jorge luís borges (Más de 12.000 resultados)

Sin Encuadernar. Condición: Muy bien. Important set for the study and knowledge of the Argentine Literature of beginning of Century XX. The set Includes, Lettherhead with name and logo or some other design of a publishing company or institution; Argentine Writers' manuscripts, stories, poems; correspondence between writers and editors; book advertising; Etc., mostly from the first half of the 20th century. Approximate 1800 leaves in 16 folders: --- LITERARY MAGAZINES: 6 Folders with letterhead papers from literary magazines of the first half of the 20th century. Among others ADEA; Agrupación Bases; Amigos del Libro; Aquí Boedo; Argentores; Asociación Cultural Ameghino; Asoc. Amigos de Alejandro Korn; Babel; Caras y Caretas; Don Segundo Sombra; Egloga; Ficción; Fray Mocho; Inst. Amigos del Libro Argentino; Laberinto; Laurel; Lyra; Nativa; Nosotros; Among others, NEWSPAPERS : 2 Folders with Letterhead Papers from the 20th Century, most of the first half. Among others : Alerta; El Argentino; La Capital; Clarín; El Día; El Mundo; EL Litoral; El Imparcial; Euzko Deya; La Nación; La Opinión; La Prenda; Tribuna; Vanguardia; Última Hora WRITERS: 4 Folders with Letterhead Papers of Writers from Argentina and America 1900 to 1960 (approx). Among others: Amorin, Anzoátegui, Banchs, Bernárdez, Borges Jorge Luis, Bufano, Carrizo, Alberto Hidalgo, Fermin Estrella Gutierrez, Silva Valdés, Marcios Finguerit, González Arrili, Anderson Imbert, Berdiales, Bioy Casares, Burgos, Capdevila, Cichero, Echague, Escardo, Jose Ingenieros, Larreta, Mastronardi , Ocampo, Rojas, etc . -EDITORIALS: 2 Folders with letterhead papers from Publishers: Among others : Aguilar, America, Atlántida, Estrada, Sol y Luna, Kapelusz, Kraft, Iman, Losada, Sur, Tor, etc . -PRINT AND LIBRARY: Folder with letterhead papers from printing presses and Argentine bookstores of the first half of the 20th century. Among others: Castellvi, Cámara de diputados; Sociedad impresora americana, Colombo, Fabril editora, López, Tragant, Ateneo, Huemul, Joly, la Facultad, Viau, etc. We send a list by request. Dedicatoria autógrafa del autor.

One of 25 copies, but each copy unique, all printed on cream Velin d'Arches paper. Etchings and aquatints by Gabriela Aberastury, this copy one of the publisher's copies. Page size: 13-1/4 inches x 10 inches; 176pp; each page an original print - and many times several different print processes. Bound: loose in original black wrappers with Hebrew letter (Aleph) engraved in silver gilt on front panel and spine, housed in gray cloth over boards clamshell box with original etching on front of box, title printed in black on the spine, box a bit dinged at edges, book fine. Started in 1984 and finished 13 years later under the direction of Samuel Cesar Palui and printed by Ruben R. Lapolla. Samuel Cesar Palui and Ernesto Lowenstein published this book to commemorate the centenary of the birth of Jorge Luis Borges in 1999. The artwork was created by Gabriela Aberastury who editioned all the prints. Rather than illustrate the text story by story, Aberastury chose to explore and reveal the Borgesian universe. She used different techniques: oil, acrylic, lacquer, engraving, gofrado, pencil working with the typographer / printer Ruben Lapolla to create pages that appear to have no beginning and no end - that seem not to have been created but rather revealed. One does not read it as completely enter another realm and experience it with several senses. The text is printed using linotype with gold, silver, copper and black used to create contrasts when the coloring of the paper required it. Truly a masterpiece of book arts, it resembles no other book we've seen.

Encuadernación de tapa blanda. Condición: Nuevo. 1ª Edición. In-fol. menor.- Sin foliar.- Ilustrado por GABRIELA ABERASTURY.- Tirada única de 25 ejemplares.- En rama; estuche de editor ilustrado con un aguafuerte original. Primera edición ilustrada de la obra maestra de Jorge Luis Borges. Cada uno de LOS 25 ÚNICOS EJEMPLARES que componen esta ambiciosa edición difiere del resto en impresión o ilustración, siendo por lo tanto una obra única. Enteramente ilustrada mediante el uso combinado de una multiplicidad de técnicas artísticas que van desde la acuarela al óleo y desde el aguafuerte al gofrado o al acrílico. Comenzado en 1984, este libro de artista, ejemplo notable de fusión entre texto, impresión tipográfica e interpretación plástica, sólo fue concluido en 1997, al cabo de 13 años de ininterrumpido trabajo. La variedad de los procedimientos plásticos empleados, la concordancia absoluta de texto e imagen, las composiciones en eco que asocian fragmentos originalmente separados, elevan el universo narrativo de Borges hacia su más verosímil dimensión visual.

