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Descripción: Venezia Matteo di Codecha du Parma 29 November, 1493, 1493. RARE ILLUSTRATED EDITION OF THE COMMEDIA PRINTED IN VENICE, ONLY THE THIRD EDITION OF THE DANTE WITH THESE ILLUSTRATIONS AND ICONOGRAPHY which were previously printed in two editions of 1491. This is the most uncommon of the primary printings, 1491, 1493 and 1497. Illustrated with 4 splendid full-page pictorial engravings (one repeated) and with 97 engraved pictorial vignettes throughout the body of the text. Folio (305 by 210 mm), in fine 17th century full calf, richly blind tooled on the boards in geometric pattern. ff. 309. (10), I-CCXCIX, (1), quire X with seven leaves as is normal (the text is complete), pp. A very handsome and pleasing copy, tall and wonderfully preserved, a few leaves with wormholes neatly restored. THE VERY RARE 1493 VENETIAN ILLUSTRATED EDITION AND THE SCARCEST TO USE THESE PLATES AND ENGRAVINGS. The highly important commentary throughout of Christoforo Landino who was a member of the literary circle which surrounded Lorenzo de' Medici is of great importance. This commentary continues to be reprinted and affixed to editions of THE DIVINE COMEDY even up to the present day. "Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it is a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes." PMM These very early printings of the COMMEDIA are rare and precious. Such rare Venetian printings as this of 1493 were printed in a very small numbers and are seldom encountered. Nº de ref. de la librería 25181

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Descripción: In Venezia Antonio Zatta 1757-1758, 1758. 5 volumes. (4 volumes bound in 5 as preferred). First Edition and first edition of the complete works. Magnificently and profusely illustrated in each volume with very fine full page copperplate engravings and exquisite decorations throughout, including a great profusion of finely executed large engraved head and tail -pieces. (See collation below). Also with engraved titles to each volume, the first of which is printed in red and black. 4to, splendid and proper original bindings of Italian polished calf over marbled boards, the spines with raised bands bordered in gilt, central gilt ornamental devices within the compartments. Lettered in gilt on tan morocco lettering labels. Vol.I: half-title, frontispiece engraving, engraved title, portrait engraving of Elisabetta Petrowna, noble statement dedicatory, engraved portrait of Dante , 12 pp unnumbered, engraved portraits leaf, engraved scene with Dante, I -XLVIII; I - CCCCVIII (including Catalogo De’ Signori Associati) numbered, 35 very fine copperplate engravings, as called for. Vol.II: CCCCXIII numbered pages comprising the half-title, the engraved title-page, 33 other very fine copperplate engraving + Catalogo. . Vol.III: CCCCLII - (2 ff.) -103 pages numbered, (1), engraved title-page and 33 very fine copperplate engravings. Vol.IV: engraved title-page, half-title, XII - (1) - 408 numbered pages, 4 engraved plates. Vol.V: Engraved title-page, (1) - 264; (I) - LXXXIV - (1)pages numbered, + 3 engraved illustrated plates and an engraved folding plan. Collated complete textually and with the 114 plates. A fine and fresh set in an very pleasing state of preservation, the calf bindings attractive and in excellent original state, only light evidence of age, the text-blocks crisp, clean and unpressed, the engraved plates all in fine condition, bright and clean and with strong impressions. RARE AND IMPORTANT. THE FIRST EDITION OF THE COMPLETE WORKS OF DANTE AND THE GREATEST ILLUSTRATED DANTE EVER CONCEIVED. Zatta’s Dante, a supreme production of the press and one of the great Italian illustrated books of the 18th century, also represents the first complete offering of Dante’s work. It is considered the most perfect and complete of Dante ever printed. And generally speaking, it is considered the most beautiful edition of Dante ever produced. Most copies were bound in period vellum and have suffered significantly. This copy, bound in rare period calf over boards has survived in a fine state of preservation. "Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes." PMM. Nº de ref. de la librería 23600

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Descripción: Couverture rigide. Estado de conservación: Très bon. Paris : Les heures claires, s.d. (1959-1963). 12 volumes in-4 en feuilles ( 6 pour le texte et 6 pour les suites), sous couvertures imprimées et rempliées. Chemises et étuis décorés de l’éditeur. Illustré de 100 compositions originales en couleurs à pleine page de Salvador DALI, ayant nécessité la gravure de 3500 bois. Tiré à 4765 ex. numérotés. 1 des 150 ( 2ème papier) sur vélin pur chiffon de Rives, auquel il a été ajouté une suite en couleurs et une suite du traité sur cuivre de toutes les illustrations, et une décomposition des couleurs d’une illustration (dans chaque volume, 6 en tout donc). TRES BEL EXEMPLAIRE, en 12 volumes. Nº de ref. de la librería 00301

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Descripción: Venice Giovambattista Marchio Sessa, & fratelli 1564, 1564. First of the Edition, First Sansovino edition, First edition with a portrait of Dante. With a fine woodcut title page and 96 woodcut illustrations, including three full-page, 77 large cuts in the text. Of the cuts, there are 37 for the Inferno, 24 for Purgatorio, and 27 for Paradiso, and numerous head- and tailpieces. Printer's woodcut device on the final leaf. Folio, very fine and handsome antique Italian calf, the spine with raised bands ruled in gilt, there is a single red/brown morocco label gilt lettered and ruled. [28 ff.), 163, [4 ff.], 164-393. A very handsome and very well preserved copy in a very pleasing state of preservation. Rare in full antique calf. RARE FIRST EDITION OF THIS HISTORIC PRINTING OF ONE OF THE GREAT BOOKS IN THE MIND OF MAN. This is the first edition of Dante edited by Francisco Sansovino, incorporating two commentaries: that of Christoforo Landino, which first appeared in the Florentine edition of 1481, and the noteworthy commentary of Alessandro Velutello, first published at Venice in 1544. The volume includes extensive introductory matter by all three commentators, and a running commentary that virtually overwhelms the poem itself. The woodcuts in this edition are taken from those in Velutello's edition of 1544 and represent a departure, both iconographically and stylistically, from those in the Brescia, 1487 edition--they appear more accomplished and more confident in execution. Francesco Sansovino recovered Vellutello’s commentary, never printed in Italy again until this time (except for a Lyonese reprint of 1551). This edition, printed here first in 1564, is very important because it is richly illustrated with many woodcuts taken from the edition of 1544 printed by Marcolini. The portrait of Dante on the title-page, inspired in Vasari’s tradition, is quite famous and this edition is commonly known as ‘of the big nose’. The portrait most likely comes from two paintings by Vasari, now at the Oriel College of Oxford and at the Museum of Fine Arts in Cleveland. Nº de ref. de la librería 25175

5.

