dante alighieri (Más de 10.000 resultados)

Folio (34 cm wide x 42.5 cm high). 216 pages. Hardcover / Binding in full green morocco with lettering and Dante's head as bronze sculpture per inlet to front cover. Binding by Douglas Cockerell, signed "WHS", during his directorship of W.H.Smith & Son (1905 - 1914). The manuscript is on excellent paper, watermarked O.W.P. & A.C.L. [O.W. Paper & Arts Co. Ltd., established by English painter John William North (1842-1924) in 1895]. The binding rubbed and with some small damages, in need of some minor restoration but overall still very good. The interior, the paper and the artwork all in excellent condition besides one of the juxtaposed photographs (Filippina Lippo) removed from the manuscript with some residue of the photograph remaining and some of the photographs with some dogears and minimal discoloration. All the original artwork in spectacular and fresh condition. The manuscript is a spectacular find and the quality of its execution is of utmost interest for any lover of rare books, manuscripts and special bindings. The circle of Douglas Cockerell, his involvement in one of the most beautiful books ever printed: the Ashendene Press Dante, as well as Cockerell being the binder of this unique manuscript, the fantastic paper used for the manuscript by one of the idyllist movement's central figures, John William North, and the wonderful Dante - theme of the manuscript with illuminated poetry from the Divine Comedy and the unique style of collage art, lets us rightfully dream that the anonymous composer of the manuscript was an important or at least peripheral member to either the Arts and Crafts Movement, the Ashendene Press or it was someone who worked in the style of the calligraphy schools that were inspired by William Morris or even earlier epigones like Owen Jones. Sprache: english.

Legatura della prima metà del XX secolo, firmata dal noto legatore francese Charles Meunier (1865-1948), in pieno marocchino viola a grana grossa, dorso a 4 nervi rilevati, autore e data in oro a uno scomparto superiore; ai contropiatti, duplice filetto in oro e guardie marmorizzate. 373 carte non numerate (su 376, mancano le 3 carte bianche in a, a1 a pp12 finale), testo su 2 colonne e 49 linee, carattere (Type): 5:90G. Collation: á é8; a-i K10 l8; m8 n-s10 t v8 x y10; aa-gg10 hh ii8 KK-OO10 PP. ( á2r life of Dante, a2r table of Inferno, a3r Inferno with commentary, m1r table of Purgatorio, m2r Purgatorio with commentary, aa1r table of Paradiso, aa2r Paradiso with commentary, PP8-11 verses by Busone da Gobbio and Dante`s son Jacobo, the Credo of Dante and colophon, 373 leaves (of 376, without the 3 blanks á1, a1, and PP12). Letterine rubricate in rosso e blu, alcune molto grandi poste a metà del Purgatorio. Alla seconda carta, antico timbro di possesso \"Ex Bibl. Ios. Ren. Card. Imperialis\", la biblioteca del cardinale Giuseppe Renato Imperiali (1651-1737), Legato di Ferrara dal 1690 al 1696, andata dispersa alla fine del Settecento. Al verso dell`ultima carta, fitte antiche annotazioni manoscritte. Diverse chiose manoscritte lungo il volume. Sesta edizione in assoluto della Divina Commedia e prima edizione con commento, edita a cura di Cristoforo Berardi di Pesaro. Essa contiene inoltre la prima edizione della Vita di Dante del Boccaccio, una delle fonti biografiche dantesche più importanti, del Capitolo in terza rima sopra la Commedia di Bosone dei Gabrielli, del Capitolo, sempre in terzine, di Jacopo Alighieri, figlio del Poeta, e del corpus di opere poetiche attribuite a Dante stesso, ovvero il Credo, i Dieci Comandamenti, i Sette peccati capitali, il Pater Noster e l`Ave Maria. Il commento è unanimamente attribuito a Jacopo della Lana e non a Benvenuto da Imola, come declamato nel sonetto di sottoscrizione. Cfr. Alai, Lersquo;editio princeps del più celebre testo della nostra letteratura - 1472 \".Nel 1477 Windelin von Speyer, celebre stampatore attivo a Venezia, pubblicò quella che è considerata come la prima edizione commentata della Divina commedia. La stampa, curata da quel Cristoforo Berardi da Pesaro che probabilmente editò anche la princeps windeliniana del Canzoniere nel 1470, presenta il commento volgare di Jacopo della Lana (composto nella prima metà del XIV secolo), presentato sotto il nome di Benvenuto da Imola, autore a sua volta di un famoso commento dantesco terminato nel 1380. Lersquo;erronea attribuzione è forse intenzionale, se si considera il maggior prestigio che ad un lettore del tempo suscitava il nome di Benvenuto da Imola. Lersquo;edizione di Windelin, che riporta per la prima volta anche la Vita di Dante del Boccaccio, è dunque la prima edizione della Commedia realizzata con intenti storico-didattici\". The ?rst Venetian edition of Danteersquo;s poem was also the ?rst to be printed with a commentary. In this case, the commentator is Jacopo della Lana (ca. 1278endash;ca. 1358), a contemporary of Dante. Della Lana wrote his commentary sometime after Danteersquo;s death, but before 1328. It is considered among the best of the early criticisms along with those of Benvenuto da Imola, Guido da Pisa, and two of Danteersquo;s three sons, Jacopo and Pietro. In this edition, however, the colophon incorrectly attributes della Lanaersquo;s commentary to Benvenuto da Imola, perhaps to increase sales through name recognition (cf. Cachey, et al.). This edition also contains the ?rst printing of Giovanni Boccaccioersquo;s Vita di Dante, or Life of Dante. Boccaccio (1313endash;1375), who was only eight years old when Dante died, was among the ?rst of the poetersquo;s defenders to extol his virtues through a combination of commentary, teaching, and textual editing. Attempting to reclaim its exiled native son, the City of Florence commissioned Boccaccio to deliver a series of lectures on Dante beginning in 1373.Esemplare complessivamente in buone condizioni, con alcune carte di posibile provenienza diversa e interamente rinfrescato all`epoca della legatura. Prima carta con margini integrati attorno al testo; le carte con numerazione a matita 56 e 57 posposte alle 58 e 59; così come le carte 74 e 75 sono posposte alle 76 e 77, la carta numerata a matita 322 leggermente più corta al margine inferiore.