Sin Encuadernar. Condición: Muy bien. 208 x 294 mm. One page. It is the original manuscript that in 1934 Borges sent to Sigfrido Radaelli director of the magazine Megafono, this text was published in #12 April of 1934 page 60. Borges responds to an absurd accusation of the magazine "Crisol" (Argentine publication of the first decades of the twentieth century, of absolute identification with Nazism) where he was denoted that he hid his Jewish ancestry. When the Nazis ascended in Germany, one of their Argentine followers, Enrique Osés, ran the newspaper Crisol in Buenos Aires. The newspaper El Pueblo published The Protocols of the Elders of Zion, and the so-called Civic region frightened the Jews, commanded by Lieutenant General Juan B. Molina-who was nothing less than the secretary of President José Félix Uriburu. The rhetorical violence of Molina prompted the weekly newspaper "Mundo Israelita" to request Argentine intellectuals to be issued. Borges did it on "Mundo Israelita" magazine, Buenos Aires, Year X, #481, August 27, 1932. ".Certain ungrateful Catholics - read people affiliated with the Church of Rome, which is an Israeli sect . - want to introduce into this square a dark doctrine, of confessed German origin . The enunciation of that gloomy rosary is enough for the alarmed Argentine can appreciate the seriousness of the plot . It is about - let's say the obscene word of anti-Semitism once and for all. Those who recommend their use often blame the Jews, all of them, for the crucifixion of Jesus. They forget that their own faith has declared that the cross operated our redemption. They forget that blaming Jews is tantamount to blaming vertebrates, or even mammals. They forget that when Jesus Christ wanted to be a man, he preferred to be a Jew, and that he did not choose to be French or even Buenos Aires, nor to live in the year 1932 after Jesus Christ to subscribe for a year to Le Roseau D'Or. They forget that Jesus, certainly, was not a Jewish convert. The Basilica of Lujan, for Him, would have been as indecipherable as a gas heater or an anti-Semite.". He returned to show off his masterful irony a year and a half later, when the aforementioned Crisol "accused" Borges of "hiding" his supposed Jewish ancestry he responds under the title of "Yo, Judio" (me, jew). I had read this response from Borges to Crisol Magazine a long time ago, but now that I read it, I am aware of Borges' double game. On the one hand, to thank, not without irony, the research carried out by Crisol and, incidentally, to exercise a critique of certain Argentine anti-Semitism. On the other hand, he undid the investigation of Crisol ( and Mr Oses the Director), because of the historical background of the Acevedo that Borges puts on the table, the hope of having a drop of Jewish blood in his veins is presented. And to express it he goes to the literary images of the Jewish culture: the table of the loaves, the Ecclesiastes, etc. Borges, always Borges!! Provenance : The manuscript belonged to Sigfrido Radaelli, director of the Megafono magazine (we also have Radaelli's copy of this rare magazine), which he sold to a private collector in 1978.

Rústica. Condición: Como Nuevo. Gabriela ABERASTURY Ilustrador. Jorge Luis BORGES - El Aleph. Buenos Aires, Ediciones Dos Amigos, 1984-1997. Sin paginar (176 páginas). Ilustraciones originales en variadas técnicas (grabado, aguafuerte, aguatinta, gofrado, dibujo y otras) de Gabriela Aberastury quien intervino todas y cada una de las páginas en forma manual haciendo que cada ejemplar sea diferente el uno del otro. La impresión tipográfica, a cargo de Rubén Lapolla, se realizó adaptándose a las ilustraciones que abarcan cada página y que fueron también diferentes casi en cada uno de los ejemplares. Uno de los únicos 25 ejemplares tirados en papel Arches de 250 gramos firmados por la ilustradora, el impresor y los oferentes en el colofón. Este libro tuvo una tardanza de 13 años en realizarse. Se adjunta la tarjeta de presentación del libro que lleva una obra original de Aberastury y la firma de la ilustradora, el impresor y los oferentes. Edición en rama con estuche (Ver fotos). Edición de bibliofilia - bibliófilo.