OPER?E DEL? DIVINO | POETA DANTHE CON SVOI COMENTI |

DANTE ALIGHIERI
(Lisboa, LX, Portugal)
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Descripción: RECORRECTI ET CON OGNE DI- | LIGENTIA NOVAMENTE | IN LITTERA CVRSIVA | IMPRESSE. | In Bibliotheca [Vinheta com S. Bernardo] S. Bernardini. | [Colofón]: Impressa in Venetia per Mister Bernardino stagnino da Trino di Monferra. Del M.CCCCC.XX. [1520] A di. XXVIII. Marzo. In 4.º de 19,5x14 cm. Com [xii], 440 fólios. Encadernação do século xviii em pergaminho rígido. Ilustrado com uma gravura de página inteira no fólio a1 e dezenas de gravuras no texto. Folha de rosto com o titulo impresso a vermelho com cercadura tipográfica gravada, tendo ao centro um retrato de corpo inteiro de S. Bernardo. Marca do impressor na frente do último fólio. Exemplar um pouco aparado à cabeça e cortes carminados. Importante edição quinhentista com os comentários de Cristovão Landino impressos em caracteres cursivos à margen do texto dos versos de Dante. Obra muito rara e valiosa, que constitui uma reprodução da primeira edição de 1512, que pela primeira vez aparece com o título do divino poeta Dante. Nos primeiros 12 cadernos contém o 'Comentário do florentino Cristoforo Landino à Comédia de Dante Alighieri, poeta florentino.' Além da Divina Comédia inclui, no final do volume, o Credo, o Pai Nosso e a Ave Maria. 'Edição rara com a folha de rosto com o título impresso a vermelho, estampada com elegantes caracteres. O Comentário é impresso ao redor do poema em caracteres cursivos de menor menor dimensão. A primeira gravura é de página inteira, representando Dante na Selva. O impressor Bernardino Tinker (1483 - 1538), pertencente à família de Ferrari Giolito do Trino, nunca assinou com o nome de família, mas utilizou Stagnino como apelido. Por volta de 1483 mudou-se para Veneza e praticou a arte da impressão em nome de San Bernardino. Brunet II 501 'Edition assez recherchez'; Sander 2320; Mambelli 23; Harward Coll I 144; Prince D'Essling pag. 13 n.º 536 Binding: 18th Century hard parchment. Illustrated with a picture full-page (in folio a1) and dozens of engravings in the text. Title page printed in 2 colors, having at the center a portrait of S. Bernardo. Printer?s device in the last folio. Copy slightly trimmed, and paper cuts carmine at edges. Important 16th edition and rare edition with title page printed in 2 colors and elegant embossed characters. Contains the comments of Christopher Landino printed with cursive characters in marginalia. Very rare and valuable work, which is a reproduction of the previous first edition of 1512, and the first one to appear with the title ?divine poet Dante? Besides the Divine Comedy, includes at the end of the volume, the Creed, the Our Father and the Ave Maria. The printer Bernardino Tinker (1483 - 1538), belonging to the family of de Ferrari Giolito do Trino, never signed with the family name, but used Stagnino as a nickname. Around 1483 he moved to Venice as a printer working under the title of San Bernardino. Location/localizacao: raros. Nº de ref. de la librería 1306JC009

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Descripción: Couverture rigide. Estado de conservación: Très bon. Estado de la sobrecubierta: Très bon. Edition originale. Paris , Editions Les Heures Claires 1959 à 1963. Tirage limité et numéroté SUR FORT VELIN PUR CHIFFON DE RIVES ( Série complète des 12 Volumes ( 6 volumes de texte Enfer - Paradis - Purgatoire + 6 volumes des suites :). -- Avec 100 compositions pleine page de Salvador Dali - Format grand in-4° - Couvertures rempliées sous chemises et étuis dorés. --- pagination : 184(2ff) - 190 ( 4ff ) - 184(2ff) - 206(4ff) - 190(2ff) - 194(4ff) - + 100 et 362 planches ( décomposition des bois ). Nº de ref. de la librería fav-13-aa

7.

LA DIVINE COMEDIE. Enfer. Purgatoire. Paradis. (12 vol. )

DANTE ALIGHIERI / DALI
Librería: Emmanuelle Morin
(Marseille, France)
Cantidad: 1
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Descripción: Paris, Les Heures Claires, 1964. Grds in4. 184, 190, 184, 206, 190, 194pp. Bon Etat.  12 Vol. sous chemises rempliées, illustrées, étuis, emboîtages décorés. Tir. lim. 483/4765 sur fort vélin pur chiffon de rives. Ouvrages illustrés par Salvador Dali de 100 compositions à pleine page gravées sur bois et tirées en couleurs par M. Jacquet. Notre exemplaire, un des 350 exemplaires de luxe contenant une suite en couleurs des 6 vol. d'illustrations (un pour chaque vol. de texte) soit 362 états supplémentaires. Bien complet des 2 compositions signées de Dali dans la planche. L'Enfer I: 17 illustrations; L'Enfer II: 17 illustrations; Purgatoire I: 16 illustrations; Purgatoire II: 17 illustrations; Le Paradis I: 16 illustrations; Le Paradis II: 17 illustrations. + 6 volumes de suites:L'Enfer I: 17 pl. + 51 pl. (décomposition des bois); L'Enfer II: 17 pl. + 61 pl. (décomposition des bois); Le Purgatoire I: 16 pl. + 49 pl. (décomposition des bois); Le Purgatoire II: 17 pl. + 65 pl. (décomposition des bois); Le Paradis I: 16 pl. + 65 pl. (décomposition des bois); Le Paradis II: 17 pl. + 71 pl. (décomposition des bois). L'Ensemble de ces volumes est en parfaite condition. Nº de ref. de la librería 5735

