi dettagli e l aderenza alla grafica del testo ci assicurano che il suo progetto e le decorazioni in lega d argento sono attribuibili allo scultore Kreling, realizzate dal legatore Brod stesso. (Da Internet si ricava la segnalazione di un esemplare, simile a Weimar, alla Klassik Stiftung Herzogin Anna Amalia Bibliothek). È la pià elaborata edizione mai prodotta della Ia parte di Faust e una delle più raffinate opere illustrate da Kreling (Osnabruck 1819-Norimberga 1879) scultore e direttore dal 1853 della Accademia delle Belle Arti di Norimberga, membro della Accademia di Monaco di Baviera. Libro.

Etat : Good. Sheets loose as issued in original embossed wrappers, burgundy buckram chemise and slipcase, printed paper label on spine; slight blemishes on the chemise. 25 x 35.5 cm. One of 100 signed and numbered copies; signed by F. L. Schmied. With 66 color wood-engravings by Schmied père et fils. This publication is generally considered Schmied's most ambitious undertaking, causing him financial problems which delayed it for several years. He exhibited some of the designs at the Galerie Petit in Paris, and eventually Henchoz agreed to finance the publication.In-folio, en feuilles, couverture rempliée, chemise et étui de l'éditeur.66 compositions de l'artiste gravées sur bois et imprimées par Théo Schmied. Les 20 compositions à pleine page portent la signature imprimée de François-Louis Schmied.Tirage à 106 exemplaires sur papier vélin, signés par l'artiste, celui-ci le n°24.Provenance : > Collection Marcel AubretonL'un des derniers livres illustrés par François-Louis SchmiedProvenance: Marcel Alfred Aubreton, born on August 9, 1899 in Sainte-Feyre, Creuse, Nouvelle-Aquitaine (France); died February 25, 1982 in Sainte-Feyre, Creuse, Nouvelle-Aquitaine.

Hardcover. Etat : Very Good +. Etat de la jaquette : very good-. Sepp Frank (illustrateur). First edition. #19 of 25 copies printed on fine Holland paper and a beautiful production overall., contents completely free of foxing. This is the deluxe edition of a book that is extravagant in the regular edition of 190 copies. In this edition artist Sepp Frank has signed the limitation page (as in the regular edition) and (only in this edition) each of the 25 full-page intaglio prints (signed on the print, not in the plate). In addition, the actual copper intaglio plate for one of the images is built into the slipcase itself. There are 25 images in the book and this edition is limited to 25 copies because each slipcase has an original Sepp copper intaglio plate embedded in the slipcase. There is an additional small intaglio image that is not signed in either edition. The images (black and gray aquatint etchings) are very Munich-1920 in their intensity This is a massive folio edition: 16.75" tall x 13" wide. 220 pp. + limitation leaf. Bound in full vellum with spine and boards ruled and lettered in gilt, two loose silk bookmarks, in vellum-bound slipcase. The slipcase for this limited edition is unusual: set into the front of box is the actual copper intaglio plate for the second image in the book. Vellum binding by Knorr & Hirth with age toning and one darkened spot, slipcase with moderate soiling and wear, one inch seam split. Book contents excellent overall, pp. 44/45 shadow from a contemporary Julius Shroder publishing prospectus that was laid-in (still present). Those pages are text only, no plates toned. This is a very heavy-paper book, set in gothic type. The sewn binding is starting to give a little from the natural swelling and contraction of the vellum boards.