4 SS. auf 3 Bll. 8vo. Die Übertragung von Keats' Ballade "La Belle Dame Sans Merci" ins Spanische ist das mit großem Abstand früheste auf internationalen Auktionen oder im Handel der letzten Jahrzehnte nachweisbare Manuskript des argentinischen Schriftstellers. - Papierbedingt etwas gebräunt; mit kleineren Randläsuren und an einer Stelle leicht fingerfleckig, sonst sehr gut erhalten. Sprache: es.

Octavo. More than 50000 pages. Hardcover and Softcover, mostly in original dustjackets or printed wrappers in Mylar. Very good condition. The price for the collection includes worldwide free shipping per UPS Express Saver (3 -4 working days). Sprache: español / english.

Condición: Fine. One of three copies prepared for author, publisher, and Sigifrido Radaelli (named in the contract as arbitrator). 1 page typescript, signed at bottom "J Torrendell" and "Jorge Luis Borges". 1 vols. 4to. Signed Contract for Historia Universal de la Infamia. Signed contract for one of the key books by Jorge Luis Borges, Historia Universal de la Infamia, a collection of short imaginative prose pieces which were his stepping stone to to the remarkable fictions of the late 1930s and 1940s. Publisher Juan Carlos Torrendell (1895-1961) founded editorial Tor in 1916. His father, who had emigrated from Palma de Mallorca to Buenos Aires in 1912, knew Borges from 1921 and had been among the first to review Fervor de Buenos Aires (1923). As noted by N.T. di Giovanni, Historia Universal de la Infamia was published by Tor as the third volume in the "Colección Megáfono" series, in an edition of 250 copies. It was the first book of prose by Borges. A second edition was published by Emecé in 1954 and the book was eventually translated into English as Universal History of Infamy (1972). For published book, see Becco 25; Foster A62.1; Helft, p. 42; see also Norman Thomas di Giovanni, "Borges' Infamy, A Chronology and a Guide" Review 8 (Spring 1973), pp. 6-12 1 page typescript, signed at bottom "J Torrendell" and "Jorge Luis Borges". 1 vols. 4to One of three copies prepared for author, publisher, and Sigifrido Radaelli (named in the contract as arbitrator).

Condición: Fine. Published: Sur 167 (September 1948), pp. 14-19; collected in El Aleph. 5 pages, with a dozen autograph corrections. 1 vols. 4to. Corrected Typescript of 'Emma Zunz'. Excellent late Borges tale of vengeance, almost a Dickensian novel in miniature, marked with corrections in Borges' minute hand, those on the first and last pages being additions of words or phrases. Another typescript of Emma Zunz (with autograph presentation) is preserved at HRC. The story was published in Sur in 1948 and collected the following year in El Aleph (1949); it first appeared in English in the Partisan Review, September 1949, in a translation by E.C. Villicaña, and in book form in Labyrinths. Helft, p. 72; Foster A27.1 (for published text) 5 pages, with a dozen autograph corrections. 1 vols. 4to Published: Sur 167 (September 1948), pp. 14-19; collected in El Aleph.

Rilegato. Condición: ottimo. prima edizione. MARVELLOUS BORGES FINE PRESS FOR THE ENGLISH-SPEAKING WORLD. FIRST EDITION, limited issue of 120 copies (this is no. 10), being the last 20 copies numbered in Roman numerals. Folio (44,5x34,5x4,5cm). [2], 37, [1], [2] pp. for a total of 24 ff. Colophon signed in two different blue inks by the author and the artist. Printed in maroon and black in Horizon Light type on Auvergne wove paper, text in Spanish and English, 8 embossed vignettes by Arnaldo Pomodoro throughout. Bound by Marcello Fornaro in full vellum with three vertical bas-reliefs of gilded bronze inset into upper cover, spine titled in brown, fore- and bottom edges uncut. Publisher's cloth-covered wooden box with an original relief-etched brass plate by Pomodoro nailed to lid. The vellum of this copy's binding has a natural darker grain on left-hand side of the front cover that makes it even more unique. Minor rubs to box; else fine. An elaborate and beautiful artwork. This magnificently illustrated book with eight embossings and two brass reliefs, a copy of which is held by the MOMA, was printed on a hand-press by Richard-Gabriel Rummonds and Renzo Pavanello at the Plain Wrapper Press in Verona in 1974. The introduction and the notes are by Borges; Alastair Reid and Norma Thomas di Giovanni provided the English translation of the poems. Rummonds first met Jorge Luis Borges (1899-1986) in 1968 in New York, where the Argentine poet was invited to read his poems. He agreed to collaborate on a book and proposed some poems that were inspired by themes relating to the Anglo-Saxon culture, which he deemed very suitable for an Englishspeaking audience. These texts were never translated into English before and never published as a unitary corpus. The book was completed with the binding only at the end of 1974, six years after the first meeting between Borges and the publisher, and, by the time, the poet had become completely blind. It was necessary to guide his hand in order to allow him to sign the colophon. Smyth 14; Castiglioni and Corubolo. "Un tipografo fra due culture. Richard-Gabriel Rummonds". Milano, Fondazione Biblioteca di Via Senato - Electa, 1999.