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Descripción: (Impressa in Venetia, per Miser Bernardino Stagnino da Trino de Monferra. Del. M. CCCCC.XII. A di XXIIII Marzo). Rilegato. Estado de conservación: ottimo. Un volume in-4° (215 x 165 mm), cc. (12), 441 (i.e. 440). Legatura in pergamena rigida, titolo su tassello di marocchino al dorso; tagli azzurri. Splendida edizione con illustrazioni, una per ciascun canto della Commedia; una silografia a piena pagina precede l’inizio della prima cantica. Capilettera con fregi. Frontespizio in caratteri rossi e neri, marca tipografica con S. Bernardino da Siena con disco radiante, monogramma di Cristo e tre mitre in cornice (variante B dell’edizione censita da EDIT 16, cui corrisponde anche l’impronta); note manoscritte antiche nel frontespizio e nel testo. La Commedia, stampata in corsivo nella versione Aldina del Bembo del 1502, è incorniciata dalle glosse in corsivo, ma in corpo minore, del Landino riviste da Pietro da Figino, che si riferiscono al testo della vulgata precedente (cfr. S. Pillinini, Bernardino Stagnino, p. 64). Oltre alla Commedia, nelle ultime carte, vengono stampati il Credo, il Pater noster e l’Ave Maria cosiddetti “di Dante”. Stagnino userà gli stessi legni, incisi ispirandosi alle illustrazioni dell’edizione Benali-Codecà del 1491 (che riprende anche per il commento rivisto da Pietro da Figino), per le stampe del 1520 e del 1536 (cfr. Mortimer, Harvard, 144). Rarissimo. Buon esemplare, bruniture non invasive al frontespizio e alle prime carte. Per il resto esemplare genuino e ben conservato Bibliografia: EDIT 16, BMstc 209, Mortimer 144, Adams I, D87, Brunet II, 12. A volume in -4 ° (210 x 152 mm), cc. (12), 441 (i.e. 440). Stiff vellum binding. On the spine title on Morocco leather; blues cuts. Fine edition with engravings, one for each “canto” of the Commedia and one full-page woodcut before Inferno. Engraved initials. Title page in red and blacks, typographic mark with S. Bernardino of Siena with radiant plate, monogram of Christ and three miters (B variant edition surveyed by EDIT 16); ancient handwritten notes on the title and in the text. Printed in italics in the Bembo’s version of 1502, the Commedia has the glosses written by Landino and reviewed by Pietro da Figino (see S. Pillinini, Bernardino Stagnino, p . 64). In the last pages of this volume there are Credo, Pater noster and Ave Maria so-called “of Dante”. Extremely rare. Nº de ref. de la librería ABE-11061290004

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Descripción: Venice Appresso Gio. Battista, & Gio. Bernardo Sessa, fratelli 1578, 1578. Second issuance of the first edition with a portrait of Dante. With a fine woodcut title page and 96 woodcut illustrations, including three full-page, 77 large cuts in the text, and numerous head- and tailpieces. Printer's woodcut device on the final leaf. Folio (320 x 218 mm), in a binding of handsome contemporary antique Italian vellum over boards. Original calligraphic titling on the spine panel in Renaissance style. [28 ff.), 163, [4 ff.], 164-393. A copy in a pleasing state of preservation. The text leaves are crisp quite clean, with just a few normal blemishes here and there. Some typical toning to a few of the quires as is normal with the printing of this book. Only the most occasional of the usual spotting of staining. Dante portrait outlined in pen. RARE 1596 EDITION OF THIS HISTORIC PRINTING OF ONE OF THE GREAT BOOKS IN THE MIND OF MAN. This is the highly important edition of Dante edited by Francisco Sansovino, incorporating two commentaries: that of Christoforo Landino, which first appeared in the Florentine edition of 1481, and the noteworthy commentary of Alessandro Velutello, first published at Venice in 1544. The volume includes extensive introductory matter by all three commentators, and a running commentary that virtually overwhelms the poem itself. The woodcuts in this edition are taken from those in Velutello's edition of 1544 and represent a departure, both iconographically and stylistically, from those in the Brescia, 1487 edition--they appear more accomplished and more confident in execution. Francesco Sansovino recovered Vellutello’s commentary, never printed in Italy again until this time (except for a Lyonese reprint of 1551). This edition, printed here first in 1564, is very important because it is richly illustrated with many woodcuts taken from the edition of 1544 printed by Marcolini. The portrait of Dante on the title-page, inspired in Vasari’s tradition, is very famous and this edition is in fact commonly know as ‘of the big nose’. The sources of the portrait have probably to be found in two paintings by Vasari, now at the Oriel College of Oxford and at the Museum of Fine Arts in Cleveland. Nº de ref. de la librería 23915

10.

LA DIVINA COMMEDIA

BINDINGS - MARIUS MICHEL). (MINIATURE BOOK). DANTE ALIGHIERI
(McMinnville, OR, U.S.A.)
Cantidad: 1
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Descripción: Ulrico Hoepli, Milano, 1878. Hardcover. ONE OF 1,000 COPIES. A Little Inlaid Bibliopegic Jewel, OfferingRemarkable Technique, Charm, and Condition. 54 x 32 mm (2 1/8 x 1 1/4"). 4 p.l., 499, [1] pp. ONE OF 1,000 COPIES. SUPERB CONTEMPORARY TAN MOROCCO INTRICATELY INLAID IN THE "FLORE ORNAMENTALE" STYLE BY MARIUS MICHEL (stamp-signed on front doublure), covers and spine with black inlaid morocco frames outlined in gilt enclosing a pattern of interlocking vines, leaves, and irises, all outlined in gilt and accented with gilt circlets, RED MOROCCO DOUBLURES with French fillet borders, all edges gilt. Contained in a custom-made (very probably original) velvet-lined case of dark brown morocco, the upper cover and sides adorned with gilt lozenges and flowers. With engraved frontispiece portrait of the author. The type cast by Giacomo Gnocchi of Milan, set by Giuseppe Geche, printed by Luigi Baldan, and corrected by Luigi Busato. Bondy, p. 95; Spielman 114. A SPLENDID COPY OF AN EXCEPTIONALLY CHARMING ITEM, with virtually no signs of use even to the case. This is a little bibliopegic gem, at once one of the most renowned miniature books ever produced and a striking inlaid miniature binding by one of the great French workshops of the Belle Epoque. Spielman thought the type (known as "flies' eyes" and measuring about two-point) was "the smallest ever employed." Whether that claim remains true, the Grolier Club's "Miniature Books: 4,000 Years of Tiny Treasures" reported that working with this type, which is scarcely visible to the naked eye, "is said to have injured the eyesight of both the compositor and corrector. It took one month to print 30 pages, and new types were necessary for every new forme." The amazing technical achievement of the printing is echoed here by the binding, in which we see a beautiful demonstration of the then-revolutionary "Flore Ornamentale" design. The elder Marius Michel had produced distinguished work in the prevailing historical style for two decades, beginning in Paris in 1849. He was joined in the business by his son Henri (also known as "Marius Michel"), who believed passionately "that bookbinding needed a new vocabulary of ornamentation in order to express the mood and spirit of contemporary authors." He found in the 1878 International Exposition a convenient and appropriate forum through which to promote the revolutionary style of decorative ornaments based on nature, a style he called "La Flore Ornamentale." He was at first viewed as impudent and rebellious, and his work was objected to on theoretical grounds as being too much like "art," and too little like a product of the binder's craft. But "the young man's fervent convictions, as well as his superb technical skills, as both a binder and a gilder, won him an increasing number of supporters. By 1885 his designs were seen as a viable alternative to traditional bindings for certain books." Other binders began to imitate his approach, but Marius Michel the Younger was the "undisputed leader of the new movement, [his] incomparable technique, harmonious selection of color, and infinite variety of plant motifs [placing] his work above those of his contemporaries." (Duncan & De Bartha) The design and finishing of this binding set it far above what one usually finds on a miniature book, and its unsurpassable condition and irresistible charm make this a compellingly attractive item. Nº de ref. de la librería ST11966

11.

