publius vergilius maro (Más de 2.900 resultados)

Hardcover. Condición: Fine. FIRST EDITION. An exceptional, and exceptionally large, "large paper" copy. This copy is complete with the engraved frontispiece, the extra plate depicting Vergil reading the Aeneid to Augustus, and all 101 of the magnificent engraved plates by W. Hollar called for in this edition: ten in the Bucolics, twenty in the Georgics, and seventy-one in the Aeneid. Bound in 17th-century paneled calf, very nicely rebacked in the 18th-century. The spine is separated into eight compartments, ruled and tooled in gold, by raised bands. There are two spine labels, one in red and one in green morocco, tooled in gold. The boards are framed by a single gold fillet. Internally, this copy is in superb condition with very little of the browning associated with this edition. The great majority of leaves are crisp, lily-white and wide margined. In fact, this is the largest, and cleanest copy that we have had the pleasure to handle. There are a few incidental marginal tears, only one of which -now mended- enters an engraving (opposite p. 261.) The final leaf is ink-stained. "Dryden's 'translation of Vergil'" says Pope, (whose own translation of Homer was inspired by Dryden's work) "is the most noble and spirited translation I know in any language." (Thomas) "The book was published by subscription, a system of joint-stock patronage now coming into vogue. [.] Dryden's correspondence with [his publisher] Tonson showed a good many bickerings during the publication. One cause of quarrel was Tonson's desire that the book should be dedicated to William III. Dryden honourably refused; but Tonson had the engravings adapted for the purpose by giving to Aeneas the hooked nose of William (Dryden, Letter to his son, 3 Sept. 1697)." (DNB) "Shakespeare probably knew at least the earlier books of the 'Aeneid' in Latin, while Milton's 'Paradise Lost' attempts to provide an English equivalent not only for Vergil's epic themes but even for his syntax, diction, and as far as possible, meter. But in Britain he was also particularly well-served by translations. In the seventeenth-century the epic was translated by Dryden." (Gian Biagio Conte's "Latin Literature, A History").

Hardcover. Condición: Fine. Bound in an exquisite binding of eighteenth-century mottled calf, highly polished and beautifully tooled in gold along the edges of the boards. The spine is separated into six compartments by the raised sewing supports, each of which, aside from that bearing the citron morocco label, is decorated with attractive floral tools. The large gilt armorial crest consisting of a Pegasus head and wings "LTHD" on upper cover, earl's coronet and "EDDE" on lower cover. The edges of the text block are stained a solid red. The binding is in exceptional condition, with only the slightest bit of wear. The text itself is in excellent condition. The text of the poem is set in Black Letter and is adorned with attractive woodcut initials and head- and tail-pieces throughout. Creede's woodcut printer's device appears on the title page. Excellent. Provenance: Tollemache, Earls of Dysart, Helmingham (supralibros, engraved armorial bookplate on title verso, note on front pastedown in hand of Lionel Tollemache, fourth Earl). This is the fourth complete printing (first 1584) of the first complete English translation of Virgil's "Aeneid", translated by Thomas Phaer (c. 1510-1560), who was responsible for the first nine books, and Thomas Twyne (c.1500-1581), who translated the final three after Phaer's death. The Phaer-Twyne translation was preceded by Gavin Douglas' version in Scots (1553) and a fragmentary verse translation (books 2 and 4) by Henry Howard, Duke of Surrey (1557). "The complete translation of the 'Aeneid' by Thomas Phaer and Thomas Twyne has every reason to be considered the central English Renaissance 'Aeneid.' The publication history tells the story succinctly. Whereas no other translation of Virgil was printed in England more than twice until the 1650s (and only the Earl of Surrey's translation of Book 4 was printed more than once in England during this time), the translation by Phaer and Twyne went through eight editions, running from 1558 through to 1620. It influenced the translations by Richard Stanyhurst (1582), Sir John Harington (1604) and Sir Thomas Wroth (1620), and it was still one of the most important subtexts for John Vicars' 'The XII Aeneids of Virgil' (1632). Much as the translation by Annibale Caro came to dominate the market for Virgil in Italian, the Phaer-Twyne 'Aeneid' became the English standard. It was not until the eighteenth century that any English translation of Virgil's epic went through more editions. "That this translation would become so successful would have been difficult to predict from its inauspicious beginnings. The initial translator, Thomas Phaer, was a physician and solicitor in the Marches of Wales. He published nothing else in verse and would have made an unlikely candidate for a great interpreter of Virgil. Nevertheless, in 1555 he began work, hoping to be the first to 'sette open' the gate so that future translators could follow. Although Phaer seems to have been aware of both the Middle Scots translation by Gavin Douglas and the two books by the Earl of Surrey, he presented his version of the Aeneid as the start of a new line of translations. By December 1557, Phaer had completed a version of Books 1-7. He had these printed in 1558. By April 1560, he had completed up to the end of Book 9. But late in that spring, he suffered a riding accident that ruined his hand and would soon cost him his life. "Before his death on 12 August, he sent all that he had finished of his translation - which was then up to line 286 of Book 10 - to William Wightman, a friend of his in Pembrokeshire. This friend fervently believed in Phaer's literary gifts and, after Phaer had passed away, he searched the deceased's house for any trace of remaining verses. But there was none to be found. In 1562, Wightman resigned himself to publishing what he had of Phaer's Virgil, hoping that another author might complete the project. Just over a decade later, the work was taken up by Thomas Twyne, who was a physician in London.

