CURSO DE ESPAÑOL EN 16 CINTAS -CASSETTES

PICASO

VIAGES DE ANTHENOR

COMTESSE

TITLE:
CONTES A LA COMTESSE-ARMAND SILVESTRE -FRENCH EDITION-PARIS 
[Aphrodite, moeurs antiques]. Novela de Pierre Louys (1870-1925), publicada en 1896. La acción se desarrolla en la antigua Alejan­dría, en tiempos de la reina Benerice, her­mana de Cleopatra. El escultor Demetrios, amante de la reina e ídolo de todas las bellas alejandrinas, encuentra una noche, junto a la estatua de Afrodita Astarté, su obra predilecta, a una de las más bellas cortesanas de la ciudad, la galilea Crysis. Enamorado de ella, cede al capricho de la ambiciosa muchacha que le pide, como pre­cio a sus caricias, tres objetos: el espejo de la cortesana Baquis, el peine de la mu­jer del Gran Sacerdote y el collar de la diosa Afrodita. Demetrios jura. Roba, pues, el espejo a Baquis y por este delito la inocente esclava Afrodisia es crucificada, pues la creen culpable; el escultor sorprende también a Tuni, la mujer del Gran Sacer­dote, y la mata, robándole el precioso peine. Por fin yendo al templo de Afrodita, Deme­trios roba a la estatua de la diosa el famoso collar con siete hileras de perlas. Después de tales delitos Demetrios tiene un extraño sueño durante el cual su amor por Crysis se sacia y agota. Ésta, que ha asistido impa­sible al suplicio de Afrodisia, disfruta de haber triunfado del hombre más orgulloso y deseado de Egipto. Pero Demetrios la rechaza ahora, saciado de haberla poseído en sueños; y a los ruegos desesperados de Crysis contesta pidiéndole a su vez un juramento: que lleve ella los tres objetos por los cuales no ha temido precipitarlo en un triple crimen.
Crysis aparece desnuda y adornada con el espejo, el peine y el collar, en el Faro de Alejandría. La muchedumbre cree ver a la propia Afrodita: pero pronto se descubre el engaño; la mujer es conde­nada a beber la cicuta en la cárcel y sobre su cuerpo bellísimo y todavía tibio, Deme­trios modela una estatua inmortal. Dema­siado aristocrático en la forma, vago e in­cluso decadente en la esencia, el libro sólo tuvo éxito en el mundo restringido de los estetas; el gran público fue más bien atraí­do por la licenciosidad de algunas páginas. Afrodita fue considerada por la crítica francesa la novela «parnasiana» más popu­lar y conseguida. Pero la riqueza de los detalles y las descripciones demasiado pro­lijas, completamente externas, mataron a la verdadera y propia novela, y las figuras de Demetrios y de Crysis son poco más que pálidas larvas. [Trad. española anónima (París, 1911)].
G. G. Sever


Armand Silvestre
 
CONTES A LA COMTESSE
 
illustrations de Kauffman, une eau-forte en frontispice

Contient; C'est si simple. Partie de Dames. Petit Voyage. Rusticana. La Saint-Martin. Chambre d'amis. Le Verre d'eau. Assomption. Le Guignon. La Fuite. Horlogerie. Mœurs aimables. Le Philtre. Coquetterie. Le Prétexte. Le Sorcier. Révélation. Roture oblige. Justes reproches. Consultation.

joli volume relié demi cuir, gd in8. 200x145, dos à nerfs, coins leg. emoussés, 342pp, qq rousseurs, bel état couvertures d'origines conservées, peu courant
342 PAGINAS
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USADO-

OBRAS DE FIGARO TOM O 1 1889-

HISTORIA DE LA PARASICOLOGIA FIRMADO POR AUTOR:

LA VIGENCIA DE UN PENSAMIENTO FERNANDO GOMEZ MARTINEZ

GIL DE SAN BLAS

VICAR OF WAKEFIELD 1847

The Vicar of Wakefield- 

a tale by Oliver Goldsmith M.D –

Paris 1847

 Baudrys Europena Library-3, Qua Malaquias, Near de Ponts des Arts-
310 paginas- en Ingles- 