226, [1] pp. 1 vols. 8vo. First edition. First edition. 226, [1] pp. 1 vols. 8vo. Inscribed. First edition of this outstanding collection of literary reflections. Inscribed on the half title by the author, to a distinguished Argentine art critic, "Para Romualdo Brughetti, Jorge Luis Borges" Romualdo Brughetti (1912-2003) was an Argentine art critic and correspondent of Borges, and regular recipient of inscribed copies of Borges' works. In the late 1930s, Brughetti made a study of the Argentine malaise, published as Descontento creador. Afirmación de una conciencia argentina (1943). Becco 69; Foster A101.1; Helft p. 75 Red wrappers. Textblock toned as usual. Bookseller ticket of Fray Mocho, Buenos Aires. Near fine copy.

Couverture rigide. Condición: Très bon. In-8 (23 x 14 cm), demi-toile à la bradel, 83 pp. Edition originale de ce conte policier satirique, paru sous pseudonyme, écrit par Jorge Luis Borges et Adolfo Bioy Casares, mettant en scène certains des personnages figurant dans les "Seis problemas para don Isidro Parodi" que les auteurs publièrent sous le nom de Bustos Domecq en 1942. Tirage limité à 300 exemplaires (le nôtre portant le n°10). Important envoi autographe rédigé par Bioy Casares et signé par Borges et Bioy Casares : "Para Alfonso Reyes, / con la nostalgia de los autores / B. Suarez Lynch". Écrivain mexicain majeur, Alfonso Reyes (1889 - 1959) a mené de front une carrière de poète, essayiste et traducteur et de diplomate. Nommé ambassadeur de 1927 à 1930 à Buenos Aires, il fait la rencontre de la jeune génération d'écrivains argentins par l'intermédiaire de Victoria Ocampo. Parmi ceux-ci figure Jorge Luis Borges (1899 - 1986), qui sera le principal collaborateur de la revue "Sur" alors en gestation que Victoria lancera en 1931. Les deux hommes se voueront toute leur vie durant une profonde estime mutuelle. Jorge Luis Borges considérait Alfonso Reyes comme «le meilleur prosateur espagnol du siècle, et c'est grâce à lui que j'ai appris à être simple et direct dans mon écriture» (Essai d'autobiographie). Alfonso Reyes voyait en Jorge Luis Borges, «l'un des écrivains les plus originaux et les plus profonds d'Amérique Latine». D'une génération plus jeune, Adolfo Bioy Casares (1914 - 1999) se lia d'amitié avec Borges à la même époque. C'est vers 1934 - 1936, qu'à l'occasion de la rédaction d'une brochure commerciale entreprise dans une estancia à Prado que les deux écrivains élaborèrent un conte policier mettant en scène le "Docteur Praetorius, un Allemand grand et doux, qui par les moyens de l'hédonisme (jeux obligatoires, musique à toute heure) torturait et tuait des enfants. Ce sujet, jamais écrit, est le point de départ de toute l'oeuvre de Bustos Domecq et Suarez Lynch" Alfonso Reyes dira que c'est avec ces contes écrits en commun que le roman policier fit son entrée définitive en Amérique du Sud. Jorge Luis Borges rédigera un long poème nécrologique en hommage à Alfonso Reyes, publié dans La Nación (3e section, Buenos Aires, 21 avril 1960) et repris ensuite dans Sies composiciones et sous son titre définitif, In Memorian A. R., dans L'Auteur. Exemplaire d'une importance capitale. Réf. bibliographiques : Jorge Luis Borges, Cahier de l'Herne, 1964. Livre d'occasion.

