‎GROOM Winston SZCZECINER Pierre‎
‎Only‎

‎La bataille les filles du maitre de chai l'homme qui voulait vivre sa vie only love‎

‎Reader digest 1998 in8. 1998. Cartonné jaquette. 537 pages. Etat de Neuf‎

‎Only kill for real love (men's collection)‎

‎ 2013 15x21. 2013. Broché. 130 pages. Bon état (BE) interieur propre‎

‎De Amatoriis Affectionibus Liber. Iano Cornario Zuiccauiensi interprete. [Peri Erotikon Pathematon]. - [EDITIO PRINCEPS OF PARTHENIUS' ONLY SURVIVING WORK]‎

‎Basel, in Officina Frobeniana (Per Hieronymum Frobenium, & Nicolaum Episcopium), 1531. Small 8vo. Bound in a lovely, charming early 19th century red half calf with gilt title and lines to spine and lovely gold and red ornamented ""romantic"" paper over boards. A bit of wear to spine. Internally a very fine and clean copy. Title-page slightly soiled, and a vague marginal dampstain throughout, on most leaves barely visible. Froben printer's device to title-page, and in a larger version to verso of last leaf. Four large woodcut initials. 76, (44) pp.‎

‎The extremely scarce first printing, of both the original Greek text and the translation into Latin, of Parthenius's only surviving work, the historiographically, mythographically, and literarily hugely important ""Erotica Pathemeta"" (or ""Sorrows of Love""), which constitutes the only prose work by a Hellenistic poet to survive in its entirety and one of the few extant works of its genre, i.e the mythological or paradoxographical handbook, preserved from any period. The ""Erotica Pathemata"" constitutes the only surviving work by the famous Greek poet Parthenius of Nicea (fl. 1st century BC, Rome), the Greek teacher of Virgil, and the favourite author of Hadrian and Tiberius, who is now often referred to as ""the last of the Alexandrians"".Parthenius was Born in Nicaea in Asia Minor, He was captured in the third Mithradatic war and taken to Italy, where he became the Roman poet Virgil's teacher in Greek. He is considered a main influence on the ""Neoteroi"" - the group of ""modernist poets"" led primarily by Callimachus, and he played an important role in spreading a taste for ""Callimachean"" poetry in Rome.In his time, Parthenius was primarily famous as a poet, but unfortunately none of his poetic works have survived, and only some small fragments have been preserved. What we have in their place is the prose treatise ""Erotica Pathemata"", which has survived in merely one manuscript, probably written in the mid 9th-century. In 1531 Froben printed the editio princeps of both the original Greek text and the Latin version of it, and only in 1675 did it appear again. The Froben editio princeps is of great scarcity.The ""Erotica Pathemata"" is a little prose treatise consisting of thirty-six love stories, all with tragic or sentimental endings. The work was dedicated to Cornelius Gallus, and was, Parthenius explains, meant as ""a storehouse from which to draw material"".""The very concatenation of poetry and prose is interesting, and perhaps important. It could be that the ""Erotika Pathemata"" were first collected by Parthenius for his own use as a poet. But the collection of prose anecdote by a poet also locates Parthenius in the same tradition as Callimachus ..." Nicander ... " and Euphorion of Chalcis ... . Parthenius' is in fact the only prose work by a Hellenistic poet to survive entire. It proclaims its purpose as utilitarian, and begins with an epistolary introduction in which Parthenius offers his work to the poet Gallus as potential raw material for hexameter and elegiac poetry. This detail is of some importance for literary history. The loss of the poetry - not only of Parthenius, but also of his friends in Rome, of Gallus, Cinna, and the other ""neoteroi"" - is admittedly grievous" but the treatise, and particularly the implications of the dedication, offers some insight of their own into literary production in Rome in the middle of the first century BC. It is a period about which we should like to be better informed, the age of the supposed epyllion, of nascent elegy, and of experimentation with new Greek genres. The dedication suggests, on the one hand, intriguing possibilities for the sort of narrative poetry, both hexameter and elegiac, which Parthenius might have expected Gallus and his friends to write and on the other the text can be read (and may also have been intended to be read) for pleasure as a prose work in itself. Thus regarded, it raises questions about the hellenistic historiography in which the stories were embedded, about the diverse kinds of mythography written in the hellenistic period and the two-way relationship between mythography and poetry" about the types of stories it contains, the manner in which they were generated, the structure they exhibit, the messages about social life which are encoded within them. And not the least intriguing question concerns its relationship to the Greek novel, a genre which seems to have been gaining momentum in the first century BC, and other sorts of prose fiction. Stylistically too, the work should be of interest to historians of Greek prose. It is preserved by a lucky accident in a single manuscript, possibly because its Atticism pleased the Byzantines' ear as much as it appealed to their penchant for story-telling, and it is one of the very few surviving works of Greek prose from the middle of the first century BC. Indeed it is one of few extant works of its genre, the mythographical or paradoxographical handbook, preserved from any period."" (Lightfoot, Parthenius of Nicea. The Poetical Fragments of the ""Erotika Pathemata"". Edited with introduction and commentaries. 1999, pp. 2-3). As such, the ""Erotica Pathemata"", along with its author, apart from being of pivotal importance to the study of the ancient novel (the earliest examples of which date from exactly this perioed), Greek prose, and the Greek language (""Parthenius' Greek is of no little interest in view of the dearth of surviving material which is comparable in genre and date"" - Lightfoot, p. 283), also plays a central role in Hellenistic literature and is of decisive character to the development of Roman prose and poetry in the 1st century BC. ""It was Parthenius who taught me Greek -Yes, a freed prisoner-of-war, whose giftWas perfect elegiacs, faultless poems.He gathered brief love-stories, so that GallusCould turn them into song. Parthenius sleepsWatched over by sea-deities, by Glaucus,Panopea, Melicertes - Ino's son -Beside a river graved in celandine."" (Virgil - see Lightfoot, p. (97)).‎