LA DIVINE COMÉDIE. Illustrations de Dali. L'Enfer - Le Purgatoire - Le Paradis. FINE COMPLETE SET, 12 VOLUMES.

Dali, Salvador - Dante, Alighieri.
Librería: Luiscius Books
('s-Hertogenbosch, NB, Netherlands)
Cantidad: 1
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Descripción: Paris, Éditions d'Art Les Heures Claires (1959-1963). 12 Volumes-series in illustrated cardboard covers housed in pictorial cardboard slipcases, 6 for the books and 6 for the suites, 100 woodcuts after watercolours + 369 'decomposition' woodcuts, further information on request. From an edition of 350 copies with an extra suite with the 100 woodcuts (166 to 515) printed on 'Vélin pur Chiffon de Rives', being numbered '460'. Small part of 2 slipcases loose to the top and some of them very slightly discoloured, otherwise a fine set., 1963. Paris, Éditions d'Art Les Heures Claires (1959-1963). 12 Volumes-series in illustrated cardboard covers housed in pictorial cardboard slipcases, 6 for the books and 6 for the suites, 100 woodcuts after watercolours + 369 'decomposition' woodcuts, further information on request. From an edition of 350 copies with an extra suite with the 100 woodcuts (166 to 515) printed on 'Vélin pur Chiffon de Rives', being numbered '460'. Small part of 2 slipcases loose to the top and some of them very slightly discoloured, otherwise a fine set. Nº de ref. de la librería 23164

12.

LA DIVINA COMEDIA

DANTE ( ALIGHIERI )
Librería: Libros Madrid
(Madrid, ES, Spain)
Cantidad: 1
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Descripción: Velazquez ( Casariego ), Madrid, 1972. Estado de conservación: Excelente. 1ª Edición, Limitada a 250 Ejemplares. 3 Tomos-estuche en rama recogidos en 1 matriz, todos los grabados son originales de Salvador Dali. 1º El infierno, con 5 págs y 34 grabados litograficos de Dali, 2º El purgatorio, con 5 págs y 33 grabados litograficos de Dali, 3º El cielo, con 5 págs y 33 grabados litograficos de Dali. Obra firmada en plancha. Raro en comercio Size: 44 X 33. Grabado y Exlibris. Nº de ref. de la librería 003099

13.

LA DIVINA COMMEDIA

BODONI IMPRINT). DANTE ALIGHIERI
(McMinnville, OR, U.S.A.)
Cantidad: 1
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Descripción: Nel Regal Palazzo, Parma, 1796. Hardcover. The Bodoni Dante in Remarkably Fine Condition and in a Lovely New Binding. 318 x 235 mm (12 1/2 x 9 1/4"). Three volumes. Edited by Giovanni Jacopo Dionisi. The Large Quarto Edition (there was a folio edition published the same year). VERY FINE REPLICA BINDINGS OF DEEP BLUE STRAIGHT-GRAIN MOROCCO, HANDSOMELY GILT, by Courtland Benson, raised bands, covers gilt with a wide frame of interlocking drawer handle tools accented with small flowers, inner floral roll frame with oblique tulip cornerpieces, raised bands, spine panels with elaborate gilt fleuron centerpiece, gilt titling, marbled endpapers, top edges gilt, others untrimmed. Brooks 654; Koch I, 12. Except for faint pinpoint foxing on the title page of the second volume and trivial smudges here and there, AN ESPECIALLY FINE, FRESH COPY WITH VAST MARGINS, and in unworn, particularly attractive, and convincing retrospective bindings. This is an especially tall copy--with leaves measuring 305 x 230 mm.--of the quarto edition of Bodoni's Dante, considered by Brooks to be as beautiful as the folio version (which he described as "Bellissima"). The same elegant format and typeface are used, and the two editions differ only in pagination. The most celebrated European printer of his era, Giambatista Bodoni (1740-1813) worked for more than 20 years at the royal press in Parma before obtaining permission to set up his own private press in 1791. Brooks says, "He took his printing in all its branches very seriously, laboured incessantly to perfect his type, had a fine artistic sense, . . . and produced books not only of a very high standard, but also showing a remarkably distinct individuality. . . . The result of his labours is a long list of books which . . . reach a very high, many of them the highest, level of technical excellence." Editor Giovanni Jacopo Dionisi based the text of the present edition on the manuscript of Filippo Villani, who had been appointed as the Florentine public reader of the "Divine Comedy" in 1392. Neither version of the Bodoni Dante is common in the marketplace: ABPC records just five copies, both folio and quarto, at auction since 1975, and only one since 1988. Although the bindings are new, they are faithful to the period and executed with great skill and very considerable aesthetic success. The Large Quarto Edition (there was a folio edition published the same year). Nº de ref. de la librería ST12438b

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Descripción: Leo S. Olschki, Firenza, 1912. Full-Leather. Estado de conservación: Very Good. Elephant Folio - over 15" - 23" tall. A truly magnificent and rare handmade volume -- limited in this edition to 300 copies, of which this is #164 -- created on the 700th anniversary of the Divine Comedy. The book features beautifully reproduced woodcuts from the 1491 Venice edition, embossed leather over full wooden boards with brass clasps, bosses, a bust of Dante and handmade, watermarked paper. Last (but not least) this copy was inscribed (1926) by Giuseppe Garibaldi II, grandson of THE Giuseppe Garibaldi and himself a noteworthy Italian soldier/adventurer. Along with a gorgeous clamshell box, one leather strap and brass clasp were provided by the expert Lehmann Bindery. The condition is excellent, with only one boss missing and light scuffing at the boards. Inscribed. Nº de ref. de la librería 006274