Couverture rigide. Condición: 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 ). *************************** L'enfer 1: Texte et 17 illustrations L'Enfer 1: Suite des 17 planches et décomposition d'une planche L'Enfer 2: Texte et 17 illustrations L'Enfer 2: Suite des 17 planches et décomposition d'une planche Le Purgatoire 1: Texte et 16 illustrations Le Purgatoire 1: Suite des 16 planches et décomposition d'une planche Le Purgatoire 2: Texte et 17 illustrations Le Purgatoire 2: Suite de 17 illustrations et décomposition d'une planche Le Paradis 1: Texte et 16 illustrations Le Paradis 1: Suite des 16 planches et décomposition d'une planche. Le Paradis 2: Texte et 17 illustrations Le Paradis 2: Suite des 17 planches et décomposition d'une planche ****************************** 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 pour réaliser une édition de luxe. En 1951, une partie des aquarelles étant réalisées, elles sont exposées à Rome. Le travail du Maître se poursuit lentement et les gouvernements s'étant succédés, l'un d'entre eux décide que l'oeuvre de Dante doit être illustrée par un peintre italien et fait dénoncer le contrat entre la Libreria dello stato et Salvador Dali. Salvador Dali - dont l'oeuvre est très avancée - en redevient propriétaire. En 1958, Salvador Dali vient de terminer les lithographies de Don Quichotte pour Joseph Foret et lui propose de reprendre l'illustration de la Divine Comédie. Joseph Foret, engagé avec Salvador Dali dans la réalisation de l'Apocalypse n'est pas en mesure d'accepter cette proposition et il prend contact avec ses amis des "Heures Claires" qui sont en tous points en mesure d'accepter. En juillet 1959, le contrat est signé avec les Heures Claires qui achètent l'exclusivité et tous les droits de reproduction. Les 21 exemplaires sur Japon réservés à Joseph Foret et les 4 765 exemplaires sur Velin de Rives (texte et illustrations) sont gravés et imprimés ensemble sous la direction de Jean Estrade. **************************************.

Hardcover. Condición: Very Good. No Jacket. 1st Edition. Very good first edition by the Aldine Press in a small octavo format. Also the first in which Aldus Manutius used his famous dolphin and anchor printer's device, which appears here on the last leaf but not in all printings of this edition. Rebound in marbled calf with four raised binds on the spine. Light tanning, water stains, and soiling throughout. Previous owner's notes on title page and aii. Misspelling of "Alaghieri" present on title page verso. Housed in custom-made slipcase.

24° (95x47 mm). Collation: A-X8, AA-DD8, EE4. 202, [2] leaves. Italic and gothic type. Blank spaces for capitals at the beginning of each cantica. One double-page woodcut plan of Hell (fols. EE2v-EE3r), three full-page woodcut diagrams of categories of sins punished in Hell (fols. EE3v-EE4r), and in Purgatory (fol. EE4v). Early nineteenth-century three-quarter green morocco, marbled covers. Spine with two small raised bands, decorated with narrow frieze, author's name lettered in gilt. In a green half-morocco case. A good copy. One small wormhole at the gutter of the first leaf, affecting a few letters. Minor repair to the gutter of fol. A8, quires C-E waterstained. The lower margins of the woodcuts slightly trimmed.Provenance: 'Di Bern. Capiri in dono' (old ownership inscription on the title-page).The exceedingly rare Paganini edition of the Commedia – the first edition printed in the innovative long 24° format – presented here in the state with leaves numbered with arabic numerals, except for fols. IX, X, and XV. It is the smallest printed Commedia of the Renaissance, known as the Dantino. The volume is part of the series begun by Paganini in the same year, which opens with Petrarch's Rime, Bembo's Asolani, and Sannazaro's Arcadia, all dedicated by the printer to pre-eminent contemporaries and patrons. This edition was addressed by the printer to no less than the cardinal Giulio de' Medici, who, in 1523, became Pope Clement VII. The date is not present in the book, but it belongs to the period before Paganini's move to Toscolano.The last three leaves contain a double-page and three full-page woodcuts, all appearing here for the first time. The double-page woodcut, showing the plan of Hell, is signed by the engraver 'I.A.', possibly the Venetian artist and cartographer Giovanni Andrea Vavassore, also known as Guadagnino.“It is believed that Bembo was active with publishers in Venice at his time. According to his friend Trifon Gabriele, Bembo was responsible for the analysis of the structure in Paganini's 1515 edition of Dante and therefore, presumably, of the structurel analyses of all three realms in Aldus's Dante, also of 1515. It has been suggested that Paganini pirated the tree of sins which Bembo drew for Aldus. However Bembo and Paganini seem to have been on good terms since Paganini republished Gli Asolani in 1515, in his new and elegant pocket book size collection of Latin and Italian classics [.] Although his copyright had expired after ten years, Aldus reprinted Gli Asolani himself, also in 1515” (C. Kidwell, Pietro Bembo. Lover, Linguist, Cardinal, Montreal-London 2004, p. 183).Adams D-337; STC Italian 209; Nuovo, Alessandro Paganino (1509-1538), Padova 1990, no. 28; R. Sturel. “Recherches sur une collection in -32 publié en Italie au début du XVie siècle”, Revue des Livres anciens, 1 (1913), pp. 50-73: 57; Batines i, pp. 77-24; Mambelli 26; Essling 540-541; Sander 2323-2324; Philobiblon, One Thousand Years of Bibliophily, no. 62. Book.

