Word: rainbowed
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Their acquisitions in turn have stimulated new interest, in every sense of the word. A first edition of D.H. Lawrence's 1915 The Rainbow bought in 1960 for $25 sold 17 years later for $200. Raymond Chandler's classic whodunit The Big Sleep now brings $2,500, up 150% in five years, and John Irving's early novel Setting Free the Bears, bought twelve years ago for $5.95, is worth...
Says Frank Scioscia, whose Riverrun Books in Hastings, N.Y., is an East Coast clearinghouse for contemporary literature: "The very idea of a modern book being rare is encouraging." His advice to novices: "Start with a first edition of Pynchon's Gravity's Rainbow at $150, and invest intelligently at the remainder table. After all, many of the novels published in the '60s became important emotional furniture to a generation now competitively collecting books. Authors like Kurt Vonnegut, Walker Percy and Joyce Carol Gates now command rare-volume respect...
...There's no arrogance quite like that of a competitor who thinks big money makes him the sole proprietor of creativity, the father of technology and owner of the rainbow." May the crispiest crust...
...spell of Ruisdael's sea pieces, his slim parallelograms of rusty sail leaning on the wind-chopped estuary. Most of all, John Constable was inspired by his sense of nature seen fresh, without evident convention: the patches of scudding sunlight on wheat fields, the broken arc of a rainbow, the painterly delight in filling three-quarters of a canvas with high piling clouds. Time and again, one sees images in Constable that might have been lifted straight from Ruisdael. Hadleigh Castle, 1829, with its tall split tower and ruins behind, virtually repeats the motif of Ruisdael's melancholy...
...homages to the landscape of symbols. The most spectacular paysage moralisé in his work was the motif for two versions of The Jewish Cemetery, circa 1655. This gloomy landscape pullulates with symbols: the broken tree over the dark brook, suggesting a bridge across the Styx; the wan rainbow; the ruins, the air of desolation, transience and decay; and the crystalline, stony geometry of the tombs. Their purity interested Goethe, who would later design an abstract memorial for himself. "Even in their ruined state," he declared, Ruisdael's monuments "point to a past beyond the past; they are tombs...