Translated into English prose, with remarks on former translations, and notes, by The Translator of Savigny's "Of the Vocation." [Abraham Hayward]. London: --MDCCCXXXIII. First Edition in the English language of Goethe's final version of the legend of Faust -- this being a copy of the private issue printed for the translator (considered to have preceded the trade issue). The legend of Faust, and his pact with Mephistopheles whereby he pledged his soul for the instant gratification of unbound earthly knowledge, is known as far back as a German chap-book in 1587. Christopher Marlowe wrote his dramatic version around 1604, and a 1725 version of the chap-book is known to have been read by young Goethe (1749-1832). In Goethe's reworking of the story (as a hybrid between a play and an epic poem), which in all took him about sixty years to write, Faust becomes a dissatisfied intellectual who yearns for "more than earthly meat and drink" in his life; nonetheless, his first use of his new power is to seduce a teenage girl. Goethe completed a preliminary version of the legend (later referred to as Part One) in 1806; it was published (in German) in 1808. Goethe's much-revised edition was published twenty years later, in 1828-1829: it is noteworthy that the major sub-plot involving the teen Gretchen (to be "Margaret" in English versions), was entirely an invention of Goethe -- not in the original legend. In 1831 he finished writing Part Two -- which was published posthumously in 1832: quoting from the Faust website, "In contrast to Faust Part One, the focus here is no longer on the soul of Faust, which has been sold to the devil, but rather on social phenomena such as psychology, history and politics." As for English translations, there was an 1821 English edition of Goethe's preliminary (1808) Part One -- which translation was in 2007 attributed to Samuel Taylor Coleridge, though this has since been rebutted. Following Goethe's final German version of the legend in 1828-1829 and his death in 1832, there were two English editions in 1833, both translated by Abraham Hayward: the privately-printed-for-the-translator issue (as here -- with no mention of a publisher on the title page), plus a trade edition (also arranged by Hayward) published a month (?) later by Moxon of London. Compared to the 1821 translation of Goethe's draft, Hayward's translation is not only of Goethe's final text, but it is also acknowledged to be a truer translation. This private edition consists of an 87-page "Translator's Preface," 203 pages of text, and 74 pages of Notes / Appendix / Corrigenda. (The final page of text includes the doom of Margaret followed by Mephistopheles's final line to Faust, "Hither to me!"). This copy is bound in very early (contemporary?) purple watered silk, stamped in gilt on the front cover and spine; we have never seen a copy in any earlier binding (wrappers?). As with many of the privately-printed copies, Hayward's calligraphic signature appears on the title page; also, his handwritten corrections appear on pages lviii and 192 (in some copies there are additional corrections on pages 16, 209 and 246). Condition is remarkable for a 190-year-old volume in what likely is its original cloth binding: some wear along the rear joint (but the volume is tight and the original endpapers are intact), some sun-fading to tan, light wax residue on the front paste-down. In all, a quite collectible copy; both this privately-printed issue and the trade issue are very scarce. Provenance: Hayward's aim with the private issue was to be able to give copies to friends and associates: accordingly, this copy is inscribed by him on the front free endpaper, "J. Shapland Stock Esq. | from the Translator | A.H." (the barrister John Shapland Stock authored numerous books, including POEMS, Chiefly Translated from the German (London 1862).) Stock in turn inscribed, on the same leaf, "indorsed to James Colquhoun | J.S.S." (likely the 4th Baronet of Luss, MP for and Lord Lieutenant of Dunbartonshire). At the top of the title page is a private library number, which is said to be that of Æmilius Irving (1823-1913), a prominent Ontario lawyer and member of the Canadian Parliament.

35,5 x 27 cm. 179,265 Seiten. Mit 24 handsignierten Orig.-Radierungen. Dunkelblaue Orig.-Kalbslederbände mit reichster Rückenvergoldung, goldgeprägter Vignette auf beiden Deckeln, Fileten, Steh- u. Innenkantenvergoldung, Kopfgoldschnitt. - Eines von 150 nummerierten Exemplaren der Vorzugsausgabe auf Van-Gelder-Bütten, in denen sämtliche Orig.-Radierungen vom Künstler signiert wurden. Satz, Titel und Einband wurden nach einem Entwurf von Marcus Behmer gestaltet. Der Einband wurde von Georg Froehlich, Berlin, von Hand in blaues Kalbsleder gebunden. Durchgehend in Rot und Schwarz gedruckt. Der Druckvermerk vom Künstler zusätzlich signiert. Sehr schönes Exemplar der seltenen Vorzugsausgabe. - Schauer, Band II,4. - Von Odysseus bis Felix Krull 7/15.