Elegante legatura ottocentesca in marocchino rosso (firmata Thibaron). Nervi, titolo e data in oro al ds. Ancora aldina impressa in oro al centro dei piatti. Tagli dorati. Carte di guardia a pettine. Ex libris araldico Henry White al contropiatto anteriore. Esemplare in eccellente stato di conservazione. Prima edizione aldina della Commedia e prima edizione in cui il celebre tipografo veneziano utilizzò l ancora come propria marca editoriale (tuttavia non presente, come notano le bibliografie consultate, in tutti gli esemplari). Edizione eseguita sopra una copia manoscritta procurata da Pietro Bembo, ora conservata tra i codici della Vaticana (n. 3197) e sul Codice Palatino di Lucca, n. 117, del XV secolo. Celebre e rara edizione, che servì di fondamento per tutte le edizioni dell'opera pubblicate nei successivi tre secoli.Mambelli, Annali delle edizioni dantesche , (n. 17): Prima edizione in formato portatile. Assai rari gli esemplari completi . Renouard, p. 34. Gamba, n. 385. 8vo (cm. 15), 244 cc.nn. Al verso della prima carta Lo nferno e l Purgatorio e l Paradiso di Dante Alighieri . Ancora aldina al verso dell ultima carta.

Condición: Buono (Good). 0. Cm. 24, cc. (441) [nel fascicolo BC le carte 3 e 4 sono posposte alle 5 e 6 - bianca finale assente]. Testo in elegante carattere corsivo, racchiuso dal commento in corpo minore. Con 3 splendide illustrazioni xilografiche a piena pagina e altre 84 (a 1/3 e a 1/2 pagina) attribuite allo stesso Marcolini, ottimo disegnatore nonché amico di Tiziano e Sansovino. Bella legatura antica (seicentesca?) in piena pelle; dorso a 5 nervi con titoli, fregi e filetti ornati in oro. Sobria cornice impressa a secco ai piatti. Titoli manoscritti ai tagli di testa e di piede. Trascurabili segni del tempo alla legatura. Sporadiche e fisiologiche macchiette e alcune carte lievemente arrossate. Esemplare freschissimo a grandi margini, da alta collezione. Questa magnifica edizione veneziana è ritenuta la prima illustrazione moderna della Divina commedia, che servì da esempio per tutte le altre edizioni cinquecentesche. Oltre ad essere tra le più tra le più ambite edizioni dantesche del Cinquecento, è anche la prima con il celebre commento di Alessandro Vellutello. Cfr. Iccu; De Batines I, p. 82: "bella e rara edizione annoverata fra le rare"; Mambelli nr. 30: "Edizione originale e ricercatissima della esposizione del Vellutello"; Gamba, 387: â Edizione bellissima, ornata di eleganti intagli in legnoâ ; Adams, D-94; Brunet, II, 503: â Unedes meilleures éditions anciennes de Danteâ ; Graesse, II, 329. . . . . . . 0. . Book.

Hardcover. Condición: Very Good. Four works uniformly bound in two volumes, large 4° and small folio (278x166 mm). First volume: three works. I. Collation: a-b8, c6, d4. [26] leaves. Italic, Greek, and roman type. II. A-B8, C4. [20] leaves. Italic, Greek, and roman type. III. Collation: A4, aa-bb4, cc6. [17], [1] leaves. Italic, Greek, and roman type. Woodcut printer s device on each title-page. Blank spaces for capitals, with printed guide letters. Second volume. Collation: a-r4, s2. lxviii, [2] leaves. Italic, Greek, and roman type. Woodcut printer s device on the verso of fol r4. Blank spaces for capitals, with printed guide letters. Uniformly bound in eighteenth-century half-leather over pasteboards. Marbled covers. Smooth spines divided into compartments by narrow gilt frieze, title in gold on lettering-piece, imprint lettered to the foot. Rose pink silk bookmarks. Pale blue edges. At the lower extremities of the spines, small nineteenth-century paper labels, bearing the shelfmarks E.viii.15 and E.viii.16 respectively. Upper joint of the first volume slightly cracked; spines and corners of both volumes slightly worn. A good copy, in the first volume the opening title-page and fol. a8 uniformly browned; minor loss to the lower blank margin of the first title-page, without any loss. Both volumes foxed in places; a few spots, fingermarks, and early ink stains. Provenance: on the first title-page of the first volume ownership inscription of Benedetto Varchi (1503-1565; Di Bened. Varchi ); another erased, and quite illegible ownership inscription in the same title-page; both volumes from the library of Gian Giacomo Trivulzio (1774-1831; his initials G.G.T. inked on the front pastedowns; the notices 1802. 23 7.bre Broc. and fr. 45 on the front pastedown of the first volume). A fine set, uniformly bound, from the celebrated library once owned by Count Gian Giacomo Trivulzio, which was particularly well endowed with testi di lingua. An additional noteworthy feature is its earliest recorded ownership in the first volume, referring to the outstanding Florentine humanist Benedetto Varchi. The first volume opens with the first edition of Trissino s Italian translation of the De vulgari eloquentia, the unfinished treatise written in Latin by an exiled Dante between 1304 and 1307. The subject of the work is the nature of poetry in vernacular languages, above all Italian; against their detractors, the work attempts to defend the eloquence of vernacular languages, which, in Dante s opinion, have the potential of being just as dignified as Latin. Trissino edited the De la Volgare Eloquenzia on the basis of a manuscript in his possession, today in the Biblioteca Trivulziana in Milan (ms 1088) the original Latin text only appeared in 1577. In addition to the Italian translation of De vulgari eloquentia, the miscellaneous first volume also includes as is frequently the case two treatises composed by Trissino himself: the first edition of the Dialogo intitulato il Castellano and the reprint of the Epistola de le lettere nuovamente aggiunte ne la lingua italiana, first published in 1524, and included by Paganino in his Trissino collection of 1527/29 (see the previous item). The second volume presents the first edition of Trissino s Poetica, devoted to Aristotle s theory of poetry and likewise printed as with the editions bound in the first volume by the enigmatic Vicenza printer Tolomeo Gianicolo, thanks to the ten-year privilege granted by Pope Clement VII. The texts are set in the handsome italic type, with the addition of the Greek vocals ε and ω, designed for him by Ludovico degli Arrighi. I. Adams D-121; STC Italian 208; Mambelli p. 277; Gamba 1709. II. Adams T-950; STC Italian 681; Mortimer Italian, 507; Gamba 1704. III. Adams T-951; STC Italian 681; Gamba 1704; IV. Adams T-955; Balsamo-Tinto, Origini del corsivo nella tipografia italiana del Cinquecento, Milano 1977, pp. 130-131, pls. 50-51; G. Castellani, Da Tolomeo Ianiculo a Bartolome.

