Sotheby’s, 28 Oct: Scève, Maurice. Microcosme. Lyon, Jean de Tournes, 1562. Maroquin vert de Lortic fils. Rarissime édition originale.
Sotheby’s, 28 Oct: Whitman, Walt. Leaves of Grass. Brooklyn, 1855. Édition originale, imprimée par Whitman lui-même et reliée sur ses instructions. Avec un exemplaire de "Calamus", Boston, 1897
Sotheby’s Bibliothèque de Pierre Bergé : le dernier chapiter 28 October 2024
Sotheby’s, 28 Oct: García Lorca, Federico. Poema del cante jondo. Madrid, 1931. Édition originale. Exemplaire offert par Lorca au journaliste basque Pedro Mourlane Michelena
Sotheby’s, 28 Oct: Ronsard, Pierre de. Les Amours. 1553. [Suivi de:] Continuation des amours. 1557. In-8. Vélin. Troisième édition des Amours et deuxième édition de la Continuation
Sotheby’s, 28 Oct: Vivaldi, Antonio. L’Estro Armonico... Amsterdam [1712]. Édition originale. Rares partitions de 12 concertos, gravées sur cuivre
Swann, Oct. 24: Lot 31: William Shakespeare, Second Folio, 1632. $120,000 to $180,000.
Swann, Oct. 24: Lot 175: Agostino Nifo’s De Regnandi Peritia ad Carolum VI, 1523. $25,000 to $35,000.
Swann, Oct. 24: Lot 263: Johannes Hevelius, Selenographia: Sive, 1647. $15,000 to $20,000.
Swann, Oct. 24: Lot 32: William Shakespeare, Poems, 1640. $15,000 to $20,000.
Swann, Oct. 24: Lot 230: Ernest Hemingway, in our time, Limited First Edition; One of 170 Copies Printed, Paris: Three Mountains Press, 1924. $20,000 to $30,000.
Swann, Oct. 24: Lot 43: Amadis de Gaule Story Cycle, Various Authors, El Octavo Libro and El Noveno Libro, 1526 and 1542. $8,000 to $12,000.
Swann, Oct. 24: Lot 25: John Milton, Poems of Mr. John Milton, 1645. $7,000 to $9,000.
Swann, Oct. 24: Lot 259: William Griffith Wilson, Alcoholics Anonymous: The Story of How More than One Hundred Men Have Recovered, 1939. $15,000 to $20,000.
Swann, Oct. 24: Lot 242: Harper Lee, To Kill a Mockingbird, 1960. $10,000 to $15,000.
Swann, Oct. 24: Lot 69: Miguel de Cervantes, Don Quixote in Spanish, Ibarra's Academy Edition, 1780. $6,000 to $8,000.
Swann, Oct. 24: Lot 9: Elizabeth I, Queen of England, The Historie of Guicciardin, 1599. $6,000 to $9,000.
Swann, Oct. 24: Lor 103: Francisco Lopez de Ubeda, Libro de Entrentenimiento de la Picara Justina, 1605. $6,000 to $8,000.
Freeman’s | Hindman, Oct. 24: A Superb Extra-illustrated Copy of Nicolay and Hay’s Work About Lincoln. $50,000 – 70,000.
Freeman’s | Hindman, Oct. 24: The First Volume of De Bry's Great Voyages, Thomas Hariot's Description of Virginia. $50,000 – 70,000.
Freeman’s | Hindman, Oct. 24: An autographed cabinet card of Custer as lieutenant colonel. From his last sitting. $800 – 1,200.
Freeman’s | Hindman, Oct. 24: The Congressional Committee, Lincoln's Funeral Springfield Illinois, 3 May 1865. $4,000 – 6,000.
Freeman’s | Hindman, Oct. 25: A remarkable ninth plate daguerreotype of an interracial couple. $30,000 – 50,000.
Freeman’s | Hindman, Oct. 25: What may be the earliest known images of an identified plantation and enslaved African Americans posed with their owner. $20,000 – 30,000.
Freeman’s | Hindman, Oct. 25: Through Tickets to All Principal Points West Via Chicago Burlington and Quincy Railroad For Sale at This Office. $500 – 700.
Freeman’s | Hindman, Oct. 25: 15th New York Infantry / Regiment of Engineers GAR regimental colors. Ca 1880. $1,500 – 2,500.
Daisy Aldan: An Appreciation of the Poet as Teacher
- by Renee Roberts
Daisy Aldan, courtesy of www.blueskypress.com
By Renée Magriel Roberts
The profession of “poet” has always been an economically marginal, readily forgotten occupation. So few poets achieve recognition in the canon of literature, while the vast majority labor for little or no economic reward. Ordinarily we encounter poets in books, with no experience of the person in real life.
From 1960 to 1964, in what I have always viewed as an almost mystical time in my life, I was fortunate enough to attend the High School of Art & Design, one of New York City’s special high schools. This period (mid 60’s) was kind of a time warp, where art education was actually funded and supported. The new principal, John B. Kenny, who was a gifted artist in his own right, hired real artists and writers to work at the school — as opposed to art education majors, or folks who had studied art theory. Sculptors from Steuben Glass taught me ceramics; Tom Wesselmann, the Pop artist, was my illustration teacher. And Daisy Aldan, a gifted poet and editor, was hired to teach English, specifically poetry, and to manage the literary magazine. The idea of the “artist-in-residence” was integrated throughout the school structure, as opposed to being like an alien from another planet surrounded by traditional classroom goings-on.
What this meant, for us students, was that we were literally surrounded by excited, working artists. It was a school that nobody ever wanted to leave, overflowing with incredible work, music, literature, an excitement that also translated into the “core” subject areas. It was a very happy school.
Having Miss Aldan as a teacher, was like having a combination of the European continent and the Greenwich Village literary scene brought into the classroom. We were fascinated, but largely unaware of the importance of the writing and the people to whom we were introduced. For example, one day she brought Anaïs Nin to our class to talk about Cities of the Interior. We were constantly exposed to the work of European and American poets, especially those of the Beat Generation whom Miss Aldan knew well, for she was not only a poet and a teacher, but also the editor of a publication called “Folders”, which included original and reproduction art works and poetry. By combining translation work (she was a gifted translator of Mallarmé, Anaïs Nin, Rudolf Steiner, and Arthur Steffen), writing, teaching, and editing and promoting the work of others, Miss Aldan created a viable living for herself, and also afforded herself the luxury of not only writing luminous poetry, but of having the time to encourage others to write as well. Our classes were filled with music, experimental writing, and rich mythological studies.