Contenido completo-

 Falta la cubierta-

 la tapa posterior en cuero grabado 

, con letras doradas,

 sin lomo- 

Algunas firmas y escritos de anteriores propietarios

POSTER *THE WOMAN ON THE BEACH*ORIGINAL JOAN BENNET -ROBERT RYAN-FRAMED 11 X14

POSTER *THE WOMAN ON THE BEACH*ORIGINAL JOAN BENNET -ROBERT RYAN-FRAMED 11 X14

Disponible en Florida

shipping only within usa

POSTER *THE WOMAN ON THE BEACH* JOAN BENNET -ROBERT RYAN-CHARLES BICKFORD- RKO ORIGINAL YEAR 1947  FRAMED 11 X14 NUMBER 113 FRAMED WITH GLASS-SIZE 11 X 14 CMTS VERY GOOD CONITION. The Woman on the Beach is a 1947 film noir[2] directed by Jean Renoir, released by RKO Radio Pictures, and starring Joan Bennett, Robert Ryan and Charles Bickford. Contents 1Overview 2Plot 3Cast 4Reception 4.1Box Office 4.2Critical response 5References 6External links Overview The movie is a love triangle drama about Scott, a conflicted U.S. Coast Guardofficer (Ryan), and his pursuit of Peggy, a married woman (Bennett). Peggy is married to Tod, a blind artist (Bickford).[3] Plot Scott (Robert Ryan), a mounted Coast Guard officer, suffers from recurring nightmares involving a maritime tragedy. He sees himself immersed in an eerie landscape surrounded by a shipwreck and walking over skeletons at the bottom of the sea while a ghostly blond woman beckons him from afar. He thinks he is going mad. But at the same time, he decides to propose to Eve (Nan Leslie), a young woman working at Geddes, a local shipyard catering to the Coast Guard. She accepts. Eve has a strong resemblance to the ghostlyblond of his nightmares. While riding by the seaside on his horse, Scott meets Peggy (Joan Bennett), a brunette, the mysterious wife of Tod (Charles Bickford), a blind painter. At first, though, he rides by her as she stands near a shipwreck protruding from the sand; she seems like an eerie echo from his nightmares. After a conversation, they discover that they share similar metaphysical anxieties. A bond develops between the two but the situation gets more tangled when Tod tries to befriend Scott. Tod's attitude toward Scott, apart from his friendship, is also ambivalent. The retired painter tries to test Peggy and Scott to gauge how far they could go in their relationship. Outwardly Tod seems confident; he even tells Peggy that he knows she could never leave him and that he finds Scott, a much younger man, virile but banal. However behind this facade lies a deeply wounded man who cannot come to terms with the fact that because of his blindness, he cannot paint any longer. In one exchange with Scott he tells him that dead painters' works always appreciate in value. Indeed, he expects the value of his paintings to increase, considering he is now 'dead' as a painter. Initially Scott is suspicious of Tod's motives; he also suspects that Tod is not blind. Scott is also increasingly interested in Peggy, who returns his attentions. During an outing that Scott sets up to test the painter, he moves Tod near the edge of a cliff, but then inadvertently lets him fall, thinking that he will be forced to see and therefore avoid the fall at the last minute. After this mishap, Tod eventually recovers. He at first thinks that Scott would now become his friend since the fall would remove any doubts about his true blindness. But soon after Tod exhibits abusive behavior toward Peggy when he realizes that she has hidden his masterpiece, his portrait of her. Seeing this, Scott tries to protect her. As Scott grows more attracted to Peggy, he becomes ambivalent toward his earlier relationship with Eve Geddes. Eve in turn, sensing Scott's infatuation with Peggy, becomes distant and asks Scott to delay their marriage plans. The narrative reaches one climax when Scott attempts to drown both Tod and himself during a boat outing with him that started as a fishing trip. By trying to pierce the bottom of the boat, it's apparent that Scott has put himself in danger as well, since he would be swimming helpless in the stormy seas had he been successful at this attempt. This scene illustrates the degree of his desperation, if not madness. This attempt by Scott to drown Tod reveals the depth of his emotional attachment to Peggy. Scott's plan fails, however, because Peggy, who seemingly went along with his plan, has a change of heart and alerts the authorities. Both Tod and Scott are eventually rescued by the Coast Guard. Eve, part of the rescue team, echoes the metaphysical connection to the blonde of his undersea nightmare who beckoned Scott in his dreams. In the film's finale, Tod burns all his paintings along with the house he and Peggy lived in. Peggy frantically tries to stop Tod and save the paintings: they are worth a fortune. She fails, as Scott forces her out of the collapsing house. After they have moved safely away, Scott asks Tod why he did it. Tod says the paintings were a symbol of the obsession he had with his previous, sighted life. Now that Tod's obsession with his past has been purged, he is free to go on with his life. He asks Peggy to take him to New York, where they have happy memories of their earlier life together. Afterwards she may "do as she pleases". Peggy embraces Tod. Observing this, Scott leaves them. Wikipedia-