Hardcover. Condición: Very Good. 5th or later Edition. This later edition comes with 100 woodcuts. Missing the first 10 leaves. The last page, Registro, is half missing but has been repaired. A one line ink writing on front paste-down, some penciled writing on rear paste-down. Housed in a custom-made fold-out case.

10 nn. Bl., fol. CCXCVII (von 298; letztes Bl. mit 1 S. Register fehlt). Mit ganzseitigem Holzschnitt, wie Folgeseite gerahmt von vierteiliger -Bordüre, einer großen Holzschnitt-Initiale sowie 99 Textholzschnitten. Folio. Historist. Pergamentband (vermutl. Ende 19. Jhdt) mit Rückenschild und reicher -vergoldung. Scholiendruck in 46 (Text) bzw. 61 Zeilen (Kommentar) und runder römischer Type (Antiqua); zahlr. Initialen des Textes schwarzgrundiert; Initialspatien (des Kommentars) nicht ausgefüllt. Die Bl. 11 und 12 sind vermutlich übernommen aus den venezianischen Capasca-Ausgaben von 1491 (erneut 1493), kenntlich durch den wiederholten Titel "Danthe aleghieri fiorentino" recto Bl. 11 und die Abbildung Gottvaters (mit Buch) im Tympanon des ganzseitigen Holzschnitts verso Bl. 11, was bei einigen anderen Exemplaren im Übrigen fehlt. Derselbe 'Gottvater im Tympanon' wurde von Capasca mehrfach verwendet wie z. B. in "Fiore de virtù" (1493; vgl. auch Pollard und Hind; beide mit Abb.). Der Text folgt der Ausgabe Venedig 1493, wobei der allegorische Kommentar des Humanisten C. Landino (1424-1504) zuerst 1481 gedruckt wurde. Dantes "Comedia" existierte zu diesem Zeitpunkt in über 600 teils unvollständigen Handschriften sowie rund 200 Auszügen und ist bis heute nicht in seiner Urschrift rekonstruiert; und: "Das Beiwort 'Divina' wurde erst 1555 hinzugefügt" (PMM 60). Die Holzschnitte wurden übernommen aus der venezianischen Ausgabe des Petrus de Piasiis von 1491, stammen vom Meister des Pico Plinius und und sind als freie Adaptionen möglicherweise angeregt von Zeichnungen Botticellis, der sie für eine Comedia-Handschrift aus dem Besitz des Lorenzo de' Medici anfertigte (zuerst gerissen von Baldini für die Florentiner 1481er Ausgabe; vgl. die Abb. in PMM S. 61). GW 7972; Hain-Coppinger 5953 = Hain 5945; BSB-Ink D-11; BM STC 209; vgl. Sammlung Schäfer 18; vgl. PMM 59ff. Etwas berieben und bestoßen; am Rücken kleine Bezugsfehlstelle (ca. 1/2 cm ); teils etwas gebrauchs- und braunfleckig (das letzte Bl. stärker); erste und letzte Bl. angerändert, teils an den Rändern repariert und ergänzt; Titel gestempelt und mit hs. Glossen (nahezu unleserlich); letztes Bl. mit kl. Loch und geringem Buchstabenverlust; das fehlende letzte Bl. mit einseitigem Register liegt als Fotokopie bei. IT.

Legatura di poco posteriore in pergamena rigida con titolo ms. al ds. (risarcimento di pergamena abilmente eseguito al margine esterno del piatto anteriore). Tagli rossi. Minimi restauri al margine esterno della prima carta. Sporadici aloni e lievi fioriture. Nel complesso esemplare in eccellente stato di conservazione. Pregevole edizione, universalmente nota per la presenza del grande ritratto di Dante, il primo che sia mai apparso in una edizione della Divina Commedia. Opera di un anonimo maestro veneziano, fu realizzato su quello di formato assai più piccolo presente nell edizione dell Amoroso convito del 1521. A questa illustrazione si deve l idea dei contemporanei e dei posteri riguardo la fisionomia del poeta. Il testo riprende quello dell edizione aldina del 1502, ma è qui corredato dal classico commento del Landino. L apparato iconografico, di ispirazione botticelliana, è invece ripreso dall edizione veneziana Capcasa del 1491 e per realizzarlo furono anche recuperate diverse matrici del tipografo. Mortimer, 145; Mambelli, Gli annali delle edizioni dantesche , n. 28; Camerini, 328. Folio (cm. 30,5), 12 cc.nn., CCXCV cc., 1 c.nn. bianca. Frontespizio stampato in rosso e nero entro cornice architettonica che alla base raffigura le Muse e ai due lati cinque grandi poeti latini e cinque italiani (la stessa cornice con però solo poeti latini nelle colonne laterali, inquadra la prima grande xilografia che inaugura l Inferno). In basso al centro giglio fiorentino in rosso. Al verso del frontespizio il famoso e bellissimo ritratto di Dante. Altre due grandi xilografie sono poste all inizio del Purgatorio e del Paradiso mentre ogni singolo canto reca in principio una illustrazione xilografica più piccola.