Encuadernación de tapa blanda. Condición: Muy bien. 1ª Edición. In-8º.- 139 (5) pp.- Rústica original.- Dedicatoria manuscrita del autor, estrictamente contemporánea « A Raúl Scalabrini Ortiz, con la plena amistad de su compañero Jorge Luis Borges ».- Ligeras huellas marginales de herrumbre.- Primera edición.- Destacado ejemplar asociado. 12.000 En el mismo año de la fundación de F.O.R.J.A, un Borges exaltador del criollismo y de Hipólito Yrigoyen dedica este ejemplar a uno de los fundadores de aquél movimiento que, como él mismo entonces, aspiraba a comprender y exaltar las raíces de una identidad nacional. El énfasis y el vocabulario anticipatorio demuestran una afinidad con el autor de El hombre que está solo y espera , que no perduraría a la luz de los avatares políticos e ideológicos ulteriores. Dedicatoria autógrafa del autor.

Condición: Fine. Published: Sur 257 (March 1959); collected in El Hacedor, 1960. [3] pages on ruled notebook paper. 4to. Manuscript of this excellent late prose poem inspired by Coleridge and Borges' interest in myth and culture. Ragnarök recounts a dream of the return of the gods to the School of Philosophy and Literature. It was first published in Sur and collected the following year in El Hacedor (1960); with English translations published in Labyrinths and Dreamtigers (1964). By the time of its composition, Borges was completely blind and his mother Leonor Acevedo de Borges (1876-1975) regularly acted as his amanuensis. This manuscript is in her hand (other manuscripts in her hand are recorded at HRC and UVa). "Leonor Acevedo's handwriting is a quick yet legible and sometimes even elegant script" (Celeste Martin, The Shapes of Borges's Writing, 2018). There are a couple of corrections in the scribe's hand (words struck through and other substituted). A choice Borges composition in the hand of his mother. Helft, p. 81; Foster A57.1. For a census of Borges manuscripts, see also Appendix 1: Manuscripts consulted, in Daniel Balderston.How Borges Wrote.Univ.of Virginia Press, 2018, [3] pages on ruled notebook paper. 4to Published: Sur 257 (March 1959); collected in El Hacedor, 1960.

Paperback. Condición: Very Good.

Soft cover. Condición: Very Good. 2nd Edition. Second edition, expanded, of Borges's third great collection of ficciones. Contains four stories which are not included in the first edition: "Los dos reyes y los dos laberintos"," La espera", "El hombre en el umbral", "Abenjacan el Bojari, muetro en su laberinto". An excellent association copy, inscribed by Borges to his brother-in-law, the author Guillermo de Torre: "A Guillermo de Torre, cordialmente. Jorge Luis Borges?La Plata, Agosto 1952.? A very good copy in publisher's illustrated self-wrappers (protected with glassine sleeve), the spine wrinkled but restored in a not-unappealing manner; the pages are securely sewn and otherwise unmarked. Signed and Inscribed By Author.

181, [1] pp. 1 vols. 8vo. First edition. First edition. 181, [1] pp. 1 vols. 8vo. Borges' Poetry, Inscribed. Inscribed on the half title, "Para Brughetti, cordialmente, Jorge Luis Borges" Romualdo Brughetti (1912-2003) was an Argentine art critic and correspondent of Borges, and regular recipient of inscribed copies of Borges' works. In the late 1930s, Brughetti made a study of the Argentine malaise, published as Descontento creador. Afirmación de una conciencia argentina (1943). Becco 9; Foster A2.1; Helft, p. 64 Printed wrappers. Spine soiled, some toning to wrappers. Very good plus.

164 pp. 1 vols. 8vo. First edition. First edition. 164 pp. 1 vols. 8vo. Inscribed by Borges. "A Romualdo con la amistad de Jorge Luis Borges" Inscribed on the half title to Romualdo Brughetti (1912-2003), an Argentine art critic and early correspondent of Borges, and regular recipient of inscribed copies of Borges' works. In the late 1930s, Brughetti made a study of the Argentine malaise, published as Descontento creador. Afirmación de una conciencia argentina (1943). A notable collaboration between the two lifelong literary friends Borges and Bioy Casares, with a nice inscription. Becco 99; Foster A113.1; Helft p. 63 Blue wrappers. Textblock toned. Near fine copy (some toning to spine).

