Die Reihe 7: Form—Space
Theodore Presser Co in association with Universal Edition, Bryn Mawr, Pa.; London, 1965, Wraps, , , Good /
87 pp. Good, Octavo. Wraps with wear and soiling, previous owner’s signature. Edited by H. Eimert & K. Stockhausen. Contents: György Ligeti—“Metamorphosis of Musical Form”; Ursula Burghardt-Kagel—“Amancio Williams Space Theatre”; Christian Wolff—“On Form”; Mauricio Kagel—“Translation-Rotation”; John Whitney—“Moving Pictures and Electronic Music”; Rainer Fleischhauer/Jörn Janssen—“Project for 200,000 Inhabitants”; Jörn Janssen—“Initial Project. Designed for Gottfried Michael Koenig.”; Details to other volumes of Die Riehe. (All but Christian Wolff translated by Cornelius Cardew.)
THIS EXHIBITION presents Renaissance editions of Dante's Divine Comedy from the John A. Zahm, C.S.C., Dante Collection at the University of Notre Dame, together with selected treasures from The Newberry Library. The Zahm collection ranks among the top Dante collections in North America. Purchased for the most part by Zahm in 1902 from the Italian Dantophile Giulio Acquaticci, the 15th- and 16th- century imprints presented here form the heart of Zahm's collection, which totals nearly 3,000 volumes, including rare editions and critical studies from the Renaissance to the present. The nine incunable editions and nearly complete series of 16th-century imprints featured in this exhibit constitute essential primary sources for both the history of Dante's reception during the Renaissance and the early history of the printed book.
"With over 250 titles in print, Pendragon Press is a leader in the publication of musicological research, reference works, and studies of many aspects of musical life. With 27 series, ranging from Aesthetics to the history of theory, to vocal music, we have been servicing the musicological community for over 30 years, and, with the help of our friends, hope to continue for another 30. "
The EServer (founded in 1990 at Carnegie Mellon as the English Server), attempts to provide an alternative niche for quality work, particularly writings in the arts and humanities. Now based at Iowa State University, we offer fifty collections on such diverse topics as art, architecture, race, Internet studies, sexuality, drama, design, multimedia, and current social issues. In addition to short and longer written works, we publish hypertext and streaming audio and video recordings. Our collections grow as increased membership has new works to publish with us, and as we teach new members how to publish works to the Web and to the more than two million readers who visit our site per month. According to Alexa, this makes us the most popular arts and humanities website in the world.
“Most people know the legend of Thomas Chatterton -- brilliant poet who failed to make a living, starved himself to send expensive presents to his family, and died by his own hand at seventeen -- much better than his poems. Like all legends, it is partial and exaggerated, but was a powerful influence on the Romantic movement and long after. The painting "The Death of Chatterton" by Henry Wallis epitomises this reputation. His fame rests, apart from this almost unbearably romantic life story, on his "Rowley Poems". These he wrote in a sham Middle English dialect, and passed off as the work of Thomas Rowley, a priest of Bristol in the fifteenth century, and some of his friends. The imposture was quickly detected (though some continued to believe in him for many years), but they were published in a collected edition after his death and were popular and much admired by the Romantic poets, especially Wordsworth, Shelley, and Keats, who dedicated "Endymion" to the memory of Thomas Chatterton.”
An excellent report by Maureen Mulvihill of the auction of rare books and manuscripts from the estate of Paula Peyraud
The Paula Peyraud Collection: Samuel Johnson & Women Writers in Georgian Society. An Auction Report by Maureen E. Mulvihill as published in Eighteenth-Century Studies, Fall 2009, with 8 images and a list of selected buyers, prices & new locations of the Peyraud properties.
A pdf of the published report may be downloaded here: http://www.ilab.org/download.php?object=documentation&id=81
‘DARK LADY’ OF RARE BOOK COLLECTORS, PAULA FENTRESS PEYRAUD (CHAPPAQUA, NY, 1947 ~ 2008). Peyraud Collection Auction, May 2009, Bloomsbury Auctions N.Y. 483 Lots (books, manuscripts, images). Sales total: $1.6 million, including premium. Photograph, Margie Van Dyke. Bookplate from Peyraud copy of Frances Burney’s Cecilia, (lot 218, buyer McGill University). Bookplate bears inscribed initials (“FCP - EKP”), being the collector’s grandparents Frank C. Peyraud & Elizabeth Krysler Peyraud, both visual artists (see “Peyraud,” Benezit, vol. 10, 2006 edition).
from The Gate of Angels
From here she could see the light in the Wrayburns’ front room opposite—one light only until Mr Wrayburn got back, but at the Turner’s farm, well set back from the road, every window seemed to blaze, as though they were all keeping it up for some kind of celebration. There were two or three loud shouts from the house and then a creaking and splashing. As a dream repeats itself, Daisy saw a horse and cart coming out of the Turner’s entrance. It might have been the same cart, only it was well-lit now with safety oil lamps. It crossed the road, turned right and pulled up where Daisy stood. There was a woman driving, wrapped up like a parcel in rugs and tarpaulin. She said nothing, so Daisy picked up her bag, wiped her face with the back of her hand, put her foot on the slippery iron pedal, sprang up and edged into the passenger seat. As the cart rocked a little and steadied, the woman said without apparent feeling of any kind, “I’m going to my sister’s at Chesterton, I can’t stand any more of that old Turner tonight.” The horse was evidently unwilling to leave its home as darkness fell. The woman beat it vigorously and it shook its head, throwing off showers of raindrops that glittered in the light of the new headlamp, then started off at a jog trot. It was a slow journey— everything on the road passed them—but not a quiet one. The cart, like a ship at sea, had a pitch as well as a roll, and there was a recurrent screech from a loose spoke on the wheel, along with the creak of the collar and traces and the blowing and rumbling like a deep inner protestation from the horse itself as its feet clocked and clapped in hollow succession on and on. The ride seemed neither short nor long. It was isolated from everyone and everything else on the road by its peaceful, noisy, familiar, monotonous discomfort. Daisy knew by the lamps that they must have got to the Chesterton Road, where she hoped to catch a motor-bus to the station. She had been rocked almost to sleep, but now she turned to the rugs and tarpaulin beside her. “If you’d be kind enough to slow up, I can jump down. It was very good of you to stop for me. I don’t know what I’d have done otherwise.” “You looked as if you’d lost something, that’s why I stopped for you.” Daisy hesitated. “You don’t know who I am.” “Yes, I do,” said Mrs Turner.Penelope Fitzgerald