In-12 de (2)-320 pp., frontispice et vignette de titre, veau fauve marbré, dos lisse orné, pièces de titre et de tomaison en maroquin fauve, triple filet doré d'encadrement sur les plats (reliure de l'époque). Édition originale de Faust, imprimée dans le tome VII des Goethe?s Schriften publiés de 1787 à 1790, suivie de Jery und Ba?tely et de Scherz, List und Rache.Rare exemplaire de première émission précédé de la page de titre Goethe?s Schriften Siebenter Band illustré d'un frontispice et d'une vignette grave?s sur cuivre par Lips. Il possède toutes les remarques minutieusement décrites par Hagen (n° 204) : les trois dernières lignes de la page 144 répétées à la page 145, et les fautes d?impression ?leseni? (p. 89), ?Wargrethlein? (p. 98), ?Margarethe? au lieu de ?Mephistopheles? (p. 106) et ?Verzweislung? (p. 128). Le feuillet D1 appartient à la variante décrite par Hagen, avec la signature ?Goethe?s W.7B?.Un tire? a? part mis en vente conjointement, fit office de premie?re e?dition se?pare?e, précédé d?une page de titre particulière qui porte la mention ?Ächte Ausgabe? habituelle chez l?éditeur Georg Joachim Göschen pour désigner l?édition ?authentique? ou ?véritable?, non la huitième (?Achte?). Ce premier Faust, sous-titré ?Un fragment?, partie en prose, partie en vers, publié au retour d?Italie, sera repris et remanié par Goethe, en grande partie sous l?influence de Schiller.Livre fondateur, c?est par lui que Goethe incarna la figure du poète national allemand. « Faust by Goethe may be the most influential literary work of the Romantic age » (Lilly Library, The People?s Voice, A Romantic Civilization, 1776-1848, Bloomington, 1996, nº 30). Le second Faust, posthume, sera e?dite? en 1833.Exemplaire en reliure du temps tomé "7" sur le dos. Feuillets légèrement brunis, pâles rousseurs.

Hardcover. Etat : Sehr gut. Erste Ausgabe. 260 S., 1 Blatt, 1 weißes Blatt; 373 S., 6 weiße Blatt. Flexible Orig.-Pergamentbände mit goldgeprägtem Rückentitel (im hinteren Deckel jeweils stempelsigniert "The Doves Bindery") in neuerem, eigens angefertigten Schuber. Eins von 300 (Band II: 250) Exemplaren auf Bütten (darüber hinaus wurden noch 28 bzw. 25 Exemplare auf Pergament abgezogen). Zweifarbiger Druck in rot und schwarz. Die von Thomas James Cobden-Sanderson und Emery Walker im Jahr 1900 gegründete Doves Press bestand bis 1916. Sie schuf Meisterwerke einer schmucklosen, formvollendeten Typographie, die nicht zuletzt für die deutschen Pressendrucker stilbildend wurden. Insgesamt erschienen 51 Drucke, darunter auch sechs deutschsprachige Werke Goethes. "One of the most beautiful books produced at the Doves Press" (Marianne Tidcombe). Ransom: Private Presses and their Books, 251, 10 und 252, 20. Lommen: Das Buch der schönsten Bücher 292f. Jeweils mit kleinem, bekröntem Monogrammstempel "H" und der erste Teil mit dem Exlbris Alfred Walter Heymels von Heinrich Vogeler. Der hintere Deckel von Faust II mit kleinen braunen Tropffleckchen, sonst schönes, gut erhaltenes und durch die Provenienz bemerkenswertes Exemplar in einwandfreiem Zustand.

37 x 26,5 cm. Mehrfarbige, goldilluminierte Titelseite, zahlreiche farbige Zierleisten und Initialien im Text. 79 Seiten durchgehend in Schwarz, Rot, Blau, Braun und Ocker gedruckt. Brauner Orig.-Schweinslederband auf 6 Bünden, mit Deckeltitel in Gold, Blindprägung, Deckelschließen und Kopfgoldschnitt. In Orig.-Kassette. (Signiert W. A. Petersen, Flensburg, Werkstatt für Buchkunst). - Eines von 200 Exemplaren der Vorzugsausgabe auf handgeschöpftem Pergamentpapier. Der Ganzlederband wurde von Petersen, Flensburg, gebunden. Der Druck erfolgte nach der Originalhandschrift von Johannes Holtz, einem der besten Kalligraphen seiner Zeit. Der ganzseitige Titel, die Zierleisten und Initialien zeugen von großem Können. Der Druckvermerk von J. Holtz signiert. Tadellos erhalten. - Slg. Dorn 453.

Druck der Doves Press in 300 (Band II nur noch in 250) Exemplaren auf Bütten, durchgehend in Rot und Schwarz gedruckt. Eine der schönsten Faust-Ausgaben des 20. Jahrhunderts. Der Text folgt der Weimarer-Ausgabe von 1887. Tadellos erhalten. - Tomkinson 10 und 20.