‎Samling af den danske Scenes Dragter i 48 colorerede Fremstillinger. - [ONE OF ONLY A HANDFUL OF COPIES KNOWN]‎

‎Kjöbenhavn (Copenhagen), Steens Forlag, 1834. 12mo (15 x 9,5 cm). Lovely contemporary brown half calf with gilt ornamentation to spine. General wear along hinges and edges of boards. But overall a very nice copy. Tight and fine. Book-plate of Kaj Christensen (1960'ies) to inside of front board and and ownership signatures to front free end-paper (""W. Unsgaard"" and ""N. Neiidendam / 1900"") along with blindstamped ovnership stanp of Johan G. Melbye. Later pencil-annotation to inside of front board (stating that only tow copies are said to be preserved on private hands). VI, (2) pp. + 48 engraved and finely handcoloured plates. All the blank leaves inbetween the plates preserved as well. ‎

‎Exceedingly scarce - one of only a handful of copies knwon to exist - first, and only, edition of Bruun’s “Collection of Costumes From the Danish Scene” from 1834, which contains 48 wonderful, engraved and handcoloured plates of costumes from some of the most famous plays and operas performed at the height of the Danish stage, including nine costumes to three of Mozart’s operas: La Nozze di Figaro, Don Giovanni, The Magic Flute, and Seraglio. These 48 magnificent plates showcase the wonderful diversity of the Danish stage at the time, the strong Gothic influence, the great influences of both German and French romanticism, and the influence of the Orient upon costumes of the Danish stage as well (eg. Seraglio, Lulu). In addition to the costumes for the operas by Mozart and for some of the most cherished Scandinavian plays (primarily Holberg), we have costumes for a wonderful array of other plays and operas that showcase the great influx upon Danish performance from many parts of Europe – Austria, Germany, France, Italy, United Kingdom. We have for instance Cinderella (Cendrillon), Monteverdi’s The Combat of Tancredi and Clorinda, La Dame Blanche, Beckford’s Azemia, Weber’s Der Freischutz and his Preciosa (which is based upon a novella by Cervantes). The full list of costumes is as follows: 1: Saft - i Sovedrikken. 2 & 3: Salomon Goldkalb & Brant – i Kong Salomon og Jörgen Hattemager. 4-6: Anna, Casper & Samiel - i Jaegerbruden. 7: Pantsatte Bondedreng – i Stykket af samme Navn (i.e. in the play by the same name). 8. Joseph – i Joseph og hans Brödre. 9 & 10: Montefiascone & Cendrillon - i Cendrillon. 11: Wenceslaus - i Herman von Unna. 12: Roux – i Röverborgen. 13: Hans Mortensen - i Aprilsnarrene. 14: Amenaide - i Taneredo. 15: Geert Westphaler - i Stykket af samme Navn (in the play by the same name). 16: Geske - i Den politiske Kandestöber. 17: Barthel - i Viinhösten. 18: Azemia - i Stykket af samme Navn (in the play by the same name). 19: Don Juan - i Stykket af samme Navn (in the play by the same name). 20 & 21: Jane & v. Thyboe - i Jacob v. Tyboe. 22 & 23: Preciosa & Pedro - i Preciosa. 24: Ariel - i Alfen som Page. 25 & 26: Valborg & Erland - i Axel og Valborg. 27 & 28: Hvide Dame & Georg Brovn – i Den hvide Dame. 29 & 30: Syvald & Rödhætten - i Deodata. 31-33: Almaviva, Bazile & Figaro - i Figaros Giftermaal. 34. Trampel - i Fugleskydningen. 35 & 36: Constance & Blonde - i Bortförelsen af Serailet. 37-39: Dilfeng, Barka & Lulu - i Lulu. 40 & 41: Mad. Voltisubito & Ledermann - i Recensenten og Dyret. 42: Zoe - i Væringerne i Miklagard. 43-45: Papageno, Monostatos & Papagena - i Trylleflöjten. 46 – 47: Mad. la Fleche & Arv - i Jean de France. 48: Jeppe - i Jeppe paa Bjerget. Many of the costumes with depiction of the actors and actresses are important in themselves and not only in a broader perspective - setting the tone for how to depict the characters in some of the most famous plays and operas for decades to come. An example of an individually highly significant illustration in the present work is the drawing of Christine Zrza in Constanze’s costume in Seraglio, wearing a so-called “Turkish” costume as a woman of the harem of Selim Pasha’s palace. Zrza herself was a significant figure in the foundation of Mozart’s operas on the Danish scene, playing also the first Countess Almavira in Figaro’s Marriage, the first Sextus in Titus, and the first Queen of the Night in The Magic Flute. The work is of immense scarcity, with only very few copies known to exist. Apart from the copy in the Royal Library in Copenhagen, OCLC list merely one copy, at Harvard. This copy only collates as having merely 1f. in addition to the 48 plates, where as our copy has all the four leaves in front consisting in title-page, contents-leaves and half-title. We have been able to locate one copy sold at auction, that having merely 43 plates. It is said that merely two copies are knbown on private hands. The great book collector Oscar Davidsen had a copy in his collection (nr. 5 in his auction catalogue (1940), where it is said of it that ""this collection is of great scarcity). Krohn:1482.‎