Produced in a very small number of copies for those in attendance. Original photograph, mounted on card. Docketed on verso in another, later, hand, likely Borges' mother's, "Golf Club, Comida a Güiraldes". 1 vols. 7-1/2 x 9 inches, card mount 10 x 13 inches. And Everyone Was There: Banquet for Güiraldes, signed by Borges. Group portrait from the luncheon banquet for Ricardo Güiraldes (1886-1927), fellow collaborator with Jorge Luis Borges on the short lived but influential literary journals Martín Fierro and Proa, and author of the novel Don Segundo Sombra, set among the gauchos and notably using vernacular language, which was published in 1926 to immediate and universal acclaim. Güiraldes is seated in at the center of the front row. Standing behind him, slightly to his left, is Borges, accompanied by Norah Lange, and the towering figure of the artist Xul Solar (6'6" in height) appears behind them. Also present are Alejandro Korn and Manuel Gálvez, Leopoldo Marechal, Oliverio Girondo, and Eduardo Mallea, who later described this dinner as "one of the last important gatherings where a large group of true creative artists respectfully joined in to honor one of their number." Borges proposed marriage to his muse Nora Lange in March 1927 but she turned him down; she subsequently married Oliverio Girondo in 1943; they first met at this luncheon. The photograph is signed by Borges in his minuscule but entirely legible hand. A year later, Güiraldes was dead from cancer. Borges wrote a tribute for Sintesis (unpublished), beginning: "Ricardo Güiraldes, a man of saintly intelligence and saintly kindness, had a deep understanding of the world and expressed it in lucid, timeless pages ." and, long after, a poem in his memory, published in 1968. Reproduced in: Album Jorge Luis Borges, ed. J.-P. Bernès (Gallimard, 1999), no. 102 (noting that the photograph was published in Martin Fierro). Provenance: Donald A. Yates; Gary Oleson Fine. Some minor flaws to edges of mount Original photograph, mounted on card. Docketed on verso in another, later, hand, likely Borges' mother's, "Golf Club, Comida a Güiraldes". 1 vols. 7-1/2 x 9 inches, card mount 10 x 13 inches Produced in a very small number of copies for those in attendance.

Encuadernación de tapa blanda. Condición: Bien. Encuadernación en rústica del editor. Buen estado. Ej. Nº 163 de una edición de 500 ej. Buen ejemplar con amplios márgenes. Pequeñas manchas amarillas en su interior en primeras y últimas páginas que no afectan el texto. Lomo un poco oscurecido. 14x19.

Encuadernación de tapa blanda. Condición: Bien. Editorial Proa. Buenos Aires 1925. Rústica (inusual estado). Ejemplar sin abrir. Manchitas de acidez.

Copy no. 21, one of 40 copies, all on velin d'Arches paper from a total issue of 42: 40 on velin d'Arches and 2 on Japan paper, all signed on the colophon by publisher, Samuel Cesar Palui. Page size: 13-1/16 x 10 inches; [i] [1-10] 11-175 [176-180] pp. Bound: loose in original grey wrappers, author's name engraved in dark blue, title in light green, dark green, and gray large wood-type letters; housed in buff paper and grey cloth box with blue cloth onlay on front of box, title printed in black on front cover and on spine. Illustrated with 18 full-page engravings as follows: 3 by Gabriela Aberstury, 3 by Julio Pagano, 3 by Mirta Ripoll, 8 by Alicia Scavino, and a portrait of the artist by Raul Russo. Hand set in 14pt. Bodoni by Ruben Raul Lapolla and printed under the supervision of Samuel Cesar Palui in three colors. The text is in black, page numbers in red, and highlights and title page in blue and black. The book was started in 1984 and was not published until 1987. This elaborate edition is one of the most beautiful of the press and, in my opinion, the most beautiful edition of Borges' great collection of short stories. The images so capture the author's imagination, particularly the engravings for "El Acercamiento a Almotasim" and "Las Ruinas Circulares.".

99, [2] pp. 1 vols. 8vo. First edition. First edition. 99, [2] pp. 1 vols. 8vo. Inscribed. Inscribed to art critic Romualdo Brughetti, whose association with Borges dated back to the 1930s: "Al Profesor Brughetti con la amistad de Jorge Luis Borges" Romualdo Brughetti (1912-2003) was an Argentine art critic and correspondent of Borges, and regular recipient of inscribed copies of Borges' works. In the late 1930s, Brughetti made a study of the Argentine malaise, published as Descontento creador. Afirmación de una conciencia argentina (1943). Becco 105; Foster A75.1; Helft, p. 77 Printed orange wrappers. A few marginal annotations and marks throughout. Fine copy, inscribed by the author on the first blank.