Vellum. Etat : Very good +. Limited Edition. Paper copies bound in limp vellum, octavo size, first volume 261 pp., one of 300 copies, the second volume 374 pp., one of 250 copies, text in German. Founded in 1900 by T.J. Cobden-Sanderson and Emery Walker, the parnership dissolved in 1909 with Cobden-Sanderson continuing to print on his own. Justly famous for the purity of design and exactness of printing, it is always a thrill of sheer delight to hold a Doves Press book in one's hands. The two volumes published separately, Volume I in 1906 and Volume II in 1910. Volume I is one of 300 copies printed on paper (there were also 25 printed on vellum); Volume II one of 250 copies on paper (there having also been 22 on vellum). The text taken from the 1887 Weimar edition for the first volume, and for the second volume from the Weimar edition of 1899, "specially revised for this Edition by Dr. Erich Schmidt" (n.b., per the colophon). Note also that the large initials in the second volume were designed by Edward Johnston, but engraved by "A.E.R. Gill" - Eric Gill. ___DESCRIPTION: Both volumes bound in full limp vellum with gilt lettering on the spines, red lettering throughout; octavo size (9.25" by 6.5"), pagination: Volume I, [1-6] 7-260 [1, colophon]; Volume II, [1-10] 11-373 [1, colophon]. ___CONDITION: Both volumes a bit better than very good, the vellum binding clean and supple, strong, square text blocks with solid hinges, the interiors with some scattered foxing but clean, and entirely free of prior owner markings; the first volume with some wrinkling to the vellum a the top corner of the back board (we believe a binding flaw as we see no concomitent damage), the second volume with a small bit of wear to the upper front corner and professional restoration to approximately 0.75" at the bottom of the front board, both volumes with natural variations to the vellum. ___CITATION: Tidcombe DP10 and DP20; Tompkinson pp. 55-56. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

27 cm; [2], 169, [1], pages, dedication leaf, and original pencil and chalk title leaf with portrait of a grinning Mephistopheles, by Michel Fingesten (Michl Finkelstein), signed in pencil, protected by glassine leaf. Dedication "für HANS ARNOLD geschreiben, Weihnachten 1934," signed in ink by Grete Scholz. Text mimeographed typescript on Crown Van Gelder. Bound in half vellum over buckram cloth-covered boards, with buckram endleaves. Title stamped in gilt letters on vellum panel of top board. Upper board somewhat bowed, but book is effectively pristine. The successful German-Jewish banker Hans Arnold made his home in Berlin a salon for artists, musicians, and intellectuals (the structure now houses the American Academy in Berlin). As a patron of the arts, Arnhold merited this hand-made gift, dedicated for Christmas 1934, of a Goethe's Faust, one of an unspecified (but certainly tiny) number of mimeographed copies printed on Crown Van Gelder watermarked paper and accompanied by an original drawing by the notable illustrator Michel Fingesten. The gift dedication is signed by Grete Scholz (d. 1937), wife of the painter Fritz-Karl Scholz-Wetterhof (d. 1945?). (Fingesten's ex-libris for Grete Scholz is extant.) Michel Fingesten (1884-1943), was a peripatetic artist known primarily for illustrated bookplates, who produced a rich body of work in the course of his agitated life. An Italian Jew, he was held in the concentration camp at Ferramonti for three years until its liberation in 1943. He died soon after a result of wounds sustained in a car accident. This volume is an artifact of the vibrant artistic and intellectual life that flourished in Germany and Mitteleurop at the cusp of Fascist domination in the 1930s.

2 Bde. 4°-kl. 3 Bll., 260 S, 3 Bll. u. 5 Bll., 373 S., 7 Bll. OPrgt. (sign."Doves Bindey") Exlibr. a. Vors. v. Bd.1, Vors. etw. leimschattig u. neueren Besitzverm., Rücken v. Bd.2 unten etw. bestoßen. Eins v. 300 bzw. 200 Exempl. Tidcombe DP 10 u. DP 20. - Gedruckt v. T.J.Cobden-Sanderson auf der Doves Press, Tl.1 zusammen mit Emery Walker, Nach d. Weimarer Ausgabe v. 1887 bzw. 1899.

First edition of Gérard de Nerval's translation of Faust, subsequently used by Berlioz for his La Damnation de Faust. This is one of Nerval's earliest works, which he translated when still in his early twenties, and helped to establish his reputation. Carteret II p. 216. Duodecimo. Original orange wrappers. Housed in a custom black cloth box. Lithograph frontispiece by Pineas. Pencilled notation at head of front wrapper. Wrappers expertly restored, occasional light foxing to contents. A very good copy.