First English language edition. The first complete translation into English of Dante's "Divine Comedy." Bound in full contemporary calf. Boards ruled in gilt with decorative blindstamped borders. Armorial insignia of the Dunalley baronage blindstamped on the front of each board. Marbled end papers and text block. Spines joints and corners repaired. Internally clean and fresh, with Catherine Dunalley's name written in pencil on the title page of each volume (wife of Henry Prittie, 1st Baron Dunalley). A handsome set overall. Three 8vo volumes (pages 215 x 128 mm), collating: vi, [2], 408; [ii], 56, [ii (divisional title)], 57-62, 65-384 (complete); [ii], 420pp., engraved frontispiece portrait plate of Dante by Thomas Stothard in vol.1; complete. One of the world's great masterpieces and a foundational text of Italian literature. The Comedy took over a decade for Dante to write, he worked on it in exile, having been sent out of his native Florence in 1302, when his political faction fell out of favor. The work's genius was quickly recognized -- Boccaccio himself was so obsessed with it that he was responsible for adding the prefix "Divine." Over the years, it has influenced countless writers, among them Ezra Pound, T. S. Eliot, and James Joyce. Borges claimed it was "the best book literature has achieved." Boyd (1748/49 - 1832), a member of the Irish clergy, released his first English translation of the Inferno in 1785, following up with the complete work in this 1802 edition. His translation would help bring Dante back into literary circles after he had fallen by the critical wayside in the aftermath of the Renaissance and Enlightenment. The Divine Comedy soon regained its popularity; before the 19th century was up Longfellow would also try his hand at a translation and William Blake would make drawings of some of its more famous passages.

Hardcover. Condición: Very Good. L'Enfer, Le Purgatoire, Le Paradis. Dante Alighieri, Illustrated by Salvador Dali. Published by Les Heures Claires, Paris, 1959-1963. 12 volumes. Each volume loose as issued guarded in the original chemise and matching slipcase. Limited numbered edition, one of the 350 numbered copies in Chiffon de Rives paper, illustrated with 100 woodcuts of Salvador Dali with watercolors from 1950 to 1963, with a second set of the 100 woodcuts collected in suites of 6 volumes, each volume also include a decomposition. completed and in very good conditions.

8° (160x100 mm). Collation: AA4, a-s8, t4. [4], 148 leaves. Italic and roman type. Woodcut printer's device on the title-page and on the verso of the last leaf. Nineteenth-century half-vellum, marbled covers. Spine with title in gilt on red morocco lettering-piece. Red silk bookmark. A very good copy, a few small stains to fols. AA4 and a1. Light foxing in places.The rare first edition of the remarkable collection known as the 'Giuntina di rime antiche', the first anthology in print which contains Dante's canzoniere along with lyrics composed by poets of the Dolce Stil Novo tradition. Edited by Bardo di Antonio Segni, member of a distinguished Florentine family, this anthology is an authentic monument to Italian vernacular poetry. In his prefatory letter, the printer Bernardo Giunta addressed the publication to the Amatori de le toscane rime, i.e., admirers of Tuscan poetry, inviting them to read and study the early vernacular lyric tradition, and Dante's poems above all. The Giuntina di rime antiche is divided into eleven books (not ten, as erroneously stated in the title), and includes the texts of about three hundred poems, most of which had never previously appeared in print. The entries are grouped by metrical form and are almost entirely by Tuscan authors, although works from the Sicilian and Bolognese Schools are also included, with the former being represented by Giacomo da Lentini, Guido delle Colonne, and Pier delle Vigne, to name a few, and the latter by Guido Guinizelli and Onesto degli Onesti, among others. The first four books of this edition are entirely devoted to Dante, and contain – for the first time – his complete poems apart from the Commedia, including the text of Vita Nuova, which was only published in its complete form in 1576. The Giuntina poetical collection is very important from a textual point of view, and played a significant part in the reconstruction of the complex history of Dante's lyrical works. In addition to the fifteen so-called canzoni distese, the texts of which are mainly derived from Giovanni Boccaccio's transcriptions, the editor Bardo di Antonio Segni also attributes to Dante a selection of poems which have come down to us but are not included in the manuscripts. This edition represents the highest achievement in print of the long tradition of Florentine lyric anthologies.Adams T-1213; STC Italian 687; Camerini Annali 206; Pettas 219; Mambelli 995; Gamba 206; Philobiblon, One Thousand Years of Bibliophily, no. 78. Book.

Condición: Near Fine. First Complete Edition in English. First edition of the first full translation of Dante's Divine Comedy into English. Octavo. Three volumes bound in contemporary full calf with gilt stamping and raised bands to spine. Light rubbing to bindings, darkening to spines; shallow chip to head of Volume III. Tanning and light foxing to interiors, particularly the title page of Volume I, joints repaired at an early date, usual wear and toning due to age; last textual leaf of Volume II is partially detached along the top half. Housed in a custom chemise slipcase with green gilt-stamped morocco spine over green cloth. An important edition which brought Dante's epic work to an English speaking audience for the first time in its completeness, also marking the first publication in English of the Purgatorio and the Paradiso; the Inferno is here is in its fourth publication in English, following the first edition of 1782, and Boyd's 1785 Dublin and London editions. This edition was also instrumental in "assisting to re-establish an audience for Dante, whose reputation had suffered a decline in the previous century." A fantastic set in a beautiful contemporary binding, housed in a custom slipcase.