‎Nachtrag zum cubischen Reciprocitätssatze für die aus dritten Wurzeln der Einheit zusammengesetzten complexen Zahlen. Criterien des cubischen Characters der Zahl 3 und ihrer Theiler (+) Transformations remarquables de quelques séries (+) La loi de réc... - [""THERE HAVE BEEN ONLY THREE EPOCH-MAKING MATHEMATICIANS: ARCHIMEDES, NEWTON, AND EISENSTEIN""]‎

‎Berlin, G. Reimer, 1844. 4to. In ""Journal für die reine und angewandte Mathematik, 28 Band, 1 Heft, 1844"". In the original printed wrappers, without backstrip. Fine and clean. [Eisenstein:] Pp. 28-35" Pp. 36-43 Pp. 44-48 Pp. 49-52" Pp. 53-67. [Entire issue: IV, 96, (2) pp. + 2 folded plates.].‎

‎First printing of six exceedingly influential papers by the German mathematics prodigy Eisenstein. Even though he died prematurely at the age of 29, he managed to prove biquadratic reciprocity, Quartic reciprocity (Presented in the present: ""Lois de réciprocité""), Cubic reciprocity (Presented in the present: ""Nachtrag zum cubischen Reciprocitätssatze...""), to be imprisoned by the Prussian army for revolutionary activities in Berlin and making Gauss state that: ""There have been only three epoch-making mathematicians: Archimedes, Newton, and Eisenstein"". Alexander von Humboldt, then 83, accompanied Eisenstein's remains to the cemetery. The papers presented in the present issue is among his most prominent and made him famous throughout the mathematical world. (James, Driven to innovate, P. 88). ""The twenty-seventh and twenty-eighth volumes of Crelle's Journal, published in 1844, contained twenty-five contributions by Eisenstein. These testimonials to his almost unbelievable, explosively dynamic productivity rocketed him to fame throughout the mathematical world. They dealt primarily with quadratic and cubic forms, the reciprocity theorem for cubic residues, fundamental theorems for quadratic and biquadratic residues, cyclotomy and forms of the third degree, plus some notes on elliptic and Abelian transcendentals. Gauss, to whom he had sent some of his writings, praised them very highly and looked forward with pleasure to an announced visit. In June 1844, carrying a glowing letter of recommendation from Humboldt, Eisenstein went off to see Gauss. He stayed in Göttingen fourteen days. In the course of the visit he won the high respect of the ""prince of mathematicians,"" whom he had revered all his life. The sojourn in Göttingen was important to Eisenstein for another reason: he became friends with Moritz A. Stern-the only lasting friendship he ever made. While the two were in continual correspondence on scientific matters, even Stern proved unable to dispel the melancholy that increasingly held Eisenstein in its grip. Even the sensational recognition that came to him while he was still only a third-semester student failed to brighten Eisenstein's spirits more than fleetingly. In February 1845, at the instance of Ernst E. Kummer, who was acting on a suggestion from Jacobi (possibly inspired by Humboldt), Eisenstein was awarded an honorary doctorate in philosophy by the School of Philosophy of the University of Breslau.Eisenstein soon became the subject of legend, and the early literature about him is full of errors. His treatises were written at a time when only Gauss, Cauchy, and Dirichlet had any conception of what a completely rigorous mathematical proof was. Even a man like Jacobi often admitted that his own work sometimes lacked the necessary rigor and self-evidence of methods and proofs."" (DSB)‎