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Descripción: Venetia (Venice): Giouambattista, M. Sessa & fratelli, 1578., 1578. Reissue of the 1564 Sessa edition which was the first edited by Sansovino.With the bookplate of Stillman Drake. Large 4to., 19th century half calf,marble boards, raised bands, (28), 163, (4), 164-392pp. With woodcut illustrations in the text, a woodcut portrait of Dante on the titlepage, 3 full page woodcuts. This copy has been professionally rebacked with a new spine with the original 19th century leather label, the titlepage has been professionally reinforced around the edges, X8 has been professionally repaired atthe top, there is some light worming in the margins of some leaves not affecting the text, some very occasional foxing, a very good, clean copy. Thisis a later edition of the 1564 Sessa edition which was the first edited bySansovino and the first to incorporate the commentaries of Landino and Vellutello together. "Ninety-six woodcuts including twelve repetitions, the blocks cut for Francesco Marcolini's edition of 1544. The Sessa brothers useall except the block for canto. xxii. They also add to the number of illlustrations by repeating in the text the blocks for the circles of Hell fromVelutello's prefatory description. "(Mortimer: Harvard College Library.Catalogue of Books and Manuscripts, Part II: Italian 16th Century Books--Vol. 1 No. 148 citing the 1564 edition). Nº de ref. de la librería 26336

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Descripción: Vinegia Marchio Sessa 1531, 1531. Rare and important edition, and only the fourth printing of Dante’s ‘Convivio’. This edition used by academics and especially by Salvini With a beautifully engraved titlepage featuring an illustrated and regal border depicting nymphs and animals amidst climbing vines, initial 7-line capital letter handsomely engraved, colophon leaf engraved. Small octavo, in an antique binding of soft vellum, probably of the 19th century, the spine with gilt decorations all over and the title and author printed in gilt. [xvi], 112 leaves A clean, fresh and well preserved copy of this scarce work, very little spotting, crisp and unpressed and unwashed. RARE AND IMPORTANT EDITION. All 16th century editions of the work are extremely elusive. Dante’s CONVIVIO, or Banquet, is an unfinished philosophical work by the great Italian poet. It was planned as a series of 14 treatises, each in the form of a prose commentary on one of Dante’s own CANZONI. The four completed treatises, written between 1304 and 1308, draw on numerous philosophical sources but most heavily on Aristotle. It is the first work of Dante to explore certain doctrines and meditations, politics and the political society and moral man. Nº de ref. de la librería 20542

17.

La Commedia col commento di Cristoforo Landino

Dante Alighieri ( Commento di Landino)
(AREZZO, AR, Italy)
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Descripción: Scoto ottaviano, Venezia, 1484. Rilegato. Estado de conservación: discreto. seconda edizione. ['400 incunabolo -Dante](cm. 28) Bella legatura del XIX secolo, realizzata con foglio di antifonario manoscritto rosso e seppia del XVI secolo. -cc. 261 (di 270) carattere romano, 64 linee, testo racchiuso dal commento, molti capolettera decorati a fondo nero. Seconda edizione col commento del Landino e una delle più belle come impressionee per la carta usata fra tutte le edizioni dantesche del '400.La prima del Landino apparve a Firenze nel 1481 per Niccolò della Magna. Purtroppo esemplare molto rifilato che intacca i titoli in alto e a volte il margine laterale. Qualche ombreggiatura e lievi macchiette. Macchia di inchiostro con foro a carta B2. Ciononostante esemplare genuino e di grande fascino per la stampa e la carta pesante utilizzata. Mancano 9 carte: a1, 2, 9, 10; b1,8; k2,5,6.* Main C. 5947; *IGI 361; *GW 7967; * Mambelli 11; *Zambrini317; * De Batines I p. 47; *Pellechet 4515; * Proctor 4581; *Rosenthal "incunabula" Monaco 1900, cat. 24 n°521. Nº de ref. de la librería 002440

18.

La divina commedia. Illustrazioni di DalÃ

Dante Alighieri
(Cambiago, MI, Italy)
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Descripción: Salani, Firenze, 1964. Cartonato. Le tre cantiche sono illustrate da 100 tavv. a colori, create da Salvador Dali', incise e stampate da Raymond Jacquet a Parigi, su carta di Rives. Importante edizione impressa dalla Stamperia Valdonega di Verona, su carta a mano Magnani. Tiratura di 2900 esemplari. Numero di tavole: 0 pp.0 altezza 0 larghezza 0 Esemplare in 6 volumi in ottimo stato. Ogni volume à in cofanetto. Nº de ref. de la librería NARCIT1000028-3717

19.

LA DIVINE COMEDIE. L'ENFER - LE PURGATOIRE - LE PARADIS

Dante Alighieri - Salvador Dali
(Buenos Aires, BA, Argentina)
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Descripción: Les Heures Claires, Paris, 1963. Soft cover in slipcase. Estado de conservación: Near fine. Dali, Salvador Ilustrador. Folio. 6 volumes illustrated with 100 woodcuts, Salvador Dali's watercolors. Engraved on wood in colours by Raymond Jacquet and Jean Taricco. Translation by Julien Brizeux. Sheets loose as issued, inside 6 decorated folders and slipcases. 55 months of work (April 1959 - November 1963). This is copy No. 3513. One of 3900 copies printed "sur Vélin pur Chiffon de Rives". "En 1950, à la demande de la Libreria dello Stato à Rome, Salvador Dali s'engage à réaliser 100 aquarelles illustrant les 100 chants de la Divine Comédie de Dante. En 1951, une partie des aquarelles est exposée à Rome. Alors que le travail du Maître se poursuit, le Gouvernement italien décide finalement que l'Oeuvre de Dante se doit d'être illustrée par un peintre italien. Le contrat entre la Libreria dello Stato et Salvador Dali est dénoncé et le peintre redevient propriétaire de son oeuvre. En juillet 1959, Les Heures Claires achètent l'exclusivité et tous les droits de reproduction : 4765 exemplaires sur Velin de Rives (texte et illustrations) sont gravés et imprimés rigoureusement ensemble sous la direction de Jean Estrade. Cette édition en six volumes sera jugée comme l'une des plus marquantes du siècle. La sélection des couleurs, la gravure et l'impression de 3600 bois représentent quatre années de travail continu. En mai 1960, une remarquable exposition des 100 aquarelles a lieu à Paris, au Musée Galliéra en présence du Maître. L'Oeuvre de Dali est saluée unanimement par la presse et la réalisation des Heures Claires est reconnue comme un remarquable événement éditorial. " Les Heures Claires. Text in french. Folio. Nº de ref. de la librería 035678