First English language edition. The first complete translation into English of Dante's "Divine Comedy." Bound in recent, full maroon straight-grained morocco, smooth spines ruled and titled in gilt, marbled end papers, all edges sprinkled red. The odd spot or bit of foxing internally, heaviest in the third volume, but an excellent set overall. Three 8vo volumes (pages 211 x 132 mm), collating: vi, [2], 408; [ii], 56, [ii (divisional title)], 57-62, 65-384 (complete); [ii], 420pp., engraved frontispiece portrait plate of Dante by Thomas Stothard in vol.1; complete. One of the world's great masterpieces and a foundational text of Italian literature. The Comedy took over a decade for Dante to write, he worked on it in exile, having been sent out of his native Florence in 1302, when his political faction fell out of favor. The work's genius was quickly recognized -- Boccaccio himself was so obsessed with it that he was responsible for adding the prefix "Divine." Over the years, it has influenced countless writers, among them Ezra Pound, T. S. Eliot, and James Joyce. Borges claimed it was "the best book literature has achieved." Boyd (1748/49 - 1832), a member of the Irish clergy, was responsible for the first English translation of the Inferno in 1785 as well as the complete work in this 1802 edition. His translation would help bring Dante back into literary circles after he had fallen by the critical wayside in the aftermath of the Renaissance and Enlightenment. The Divine Comedy soon regained its popularity; before the 19th century was up Longfellow would also try his hand at a translation and William Blake would make drawings of some of its more famous passages.

First complete edition in English of the Divine Comedy and the first publication in English of the Purgatorio and the Paradiso; the Inferno here in its fourth appearance in English, following the first edition of 1782 and the Dublin and London editions by Boyd in 1785. This complete edition helped "re-establish an audience for Dante, whose reputation had suffered a decline in the previous century" (ODNB). The translator, the Church of Ireland clergyman Henry Boyd (1748/9-1832), stamped his own character on this text with a lengthy introductory preface and an historical essay, the latter in addition to his translation of Leonardo Bruni's Life of Dante. Boyd celebrates Dante as an original genius whose reputation had been unjustly diminished by unimaginative laws of criticism dominated by the French propensity to "cast a damp upon original invention". Interestingly, Boyd attempts to associate the resurgence of Dante with the contemporary rise of radical thought and politics "in this age of enlightened reason and adventurous discovery" (vol. I, p. 1). Fiske Catalogue of the Dante Collection vol. I, p. 43; Lowndes, vol. I., p. 589. 3 volumes, octavo (229 x 142 mm). Contemporary half calf, smooth spines lettered and tooled in gilt, marbled sides. Vol. I with stipple-engraved frontispiece portrait, engraved by R. H. Cromek after T. Stothard. Bound without half-titles. Very light shadow of bookplates to front pastedowns, early signature "Beck" to front free endpaper of vol. I. Joints and extremities neatly restored, 55 mm closed tear to fore edge of B1 into text without loss, light spotting. A very good copy.

Legatura 700 in pergamena rigida con titolo in oro su tassello dipinto al ds. Tagli colorati. Al contropiatto anteriore e al recto della carta di guardia libera, quattro ex libris, di cui due ms. e due cartacei. Minuscola firma di appartenenza al piede del frontis. Alone marginale al frontespizio, altrimenti ottimo stato di conservazione. Mambelli, Gli annali delle edizioni dantesche (n. 41): Edizione pregiata ed unica del commento del Daniello ; Adams, D-104; Br. Libr., p. 210. Esemplare proveniente dalla collezione di Mario Compagnoni Marefoschi (1714-1780), cardinale, letterato e bibliofilo maceratese. 4to (cm. 19,5), 6 cc.nn., 727(1) pp. Marca tipografica al frontespizio ed al colophon. Illustrazioni calcografiche a piena pagina all inizio di ciascun Canto. Iniziali xilografiche n.t.

Leather. Condición: Very Good. Four volumes in five, with volume four being in two parts. 4to. 1757-1758. Volume 4-5: Prose, e rime liriche edite, ed inedite di Dante Alighieri, con copiose ed erudite aggiunte, 1758. Illustrated with altogether 114 engraved plates and numerous vignettes by F. Giampiccoli, J. Magnini, F. Rizzi, B. Crivelli and others after F. Fontebasso, G. Zompini, G. Schiavoni and G. F. Marcazzi, including frontis, portraits, unnumbered plates, map of Hell and the folding genealogy. Volume I with a small tear in the margin of ccxxvi-ii. Volume II mispaginated at xxi as xx, light stain to plate iv, and very small loss to the bottom corner of cccxliii. Volume III with light spotting to page introducing Canto I, with light foxing at the end. Volume IV mispaginated at p.50 as 80-81 for 50-51, and again at pgs. 54-55. Volume IV-part II with light staining at the prelims and mispaginated at xiii as 277. Bound in full calf leather, with diamond or diced pattern stamped boards, thick gilt border to front board and rear, sun motif devices in gilt to spine compartments and Dante stamped in gilt right on the leather on one compartment and the volume number on another. Marbled endpapers and text block edges, and engraved bookplate of Lord Lilford [with] Anti Room, Lilford label below. Each volume very clean throughout. The boards of volume II and IV have been recently re-attached and some areas lightly touched-up. With light wear to the leather at the edges of each, with scuffing and scarring to the spines and chipping to the spine of volume V. Overall a good and very clean set with minimal spotting throughout. An important collected edition of Dante's works that had a very strong subscriber base and is accompanied by commentary of some of the best Dante scholars of the time. The Zatta edition also featured new engravings for The Divine Comedy since the late sixteenth century. The first three volumes comprise The Divine Comedy, the last volume in two parts collects; Vita Nuova, Convito, Volgare Eloquenza, Sette Salmi Penitenziali and De Monarchia.

First Hachette edition with French text of Dore's magnificently illustrated edition of Dante's Inferno. Folio, bound in full morocco by Antoine Chatelin with elaborate Grolieresque gilt-decorated morocco onlays to the spine and panels, gilt turn-ins and inner dentelles, full gilt-decorated morocco doublures, watered silk endleaves stamped in gilt, marbled endpapers, illustrated with 75 full-page engravings by Gustave Dore including his striking frontispiece portrait of Dante. French translation by Pier-Angelo Fiorentino, accompanied by the text in Italian. In near fine condition. Housed in a custom clamshell box. An exceptional presentation linking two great artists of the 19th century. Widely considered the most important work of Italian literature and one of the greatest works of world literature, Dante's Divine Comedy takes as its literal subject the state of the soul after death and presents an image of divine justice meted out as due punishment or reward. The work was originally simply titled Comedà a (so also in the first printed edition, published in 1472), Tuscan for "Comedy", and was later adjusted to the modern Italian Commedia. The adjective Divina was added by Giovanni Boccaccio, in reference to the work's subject matter and lofty style, and the first edition to name the poem Divina Comedia was that of Venetian humanist Lodovico Dolce, published in 1555 by Gabriele Giolito de' Ferrari.