Leather Binding. Etat : Fine. Limited Edition. A SUPERB COPY OF THIS DELUXE EDITION. Two parts bound in one volume. Both are one of 500 numbered copies, these being #324. Handsomely bound by Bayntun in full crushed black levant morocco, with gilt ruled raised bands and double ruled spine compartments, three red leather title labels; front and rear boards with triple gilt ruled panels with interlacing tendrils as cornerpieces; and inner gilt floral dentelles, with marbled endpapers. All edges gilt Housed In a fleece-lined buckram drop front case with a red morocco label. Illustrated throughout with 24 original etching by Arthur Kampf (signed in the plate, each with tissue guards) From the collection of decorative bindings put together by Robert Marceau, with his bookplate to the front pastedown. A Fine copy in a Fine binding.

First Edition Thus. First Edition Thus. Three volumes in slipcase. Original full gilt vellum (1924), and two original half vellum (1922, 1923) volumes, one superb full vellum with five raised bands, gilt ruling to covers, gilt decorated spines, and denoted in pencil on front pastedown: "Hand-bound by Ernst Rehbein, DA" [i.e.Darmstadt]. Printed by the . Printed in colophon in the full vellum volume: "Printed by the Ernst Ludwig Press in Darmstadt. The last volume of the Faust Edition, undertaken by Kleukens Presse in Frankfurt am Main. The names Moritz Baron von Bethmann and Hans von Passavant are to be added in acclaim in the same honorific way as to the two previously printed parts. The original form of the tragedy and the supplement were issued in June 1924. The paper was donated by Moritz von Bethmann and Hans Passavant. Typeface from Antiqua by Christian Heinrich Kleukens. "A typeface specially edited by the printer for the press, and printed in red and blackñ countering the rapidly spreading ostentation of luxury printing, and the raw typography of garish illustration effects." (cf. Schauer I, 68) Covers of full vellum (1924 volume) slightly soiled, near fine; other two volumes fine. Housed in nicely fitting brown slipcase. Complete copies of all three parts, with superb original bindings by Ernst Rehbein. Scarce.

Folio. 2 Bll., 187 Seiten, 1 Bl. Roter Original-Maroquinband (signiert E.A. Enders) mit reicher ornamentaler RVergoldung, goldgeprägtem RTitel und KGoldschnitt (etwas berieben u. beschabt, Kanten teils leicht verfärbt). Eines von 100 nummerierten Exemplaren der Vorzugsausgabe auf van Gelder-Bütten (GA 615). - Sarkwski 581. - Schauer II, 38 - Schöner, bibliophiler Druck der seltenen Illustrationen zu Goethes Faust, zuerst 1822 erschienen. Als der 76-jährige Goethe Delacroix' Zeichnungen für sein Meisterwerk sah, schrieb er an seinen guten Freund Johann Peter Eckermann: Die vollkommenere Vorstellungskraft eines solchen Künstlers zwingt uns, die Situationen so gut zu denken, wie er sie selbst durchgemacht hat. Ich muß jetzt gestehen, daß Herr Delacroix in gewissen Szenen meine eigene Auffassung übertroffen hat! - Breitrandiger Druck von der Spamerschen Buchdruckerei, Leipzig, unter Leitung von Emil Rudolf Weiss. - Vorsätze im Rand etwas gebräunt, Tafelseiten teils mit schwachem Braunrand von Schutzblatt, Exlibris auf Innendeckel (Ludwig Em. Strecker) Schr-Ha Sprache: Deutsch Gewicht in Gramm: 2000.

Folio. M. 24 ganzs. signierten Orig.- Radierungen v. Arthur Kampf. 179 u. 265 S. Dunkelblaue OLdr. m. reicher RVergold., goldgepr. DVignetten, Fileten, Steh- u. Innenkantenvergold. u. Kopfgoldschn. in 2 Schubern. (diese etw. bestoßen, Bd.1 m. winzigen Bereibungen). Nr. XXVI und XXVII v. 150 Exempl. d. V.A., im Druckverm.v. Kampf signiert. Druck auf Van-Geldern-Bütten. Entwurf für Satz, Titel u. Einbd. v. Marcus Behmer. Handeinbd. v. Georg Froehlich, Berlin. - s. Schauer II,4.