Encuadernación de tapa blanda. Condición: Muy bien. 1ª Edición. In-8º. 146 (5)pp. Wrappers. Inscribed, dated and signed by the author. "A Ezequiel Martinez Estrada, con la admiracion de su amigo. Buenos Aires 1950 Jorge Luis Borges". Martinez estrada like almost all the components of the intellectual elite, he maintained a closed anti-Peronism between 1945 and 1955, but after that date he reacted with dignity to the first persecutory measures of the so-called Liberation Revolution, and began to collaborate with magazines and publications on the left, especially With Propositos", Leonidas Barletta's weekly newspaper, Jorge Luis Borges, came up with this kind of statements, and since then a hard controversy and other differences have been set up that separated them forever. (Despite this, after his death, Borges could not ignore the quality of writing and intelligence of Martinez Estrada, and commented his book of poems with these lines, although not very generous, fairly fair: "This volume is inconceivable without the previous work of Lugones and Darío, but there are many pieces that match or surpass their models, at this moment I remember the poems dedicated to Whitman, Emerson and Poe "). Since the friendship between them was diluted in 1956 it is difficult to find dedicated books from Borges to Martinez estrada. The Aleph is the second narrative summit of Borges and, together with Ficciones, one of his paradigmatic books. The mere enumeration of the stories that compose it headed by the El Aleph that gives title to the compilation would account for the endless richness of its writing and the inexhaustible conceptual spring that individualize it in the literature of the century. The fantastic universe, the mathematical and metaphysical mysteries, the intrigues, but also the historical and poetic sensitivity, produce here enduring metaphors, definitely incorporated into the collective unconscious. HELFT,72. W5. Dedicatoria autógrafa del autor.

Soft cover. Condición: Very Good. 1st Edition. First edition of this collection of essays written over a number of years. A near fine copy in publisher's printed self-wrappers. This copy inscribed by Borges to his brother-in law, the poet Guillermo de Torres, "Para Guillermo, esta correlacion nada importante, cordialmente, Jorge Luis Borges." The ownership stamp and signature of Miguel de Torre Borges appear on the half-title. Signed and Inscribed By Author.

Encuadernación de tapa dura. Condición: Muy bien. In-4º. #1 Jan 1946 - #23 Dic 1948. (Complete set). 23 issues bound in two volumes full blue cloth. Collaborators : Ramón Gómez De La Serna, Ricardo Molinari, Alejandro Casona, Enrique Amorin, Antonio Berni, Vicente Barbieri, Silvina Ocampo, Enrique Molina, Jules Supervielle, J.R Wilcock, William Shand, Franz Kafka, Pablo Neruda, Julio Cortázar, Adolfo Bioy Casares, Guillermo De Torre, Rafael Alberti, Juan Ramón Jiménez, Raul Gongáles Tuñón, Manuel Mujica Lainez, Hector Basualdua, Eduardo Gonzáles Lanuza Illustrations by Norah Borges, María Elizabeth Wrede, Antonio Berni, Elba Fábregas, Luis Laguna Hermitte, Gloria Alcorta, Oliverio Girondo, Caribé, Julia Peyrou, Orlando Pierri, Xul Solar, Amanda Molina y Vedia, Andreu Dameron, Esther Haedo, Juan Otano, Mariette Lydis, Luisa Herrera, Castagnino, Raúl Soldi, Horacio Butler, Atilio del Soldato, Silvina Ocampo, Horacio March, Among others. Los Anales de Buenos Aires was a monthly magazine published by the cultural institution of the same name, whose direction was directed by Jorge Luis Borges. It emerged as the dissemination organ of an artistic society that set out to promote links with French culture that took as a model the Journal de L'Université des Annales de Paris. 19 issues were published between January 1946 and the beginning of 1948, numbered between 1 and 23. Borges's name as director appeared between #3 and #11, from the end of 1946. Starting with #12, Borges became "adviser". The curious thing is that in the last issue published, the only one from 1948, he appears again as director . In the third issue, the Museum section reappears, inaugurated in the magazine Destiempo (1936-1937), where texts written in collaboration with Bioy Casares, signed with the pseudonym B. Lynch Davis, are included. The section stops appearing after #11. The only magazine directed by Jorge Luis Borges. Borges published in this magazine some of his most famous stories ("The Immortals", "The Theologians", "The House of Asterion" and "The Zahir") and essays ("Note on Ulysses in Spanish", "The Paradox of Apollinaire , The First Wells , On Oscar Wilde , Note on Walt Whitman and Note on Chesterton ). Furthermore, of the 106 fragments of Museums , he reissues 7 of his segments, originally attributed to apocryphal sources. Added to this is the relevance of the list of collaborators, both foreign and national, as well as the inclusion of translations, many of his own, which account for the selection operations in the constitution of the aesthetics of this discursive formation. One of the distinctive marks of this publication is the quality of the illustrations, from the cover design, by renowned artists, to the care and harmony with the internal illustrations, which not only distinguish sections, but constitute something more than an accompaniment to the text, invoking its own laws, its space, its autonomy. In this sense, the works of the famous Austrians Marie Elisabeth Wrede and Mariette Lydis stand out, along with Antonio Berni, Castagnino, Norah Borges, Luisa Herrera, Raúl Soldi, Orlando Pierry, José Bonomi, Xul Solar, among other renowned artists. Provenance: This copy belonged to the Uruguayan professor Hector Rico, a stamp with his initials on the cover. Provenzano 213. Washington Pereyra T4,p170. CodBos.