Encuadernación de tapa blanda. Condición: Bien. 1716 titulos de la coleccion austral de espasa calpe. 1716 libros de la coleccion espasa calpe, ruben dario, salinas, cela, aristoteles, platon, plutarco, etc. Algunos en primera edicion, la mayoria con sobrecubierta, algunos reencuadernados.

Condición: Buono (Good). 1. In-4° (mm 230x155), carte [442], (l'ultima bianca in fine). Con 87 figg. in legno nel testo, di cui 3 a piena pagina. Legatura in piena pergamena coeva, dorso a 5 nervi con titolo manoscritto al dorso. Restauro al margine inferiore del frontespizio. Un piccolo strappetto al margine di carta nn. 33 segnata (A7) che non tocca iltesto. Lievi arrossature diffuse, ma bell'esemplare. Mambelli, 30: "Edizione originale assai rara e ricercatissima della esposizione del Vellutello, con tre xilografie a piena pagina e vignette ad ogni canto; ha caratteri corsivi e carte 442 non numerate. Essa è giudicata una delle migliori edizioni antiche in carattere italiano ed è dedicata a Papa Paolo III. L'autore del commento vi ha premesso la vita del Poeta e nel Proemio parla con spregio della prima edizione aldina che giudica "incorectissima". Ha incisioni in legno che si attribuiscono, da varj, allo stesso Marcolini.". De Batines I, 82-84: "Bella e buona edizione, annoverata fra le rare". Gamba, 387: "Edizione bellissima". Brunet II, 502: "Une des meilleures édition anciennes de Dante". Essling, 545: "(7 bois ombrés, de diverses grandeurs, et d'une belle facture". Volkmann-Locella, 72-73: "La vera edizione moderna del Cinquecento.un nuovo trattare delle forme ed un un nuovo concetto distinguono le illustrazioni di questa edizione". Choix, 4406: "Première édition avec le commentaire estimé de Vellutello". Casali, 72. Adams D, 93. Book.

Encuadernación de tapa dura. Condición: Como Nuevo. Estado de la sobrecubierta: Excelente. Priamo della Quercia; Giovanni di Paolo Ilustrador. 1ª Edición. Retailed at +$12,000 you can now get one of the 750 facsimile copies in like-new condition of the inmortal work of Dante Alighieri, the Divine Commedy, made by Franco Cosimo Panini Editore, at nearly half-price. Due to the exceptional work of two Italian masters in the making of its 115 illuminations between 1444-1450, it is no wonder that one of the first owners of this extraordinary manuscript was king Algonso de Aragon, nor that it is currently housed in the British Library of London under signature Ms. Yates Thompson 36. Its 396 pages are sized 257x370 mm (10x14.5 inches) for one of the most glorious pieces of Tuscan Renaissance that you can now have at a more than fair price.

Condición: Buono (Good). edizione illustrata. Celebre edizione figurata, la prima a contenere tutta l\'opera dantesca. Per il gran numero di incisioni è considerata la più bella edizione di Dante del XVIII secolo ed un notevole esempio di figurato veneziano del \'700. Nei primi 3 volumi si trova la Divina Commedia, mentre il quarto volume, diviso in 2 parti, contiene Vita Nuova, Convito, Volgare Eloquenza, Rime, Sette Salmi Penitenziali, De monarchia e Memorie. 5 tomi in 4 volumi. Con 114 tavole f.t. incl. ritratti di Dante e dell\'imperatrice di Russia Elisabetta Petrovna (a cui è dedicata questa edizione); 282 tra testatine, finalini e capilettera figurati, il tutto inciso in rame, più una genealogia ripiegata. In 4°, mm 285x215, pp. [16], XLVIII, CCCCVIII; CCCCXIII, [3]; CCCCLII, [4], 103, [1]; XII, 408+[4], 264, LXXXIV, [2]. Solide legature coeve in pergamena con titoli in oro su tasselli di pelle ai dorsi. Tracce di polvere su alcuni margini e alcune carte nel 4° volume lievemente ingiallite o arrossate; ex-libris ai contropiatti. Buon esemplare. Book.

Hardcover. Condición: Near Fine. 1st Edition. First edition in English, 3 vols, 8 vo (9 1/2" x 6"), pp. vi, (1), 2-408, engraved frontispiece portrait; (1-3), 4-384; (2), (1-2), 3-420, index, errata et addenda. Original full old calf boards professionally re-backed in period style. Wear & rubbing to corners & edges. Sheets unusually clean & fresh with only occasional spot or minor foxing, unmarked, complete. Copper engraved heraldic bookplate on each paste down endpaper. H9710 All Items Are Sent Insured. Insurance charges are included in the Shipping & Handling Charges. International buyers please be aware that we are not responsible for and do not include or estimate customs duties, fees or taxes in any way in our listings. We ship all orders within 5 days of cleared payment. We do not create and are not responsible for shipping times or delays associated with customs and international shipping. All Items Are Sent Insured. Insurance charges are included in the Shipping & Handling Charges.