20.
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Descripción: Priuli Verlucca, Italy. Hardcover. Estado de conservación: New; New; Two volumes bound in leather, with gilding grilled dishes and back, places box covered with skin. Tiratura limitata a 500 esemplari. Circulation limited to 500 copies. Formato cm 35x25,5, pagine 280 riccamente illustrate (codice) , pagine 232 (commentario). Format 35x25 cm, 5, richly illustrated 280 pages (code) , 232 pages (commentary). The manuscript, known as Divine Comedy Dante Estense, was imposed and requires the attention worldwide as one of the most important among the various manuscripts of Divine Poema hitherto known and classified. Il codice, infatti, sia per l'epoca alla quale appartiene (sicuramente il secolo XIV e con più probabilità la fine di esso, intorno al 1380-1390, che quindi lo pone a non più di 60-70 anni dalla morte del poeta offrendo la sensazione della quasi coevità rispetto alla sua composizione) , sia per la completezza dell'intero testo in tutta la sua importanza di documento integrale rispetto alla miriade di frammenti esistenti della Commedia, è una delle poche lezioni dell'opera esistenti in grado di offrire ancora oggi degli apporti di novità sul piano degli approfondimenti filologici. The code, in fact, both the time to which it belongs (certainly the fourteenth century and most likely the end of it, around 1380-1390, which then puts it to no more than 60-70 years after the death of poet offering the feeling of almost coevità respect to its composition) , and for the completeness of the text in its full importance of full document the myriad of existing fragments of Comedy, is one of the few classes of existing offer yet Today inputs of novelty in terms of depth philological. Ulteriore interesse per questo codice trova giustificazione nella sua valenza estetica, che poggia sulle tre carte finemente miniate che ornano gli inizi delle tre Cantiche, sulle iniziali miniate al principio del Poema e quelle colorate di tutti I canti, ma soprattutto perché è uno dei pochissimi esistenti al mondo totalmente miniato. Further interest in this code is justified in its aesthetic value, based on the three cards finely miniate that adorn the beginnings of three Cantiche on initial miniate the principle of Poema and colored all the songs, but mainly because it is one of the few existing the world fully illuminated. Membranaceo, di cm 35x25,5, consta di 140 carte (e quindi 280 pagine) scritte in carattere gotico su di una colonna centrale di 51-46 linee. Membranaceo, 35x25 cm, 5, consists of 140 cards (and then 280 pages) written in gothic character on a column central 51-46 lines. Ogni pagina presenta sul margine superiore scene miniate che accompagnano e illustrano il testo. Each page on the top margin miniate scenes that accompany and illustrate the text. Le carte iniziali delle tre Cantiche presentano un fregio marginale miniato; in particolare le prime due portano, al centro del margine inferiore, un grande stemma rosso alla banda azzurra appartenente a un antico possessore non identificato e l'ultima presenta il monogramma cristiano del sole. The cards of three Cantiche a frieze marginal illuminated, in particular the first two lead, at the centre of lower margin, a big red emblem to banda blue belonging to an ancient unidentified owner and the last presents the Christian monogram of the sun. A causa della sua importanza venne asportato dai commissari francesi di Napoleone l'11 ottobre 1796 ed entrò a far parte della Biblioteca Nazionale di Parigi, della quale ancora oggi presenta il timbro a c.1, e dalla quale venne recuperato, dopo varie e interessanti vicende, a restaurazione avvenuta, nel 1816, dal bibliotecario della Biblioteca Estense, Antonio Lombardi, su espresso desiderio del Duca di Modena. Because of its importance was removed by commissioners French Napoleon on 11 October 1796 and joined the National Library in Paris, which still has the stamp c.1, and from which it was recovered, after varied and interesting events, restoration occurred in 1816, the librarian of the Library Este, Antoni. Nº de ref. de la librería 44477

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Descripción: Tomás Rey y Cía, Madrid, 1868. Gran folio, XXIVp (anteport. con óx y borde raído), 136p, 37 láms (36 reproducciones de dibs. a plumilla y 1 facs.). Cartoné edit. con manchas y rastros de polvo, lomo de tela, hendidura en parte sup. de junta de plano ant. - Palau 68285. Francesco Scaramuzza (1803-86) inició en 1836 y terminó en 1876 una obra extraordinaria y única de la pintura italiana: la ilustración de la Divina Comedia con 243 dibs. Según el crítico Vittorio Sgarbi, es el mejor ilustrador de Dante. 1868. Nº de ref. de la librería 41578

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Descripción: Livorno: Tommaso Masi & Co., with the types of Bodoni, 1807, 1807. 3 volumes, octavo (214 × 142 mm). Bound by C. Lewis (signed in blind at foot of front pastedown, vol. 1) in contemporary green straight-grain morocco, covers with wide vine borders in gilt enclosed by two-line blind borders, spines with wide raised bands, first and last compartments richly gilt, others gilt-lettered direct, decorative gilt roll to turn-ins, yellow ochre endpapers, gilt edges. A little rubbing to extremities, occasional light foxing, an excellent copy. Portrait of Dante engraved by Raffaello Morghen after Stefano Tofanelli as frontispiece to vol. 3, engraved diagram of Inferno by R. Spadaccini. Ownership inscription of Mary Bligh, the gift of her uncle Edward, 1819 to front free endpaper in vol. 1; inscriptions of John Taylor Coleridge, 1838, to other volumes. A handsomely bound set of the Leghorn edition of Gaetano Poggiali (1753–1814): "Edizione molto pregiata per la correzione e la nitidezza procurata dal celebre bibliofilo" (Gamba). The first volume contains the Inferno, the second Purgatorio and Paradiso, and the third volume has Poggiali's life of Dante and commentary. A fourth volume of additional commentary ("Le annotazioni alle due ultime cantiche") was published later, in 1813. Charles Lewis (1786–1836) was "unquestionably London's leading binder, patronized by all the great collectors of the day" (ODNB): William Beckford called him "the true Angel of binding." This set from the library of Sir John Taylor Coleridge (1790–1876), judge, nephew of the poet Samuel Taylor Coleridge, with his inscriptions to the front blanks recording the price of the set at one guinea, Montague Place, 1 January 1838. Coleridge had gained an appetite for Italian literature on his grand tour in 1814. Gamba 400. Nº de ref. de la librería 62187

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Descripción: Impressa in Vinegia per Francesco Marcolini ad instantia di Alessandro Vellutello del mese di Giugno lanno M D X L IIII, 1544. Couverture rigide. Estado de conservación: Très bon. Nº de ref. de la librería ABE-9551215643

