8vo, pp. 127, with folding engraved frontispiece and 7 illustrations in text by E. Lansere, + 8ll. advertisements; a very good copy, uncut in the original illustrated wrappers by Lansere, spine chipped at head and tail and sometime repaired; in a folding cloth box.
US $1024 €909
Added to your basket:
Tsar Golod. Predstavlenie v piati kartinakh s prologom [King Hunger. A play in five scenes with a prologue].
First edition of this play by one of the most popular writers in Russia during the first decade of the 20th century: Andreev’s fame ‘was almost on a par with that of Chekhov and Gorky. The fact remains that his talent and topical themes, his literary techniques combining tradition and modernism, the boldness of his imagination, and a captivating sketchiness of thought in dealing with complex moral-psychological and philosophical problems, endeared him to a significant segment of the intelligentsia and made him consonant with the times. And though the readership and that epoch are gone forever, some of Andreev’s characteristics, particularly his obvious talent, ensure for him a permanent place in Russian literature’ (Victor Terras).
You may also be interested in...
TURGENEV, Ivan Sergeevich.
Nov’. Roman [Virgin Soil. A Novel].
First edition printed in Russia of Turgenev’s novel about the Populists of the 1870s. It was first published in the journal Vestnik Evropy in 1877, followed shortly afterwards by an edition published in Leipzig.
LAOCOON ENGRAVED REZZONICO, Carlo Castone della Torre di.
Discorsi accademici del conte … segretario perpetuo della R. Accademia delle Belle Arti.
First and only edition of an exquisite little product of the Bodoni house: Count Rezzonico’s reflections on the fine arts, including a dissertation on the techniques of woodcut and engraving. The Neo-Classical aesthetics that inform this work are reflected in the illustrations, masterfully executed by the painter, engraver and stucco artist Benigno Bossi. Perhaps the most remarkable is the depiction of the marble Laocoon, which had been made by Lessing the symbol of the aesthetic autonomy of poetry and painting.