Hardcover. Condición: Very Good. No Jacket. 1st Edition. T. Cadell Jun. and W. Davies, in the Strand, London, 1802. Three volumes. Dante Alighieri (1265-1321) was a major Italian poet. He has been called the father of the Italian language and is one of the most admired and influential poets ever. His book, The Divina Commedia, is a masterpiece of world literature and is considered by many to be the greatest poem of the Middle Ages. The Divina Commedia describes Dante s journey through Hell (Inferno), Purgatory (Purgatorio) and Paradise (Paradiso). The work was translated into many European languages well before it was translated into English. The lack of English translations was due in part to Dante s Catholic views thought to be of little interest to Protestant English audiences. The first complete translation of the Divina Commedia, this set, was first published in 1802. The translator was the Rev. Henry Boyd. Boyd was most likely educated at Trinity College, Dublin. At the time the book was published, the Rev. Boyd was the vicar of Rathfryland, County Down, Northern Ireland. He was also chaplain to the Right Honourable Charles William, Lord Viscount Charleville, to whom this work was dedicated. The books are bound in contemporary mottled leather that has started to flake. The front cover hinges show some cracking at the bottom but are still very sound. The books are nice and square and are very solidly bound and unrestored. The lower book label on the spine of volume III is missing. It would read Vol. III on two lines. Marbled endpapers with two previous owners bookplates. The volumes are collated 100% correct. The page sizes are 208 x 128mm. Vol I frontispiece portrait of Dante, title page, dedication iii to vi + 408 pp; Vol II half title, title page + 384pp; Vol III half title, title page + 420pp. There are very minor traces of damp staining and foxing here and there. Overall a very sound and attractive copy of a truly rare seminal work in world literature.

leather. Condición: Near Fine. Maurice Denis Ilustrador. Illustrated Edition. A superb copy of this edition of Dante illustrated by French artist Maurice Denis. Full red calf with green leather inlays; this pattern is reversed on the reverse side of both boards. From an entire edition of 130, this one was printed expressly for the translator, who has inscribed it to his brother. Two holograph letters bound in--one to the artist Denis from his preferred collaborator, the engraver Jacques Bertrand; the other is a short response from Denis.Three extra color illustrations also bound in. There are shadows of where some other material has been removed. Despite their tantalizing absence, a beautiful, unique copy. Inscribed by Author(s).

Condición: Very Good. Octavo (16 cm); [248] unnumbered leaves, signed a-z, A-H\8. Italic type. Printer's cypher on verso of final leaf, reading "P. Alex Pag. Benacenses F. Bena. V. V.," generally interpreted to mean "Paganino and Alexander Paganini of Lake Garda made this. Viva Garda." Woodblock figures covering five pages at end, including an elaborate double-page map of the first canticle, and schematic representations of the "sins" outlined in the first and second canticles. In 19th- or early 20th-century white vellum over stiff boards, with gilt-tooled spine, and two red leather labels titled in gilt. Dated 1507 in manuscript on verso of final leaf. Mambelli assigns a date of 1506, even while acknowledging the opinions of others who assign dates of 1515 and 1527. References: Mambelli, 21 ("edizione assai rara e pregievole"); Adams D-91 (postulating date as c.1525); Olschki, catalogure LIII (1903) # 651 ("impression fort rare"); Sander, 2318; Baroncelli, La stampa nella riviera bresciana del Garda, #47; Angela Nuovo, Alessandro Paganino, #84; Fondazione Valle delle Cartiere, Alessandro Paganini (exhibition catalogue) #35, Edit 16, CNCE 1155 (postulating a date between 1527 and 1533). The date of issue of this undated octavo edtion of the Commedia, based primarily upon Bembo's redaction of 1502, has been tossed around, but recent scholarship has settled on the period between 1527 and 1533, when Alessandro Paganini published a series of classics in the octavo format. The house of Paganini, on the west shore of Lake Garda, was an eccentric firm that avoided the throng of Venetian printers. Alessandro and his father usually came out with books that looked and felt distinct from those of any other publisher, especially in terms of type design. The octavo Commedia is an exception to that rule. Although the Paganini italic font is a bit larger, rounder, and more readable than Francesco Griffi's Aldine archetype, it is not substantially different.

Ottima legatura inizi 900 in mz. pergamena con nervi, fili e scritte oro su tasselli in pelle rossa e nera al ds. Tagli azzurri. Frontespizio e ultima carta foderati, alcune macchie, leggeri aloni di umidità e poche annotazioni di antica mano ma, nel complesso, bell esemplare molto ben conservato di questa cinquecentesca edizione illustrata della Commedia. Mambelli, Gli annali delle edizioni dantesche , n. 29; Adams, D93. 8vo (cm. 20,4), 28 cc.nn., 440 cc. Medaglione con ritratto di Dante al frontespizio, incisione in xilografia a piena pagina all inizio dell Inferno e altre, più piccole, al principio di ciascun canto.

Condición: Buono (Good). 0. Cm. 16, cc. (2) 244 (4) [le carte 1 e 137-152, corrispendenti ai quaderni segnati s e t, provengono da altro esemplare con margini più corti, carte sostituite all'epoca della attuale rilegatura tardo-settecentesca. Completo della penultima carta bianca spesso mancante]. Ancora aldina al frontespizio, ripetuta alla carta 1, e all'ultima pagina. Con le tre celebri illustrazioni xilografiche alle ultime carte, due delle quali a doppia pagina. Bella legatura antica (ascrivibile alla fine del Settecento) in piena pergamena con unghie, nervi passanti e dorso liscio con titoli manoscritti. Risguardi in carta policroma, tagli colorati in blu. Traccia di antichi timbretti nobiliari. Qualche sporadica e fisiologica arrossatura/macchietta (leggermente più marcate alle prime e ultimaìe carte), lieve e marginale alone all'angolo delle ultime due carte, peraltro esemplare nel complesso, data l'alta epoca, ben conservato. Seconda edizione aldina della Commedia, curata da Pietro Bembo, ancor più rara della prima del 1502 (Olschki, Choix, 4395: "edition aldine aussi rare que la premiere"). Uno dei libri antichi più desiderati e ricercati dai bibliofili collezionisti di testi letterari e di aldine. Cfr. Renouard, p. 73, n. 8; De Batines I, 71; Brunet, II, 501; Adams D â 88; Gamba, 385. . . . . . . 0. . Book.