24.
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Descripción: Paganino e Alessandro Paganani 1527-1533, Toscolano, 1527. In 8vo (cm 14,3); legatura del XX secolo in pergamena rigida realizzata per Ernesto Pagnoni con il suo supralibros impresso in oro al piatto anteriore, dorso a cinque nervi con titolo in oro, tagli dorati; cc. (248). Con 4 legni nel testo, di cui uno a doppia pagina raffigurante il sito dell’Inferno. Al verso dell’ultima carta iscrizione in cornice dello stampatore. Carattere corsivo. Piccolo segno di tarlo in una ventina di carte che comporta un piccola perdita di testo, rinforzo al margine interno del frontespizio, firma anticamente cassata nella parte inferiore del titolo, lievi aloni marginali, ma nel complesso copia più che buona.Prima edizione in ottavo della Commedia data da Alessandro Paganini. Egli ne aveva già procurato un’edizione in 24mo intorno al 1515.L’edizione fa parte della collezione in ottavo, frutto maturo del talento e dell’esperienza di Paganini, che comprende «una serie di volumetti di precisa ispirazione aldina quanto alla veste esterna, a firma della quale riemerse la figura del padre, Paganino Paganini. Le peculiarità della collana, da tempo individuate dai bibliografi (ché anzi si può dire che questa serie sia la più famosa impresa dei Paganini) sono grosso modo le seguenti: tutti i volumi sono in ottavo e segnano il ritorno di Alessandro al corsivo di tipo aldino; i testi della collana sono tutti in volgare, tranne uno; solo un’edizione, tra la dozzina compresa nella collezione, è datata, le altre sono invece firmate dalla notissima iscrizione in cornice rettangolare, che legge: P. Alex. Pag. Benacenses F. Bena. V.V. [ ] Per Alessandro, come per tutti i grandi editori del Quattro e Cinquecento, ad una nuova proposta di lettura è connessa una rinnovata presentazione del testo: qui il ritorno all’enchiridio aldino, così brillantemente e latitudinariamente frequentato dai Giunti di Firenze, avrà significato il finale riconoscimento di un modello ormai standardizzato, profondamente radicato nell’uso della cultura primo-cinquecentesca – e questo recupero dell’ottavo porta a un risultato indubbiamente assai più elegante dei precedenti libri in ventiquattresimo. Viene infatti situato dagli studiosi nell’ultimo periodo di attività del Paganino, e fondatamente, quale riconoscimento e omaggio obbligato al Manuzio [ ]» (A. Nuovo, Alessandro Paganino (1509-1538), Padova, 1990, pp. 90-91).Il testo si basa infatti su quello dell’edizione aldina del 1515, da cui sono tratte anche le figure xilografiche.Edit16, CNCE1155. Nuovo, op. cit., nr. 78. Mambelli, 21. Sander, 2318. Nº de ref. de la librería 5630

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Descripción: 1555. Tapa dura. Estado de conservación: Bien. Posterior. IMPRESOR-LUGAR: En Venecia, en Vinegia por Gabriel Giolito de Ferrari, y fratelli. Editado por Lodovico Dolce. 1555, (en el final MDLIII) DESCRIPCIÓN FÍSICA: [33], 598 p. (retrato de Dante, 5 entalladuras en texto.). Texto en italiano. Dedicación y firma autógrafa de José Zorrilla. ENCUADERNACIÓN: PERGAMINO. Lomo con cinco nervios y tejuelo para autor y título: DANTE COMEDIA. Guardas al agua. 12º. 150 mm. CONSERVACIÓN: Excelente estado. Texto limpio y obra cuidada. Reforzamiento experta del papel en la página de portada. Primera edición en la que aparece el reconocido medallón con retrato de Dante mirando hacia la izquierda, al pie de la ilustración el soneto IN LODE DI DANTE por su primer biógrafo Giovanni Boccaccio. Bellas capitulares y grabados en madera. Obra corregida con la revisión de los antiguos textos de la obra de il Sommo Poeta, aportando apostillas marginales. Rareza bibliográfica de una de las obras maestras de la literatura universal. Fué propiedad de José Zorrila (Valladolid, 1817-Madrid, 1893) que regaló a su amigo, el tercer duque de Almenara Alta, D. José María de Martorell y Fivaller dedicando, firmando y fechando este obsequio en la página de cortesía, en Madrid, enero, 30 - 1879. Al señor duque de la Almenara Alta, su amigo José Zorrilla. Nº de ref. de la librería L2002

26.
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Descripción: 1568. Estado de conservación: Bon exemplaire. In-4 plein vélin ancien postérieur [XVIIIe siècle ? ], dos lisse, titre doré au dos, [12]-727-[1] pages, marque au titre et grande marque de l'éditeur au colophon, 3 planches gravées à pleine page, lettrines. Texte en italique et commentaire en habillage. Le texte est précédé d'une préface, d'une courte notice sur la vie de Dante et d'une introduction générale de la Divine Comédie. (Quelques cahiers déréglés, petit accroc au premier plat, quelques mouillures claires.) Belle édition vénitienne, recherchée et appréciée pour le commentaire de Bernardino DANIELLO DA LUCCA (1500-1565). Il s'agit du dernier commentaire de la Divine Comédie, publié à la Renaissance. L'ouvrage paru à titre posthume, imprimé par les soins du libraire éditeur Pietro da FINO, actif à Venise entre 1555 et 1576. On lui attribue dix éditions dont le présent ouvrage qui porte au titre et au colophon sa marque : un coq dressé sur un globe avec la devise "Tota nocte excubo" (Je veille toute la nuit). L'éditeur dédicace cet ouvrage à son parent et patron Giovanni da FINO, noble gentilhomme de Bergame. Le commentaire fut pendant longtemps faussement attribué au célèbre Gabriele TRIFONE (1470-1549), notamment par Diomède BORGHESI, dans la troisième partie de ses lettres. Cette controverse provient de l'éloge contenu dans la dédicace à Trifone, dont Daniello Da Lucca était le disciple, et aux "emprunts" que fit l'élève à son maître pour son commentaire de Plutarque. Il manque à cette édition "très estimée" douze vers au sixième chant du Purgatoire (vers 105 à 118) ; il s'agit visiblement d'une négligence de la part des imprimeurs puisque le commentaire des douze vers oubliés figure bien dans le texte. Intéressant exemplaire portant au premier contreplat l'ex-libris maçonnique de la bibliothèque de MONSPEY, accompagné de la devise "la lumière vient d'en haut". La vignette gravée, tachée dans sa partie gauche, est occupée en son centre par les initiales "Vgs" [pour Virginis ( ? )] rayonnante vers six compartiments. Sur la partie supérieure : la pyramide rayonnante est au centre, à gauche se trouve la planète Saturne entourée de 9 étoiles et à droite la Lune. La partie inférieure est occupée par les armes familiales, un bateau en mer et l'entrée arborée d'une propriété. La famille MONSPEY compte au XVIIIe siècle au moins deux personnalités influentes membre de la franc-maçonnerie. Pierre-Paul-Alexandre de MONSPEY, chevalier de Malte, qui joua un rôle important dans la maçonnerie lyonnaise et sa soeur Marie-Louise, comtesse de Monspey, dite de VALLIERE (1733-1822). Nous penchons pour cette dernière, surnommée "l'agent inconnu", qui écrivit plus d'une centaine de cahiers sous l'inspiration de la Vierge Marie et s'inscrivit dans le courant du magnétisme de la fin du siècle. On trouve par ailleurs en pied du titre, les initiales L. M. inscrites à l'encre mordorée. ADAMS, I, 104. Artaud de MONTOR, Le paradis, poëme de Dante traduit de l'Italien, 1811, catalogue des éditions, p. 476. BRUNET, II, 504. GRAESSE, II, 330. MELZI di G., Dizionario, 276. Deborah PARKER, Bernardino Daniello and the Commentary Tradition, dans Dante Studies, 1988, n?106, 111-121. 867 g. In Venetia, appresso Pietro da Fino, 1568. Nº de ref. de la librería 00246217