Hardcover. Condición: Fair. 1st Edition. Mezza pelle; oblongo, 22x31cm. 4 fascicoli, 6 numeri della seconda serie della famosa rivista futurista, diretta da Mario Dessy. Con testi inediti di James Joyce (A memory of the Players in a mirror at midnight); Marinetti (Grand Hôtel Poire et singes dans le noir; Vulcani di Poesia; Il Cracracracranio della notte e traduzioni); Jean Cocteau (Rebus; Journal des Voyages; D'Annunzio (La Maestria); Pierre Reverdy; Valentine de Saint-Point (Etre) e un sorprendente inedito del giovanissimo Jorge Luis Borges (Russia) en el artículo "El movimiento ultraista en España", e molti altri autori. Testi in italiano, francese, inglese, neerlandese e spagnolo. La rivista afferma che pubblica solo testi inedite, mas il poema di Ezra Pound, The Study in Aesthetics, non era inedito. Dorso con mancanza alla base; mancano le copertine dei fascicoli, con le informazioni editoriali; ogni fascicolo comincia dalla pagina 1, manca solo la coperta; in uno dei fascicoli, una iscrizione dell'ex proprietario, con data, dicendo che ha ricevuto la rivista dallo stesso Marinetti. Con illustrazioni a colori o in nero di Giacomo Balla, Emilio Notte, Arnaldo Ginna, Fortunato Depero. Rarissimo.

Hardcover. Condición: Very Good. 1st Edition. Sm.8° - 108pp - B/w reproductions. El Compadrito, its destiny, its neighborhoods, its music - with dedication by Jorge Luis Borges (1899-1986) Argentine short-story writer, essayist, poet and translator regarded as a key figure in Spanish-language and international literature. First edition, text in Spanish language, inscribed by J.L.Borges. Original bards. In very good condition. Inscribed by Author(s).

Ilustrated. 1 vols. 12mo. Abridged edition. The Thinker's Library, No. 26. Ilustrated. 1 vols. 12mo. Signed by Borges, from His Library. Account of a visit to the Torres Straits in 1898, originally published by Methuen in 1901, here in a popular edition and with the ownership signature of Argentinian author Jorge Luis Borges, who had an unsurpassed curiosity for recondite subjects which often figure in his essays and tales. Brown cloth. Stamp of Perkin & Cia, Buenos Aires, at foot of title. Near fine copy. Signed at the back, Jorge Luis Borges, julio, 1934 Abridged edition. The Thinker's Library, No. 26.

1 vols. 8vo. First edition. First edition. 1 vols. 8vo. Signed by Borges, from His Library. Borges was an attentive and discriminating reader of detective fiction, and in April 1952 lectured on "The detective novel from the origins to the present day" at the Asociación Argentina de Cultura Inglesa. Red cloth, spine titled in black. Very good plus copy in worn dust jacket (faded, flapfolds split, old cello repairs to verso). Ticket of Mitchell's English Book Store, Buenos Aires. Signed at the back, Jorge Luis Borges, Adrogué 1950. With another family signature at front.