jacob painter (21 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In.

Card Book. Zustand: As New. Clean and unmarked; small sticker on back.

Zustand: New. KlappentextrnrnThis book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this.

Hardcover. Zustand: Very Good. From the Library of John Russell Taylor.

Gebunden. Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

First edition. 8vo. 8 pp. Illustrated with two small woodcuts. From the unsigned prefatory note: "These leaves were printed by an amateur who had never previously set up more than a few pages of type." OCLC locates a dozen copies. Very good. Original printed self-wrappers, lacking original stitching (recently stapled at the spine). (9897).

2. S.l.s.d., original portrait engraving, contemporary portrait of archbishop Jacob Boonen. 201 x 140 mm, (including the engraved caption). Engraving signed Ioan. Meyssens. Ant. van der Does, sculptor. Gasp. de Craijer pinx. Left and right side of the engraving cropped till within the image.

4to (209 x 268 mm), 1 p. With autograph envelope. To the German autograph collector Ernst Fritz Katz in Frankfurt a. M., who had asked for a sample of his handwriting, suggesting in a friendly tone that, if Jacob is well-known in Germany, now Katz is also famous in France: "Si je suis connu à Frankfurt, vous l'êtes à Quimper de Bretagne où j'ai reçu pendant mes vacances votre lettre". Jacob speculates on the age and occupation of his addressee, and closes with a playful "En tous cas vous êtes mon ami ou je suis le vôtre". - Very slight damage to creases, with no loss of text. Margins of envelope slightly creased.

4to. 2 pp. With autograph envelope. To his friend and protégé Maurice Morel, known as l'Abbé Morel, concerning a forthcoming publication of selected poems. Jacob asks Morel to insist with their friend, the theologian Jacques Maritain, to keep the inconspicuous title "Poémes choisis inédits" so as not to attract "hate and furor", as well as the information "chosen by l'abbé Morel". The second part of the letter concerns the contract, Jacob's dire financial situation, and the painter Jean Colle, who was currently in London and somehow involved in the projected publication. While there is no publication of Max Jacob entitled "Poémes choisis inédits", it is very likely that the anthology in question is identical with the "Morceaux choisis" published by Gallimard in November 1936. - The devout Catholic Jacob met the future priest Maurice Morel (1908-91) when he was taken in by Father Albert Fleureau in Saint-Benoît-sur-Loire for detoxification in 1921. Jacob dedicated his 1921 poem "Le Laboratoire central" to Morel and encouraged him to follow his second calling as a painter. In his art, Morel was decidedly modern and abstract. He opened the Catholic Church of France to non-figurative art, even facilitating the introduction of modern art to the Vatican Museums. - Traces of folds.

8vo. 1 p. To his friend and protégé Maurice Morel, known as l'Abbé Morel, concerning a manuscript that has been saved from his "shipwreck disaster" and hopes to publish it "as it is" after everything "has been taken" from Jacobs: "Tout est donc au même ! Gloria in excelsis Deo. Merci au Seigneur d'avoir sauvé ce manuscrit de mon désastre de naufrage. Publions le manuscrit tel que puisque je n'ai rien d'autre, tout ayant été pris. Cependant je ne veux pas vendre le manuscrit et perdre mes droits. Que votre éditeur me propose un contrat que j'étudierai". - The touching letter is a testament to Max Jacob's desperate situation in occupied France and the importance of his Christian faith during this period. Whether Jacobs could have actually hoped for a publication under these circumstances is very doubtful. - Traces of folds.

4to. 1 p. Apologizing to his friend and protégé Maurice Morel, known as l'Abbé Morel, for having forgotten an appointment. In a desperate and almost certainly exaggerated apology, Jacob laments his "appalling and tormented existence", his poor health and his "inescapable financial embarrassments" that "absorb" him: "Je ne sais comment m'excuser de n'avoir pas songé à notre rendez-vous. Je vis une existence atroce et tourmenté non seulement par mes malades [!] mais parl'inéluctables embarras financiers qui m'absorbent et nécessitent des courses fatals; il ne s'agit de rien moins que de la rupture de mon contrat et qui est mon unique moyen de vivre". - The "breach of his contract" and only means of livelihood that Jacob mentions in the end of the letter probably refers to his long litigation with an insurance company following a car accident in 1929. In 1932, Jacob finally was adjudged a small life annuity. - The devout catholic Jacob met the future priest Maurice Morel (1908-91) when he was taken in by father Albert Fleureau in Saint-Benoît-sur-Loire for detoxification in 1921. Jacob dedicated is 1921 poem "Le Laboratoire central" to Morel and encouraged him to follow his second calling as a painter. In his art, Morel was decidedly modern and abstract. He opened the catholic church of France to non-figurative art, even facilitating the introduction of modern art to the Vatican Museums. - Traces of folds.

293 x 235 mm. Three-quarter profile, inscribed to the French priest and painter Maurice Morel (1908-91): "A Monsieur l'abbé Maurice Morel / son ami fidèle et reconnaissant / Max Jacob / 7. Sept. 36". - Morel found a mentor in Max Jacob, a Jewish convert to Catholicis who was a close friend of Pablo Picasso and other artistic-literary notables of the period. - With stamp of the photo studio "Photo Photomaton" on verso page.

4to. 2 pp. To a gifted young writer about his vivid imagination: "J'ai été evenement interessé par vos poémes. Je dit proprement 'interessé'. Vous avez une imagination minutieuse, qui descend fort avant dans la reconstitution [.]". - Traces of folds.