27.

L'Enfer De Dante Alighieri

DANTE ALIGHIERI
(Toronto, ON, Canada)
Cantidad: 1
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Descripción: Librairie De L. Hachette et Cie, Paris, 1862. Cloth. Estado de conservación: Near Fine. Gustave Dore Ilustrador. 1st Edition. Green textured cloth with gilt lettering and designs on spine. Multiple gilt frames on front panel with elaborate gilt title. Marbled endpapers. 194 pp with 75 full page tissue guarded engravings by Dore. Translated into French with the accompanying Italian text by De Pier-Angelo Fiorentino.Wear to the extremities. Hinges starting. Sporadic foxing but generally clean. Both Dante's and Dore's masterpieces in one volume. This is an impressive book. Size: Folio. Nº de ref. de la librería 20977

28.
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Descripción: Florence: Leo S. Olschki, Florence, 1912. Limited edition, created for the 700th anniversary of The Divine Comedy. Folio, original full blind-tooled calfskin over wooden boards, with ornate patinated metal bosses, catches, and center-pieces. Woodcuts originally reproduced from the 1491 edition. In near fine condition, lacking the clasps. A beautiful presentation. The Divine Comedy is an epic poem written by Dante Alighieri between c. 1308 and his death in 1321. It is widely considered the preeminent work of Italian literature, and is recognized "as one of the greatest works of world literature" (Bloom, The Western Canon). Nº de ref. de la librería 3962

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Descripción: London Printed for Taylor and Hessey, Fleet Street 1819, 1819. 3 volumes. A LARGE PAPER COPY of the FIRST TRADE EDITION of the FIRST MODERN TRANSLATION of Dante into English in its complete form including all the parts of the trilogy. Preceded only by the privately printed edition issued by the author. Additionally, for this edition is affixed a Life of Dante, Notes and an Index. Tall 8vo, very handsomely and beautifully bound in three-quarter burnt-red morocco by Bayntun early in the last century, the covers with fine French marbled paper over boards and morocco at the corners, the spines decorated with raised bands ruled in blind, gilt lettered and numbered in two compartments of each volume, marbled end-leaves, t.e.g. lii, 303; xi, 309; 297, (28) index pp., with all three half-titles as called for. A fine and very handsome set in excellent condition, essentially as pristine. The bindings and text-blocks are in wonderful condition, very finely preserved. RARE FIRST EDITION AND COMPLETE SET IN A VERY HANDSOME EARLY BAYNTUN BINDING. ONE OF THE GREAT BOOKS OF ALL TIME. Cary’s famous translation has long been considered the first modern rendering of Dante’s timeless epic into English. While previous English translations prior to Cary’s had been accomplished in the 18th century, none were able to transfer into the English language, the beauty and richness of language for which Dante has forever been revered. It took Cary many years to make the complete translation. Indeed, the parts of the COMEDY were released over a number of years from 1805 on. Cary was influenced greatly by the Romantics and by Coleridge in particular. Though the text was finished in mid-1812, Cary was unable to secure a publisher and was, after some years, obliged even with his very modest means to publish the work at his own expense. It at first excited little attention, but it came under great notice primarily because of the applause of Coleridge whom Cary had met while pacing the beach reading Homer to his son. ‘Sir,’ said Coleridge, attracted by the sound of the Greek, ‘yours is a face I should know. I am Samuel Taylor Coleridge." "During the rest of the day, the wondrous stranger discoursed on Homer making young Cary ‘feel as one from whose eyes the scales were just removed,’ and inthe evening carried home the translation of Dante, of which he had never even heard. The next day he was able to repeat whole pages, and his winter course of lectures gave it celebrity. The new and first edition published by a general publisher was secured in 1819, and ever since,.it has remained the translation which, on Dante’s name being mentioned, occurs first to the mind." Cary’s translation allowed the rediscovery of Dante’s masterpiece by the British of the Romantic Era and it was praised not only by Coleridge, but by Shelley, Byron and Wordworth as well. Copies of this, the first generally published edition of the book in its original three-decker format are extremely scarce. This is a still more scarce large paper copy As to Dante himself, "Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture. Nº de ref. de la librería 25390

30.

Rime per la donna Pietra

ARDUINI - ALIGHIERI Dante
(Valenzano, BA, Italy)
Cantidad: 1
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De Italia a Estados Unidos de America
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Descripción: Le Rame, Verona, 1965. Estado de conservación: Ottimo (Fine). Prima ed. di 125 es. numerati e firmati. Folio (cm 49x35). Le rime per la donna Pietra secondo la lezione fermata da Michele Barbi per la Società Dantesca Italiana, riveduta da Gianfranco Contini, con una nota di Gianlorenzo Mellini, sono illustrate con trenta incisioni originali in linoleum di Francesco Arduini (cm 17x20; 24x15). Edizione firmata da Arduini pp. 50 Titolo in oro al dorso. Testo composto in carattere Bembo, impresso su carta di Pescia dalla Stamperia Valdonega di Giovanni Mardersteig nel VII Centenario della nascita del Poeta. Esemplare n. 29 ril mezza pergamena, custodia (Half-vellum binding, slip-case). Nº de ref. de la librería 87958

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