Hardcover. Condición: Very good. " FIRST EDITION thus, ff. [ii], 232, I4 bound before I3. Lettre Bâtarde in double columns, Latin text in side notes, woodcut white on black and grotesque initials, title-page printed in red and black with large grotesque initial L in Vérard style, Gailot du Pré's woodcut architectural title border in four parts, Gailot du Pré's name and shield with horse in lower block (Renouard 263 lower portion), two large half page woodcut illustrations with a further 30 woodcut illustrations in text in various sizes, 'Maurus de Gounel, Genus?' in contemporary hand on title, autograph 'Constantine' in slightly later hand beneath, C19 armorial bookplate of the Earl of Macclesfield on pastedown, Shirburn Castle blindstamp to head of first two ll. Title fractionally trimmed in lower and upper margins, title and verso of last slightly dusty, light waterstains to lower margins, heavier on last few leaves, a few ink stains and the occasional thumb mark. A very good copy in English early eighteenth-century speckled calf, covers bordered with triple gilt rule, large gilt fleurons to corners, spine gilt in compartments with central fleurons, raised bands, gilt tan morocco title label, all edges speckled red. Rare first collected edition of the works of Vergil in French, in the verse translation of Guillaume Michel de Tours for the Eclogues and Georgics and Octovien de Saint-Gelais for the Aeneid. The individual titles had been published in separate editions, all three of which are exceptionally rare; 'Les Eneydes' by Octovien de Saint-Gelais in 1509, 'Les Bucoliques' in 1516 and 'Les Georgicques' 1519 both by Guillaume Michel. This collection of the works was republished in 1532 and 1540. Both the translators were poets of some note, both Rhetoriqueurs, the name generally given to the group of poets active from approximately 1450 to 1530, between Villon and Clement Marot (including Chastellain, Meschonot, Molinet, Gringore, Crétin, Jean Lemaire de Belges, Jean Marot, and Jean Bouchet, who was still writing in 1550). St.-Gelais and Michel shared an intense preoccupation with rhetoric; it was as 'l'art de seconde rhétorique' that they classified poetry. Both were prolific and extremely influential translators of classical texts. Octovien de Saint-Gelais had considerable, knowledge of the literature of antiquity, and an eagerness to display it, sometimes leading to an excessive use of Latinisms in pursuit of a high style. His work in general concentrates on purely formal devices, such as elaborate rhyme schemes (rimes léonines, couronnées, enchaînées, équivoquées), alliteration, puns, rebus, and other types of puzzles. All this is sometimes (inevitably) at the expense of clarity. The Rhetoriqueurs influence on Renaissance poetry, with all its formal experimentation, was considerable. Rabelais too, with his love of puns and lists, can be seen as a direct heir. There had been an earlier anonymous translation of The Aeneid published before Saint Gelais' but it was really a reworking of the text rather than a translation. "Influenced by the philological impulse of the earlier Humanists, sixteenth-century translators are almost universally concerned to demonstrate the fidelity and accuracy of their versions. The prose 'remaniement' of Vergil, close to a romance, which appeared anonymously in 1483 was challenged in 1509 by the posthumous publication of Octavien de Saint-Gelais' verse translation composed with the intention 'to translate this book from its lofty distinguished Latin word-for-word and as closely as possible'." The Cambridge History of Literary Criticism. The works of Vergil had been published numerous times in France but no edition was more influential on French Renaissance literature than this poetical translation that brought Vergil's work to a much wider audience. It was unequalled until Clement Marot's version was published in 1577. Most, if not all, of the woodcuts used in this volume are incunable blocks from Vérard's general stock, givin.

Hardcover. Condición: Very Good. 1st Edition. Folio, ff. (x) 135 (i), *6 **4 A-Z6. Roman and Italic letter, sporadic Greek. Title page skilfully laid down, some tiny wormholes on upper margin. Title within border, large oval woodcut vignette with female personification of Truth emerging from water in a marine setting (motto: "Emergit tandem veritas"); decorated initials and capital spaces with guide-letters. Text partially in double column: Portuguese translation with original Latin text aside. Early ms. note on verso of front flyleaf stating this work is a rare first edition. D1 with tiny hole, repaired. Light age yellowing throughout, occasional spotting, and dampstaining affecting blank foot margins of last quires. Little wormholes to foot margin of final two leaves. Bound in contemporary full speckled calf, covers with edges slightly rubbed, some chips on rear covers, richly gilt spine in compartments with red morocco label. An excellent copy. This is the rare first edition of the Portuguese translation of Vergil's Georgics and Bucolics. The great Latin poet Vergil (70 BC-19 AD) was born in the village of Andes, near the city of Mantua. He received his first education in Cremona, later moving to Milan and completing his studies of rhetoric in Rome, where he also learned philosophy. Between 42 and 39, he composed the Bucolics. Later he wrote the Georgics and then the Aeneid, his masterpiece. Leonel da Costa (1570-1647) was a soldier and a poet who first translated the works of Vergil and Terence into Portuguese. He was regarded by his contemporaries as one of the major experts of the Portuguese language. Already very influential in its manuscript form, Da Costa's translation of the Eneid was only partially rediscovered in the nineteenth century. Arouca no. M 12; CCPB no. CCPB000878326-8; Palau no. 370577; Porbase no. 961276; USTC 5021617. "Raro" in Biblioteca Nacional de Lisboa's Exposicão vergiliana: Catalogo, 1931, p.46.

No. 105 of 225 copies (Nos. 201 to 225 were not for sale). There was also a German edition and a French edition. Folio. 116p. Printed on Maillol-Kessler paper hand-made from pure hemp fibre and linen, and sold by Emery Walker. Eric Gill designed and cut the title and lettering around and fourteen initials ornamented by Maillol. With forty-three illustrations drawn and cut in wood by Aristide Maillol (1861-1944). Set by Erich Dressler and Walter Tanz in Jensen roman and Johnston italic. Bound in full crimson crushed morocco with simple vertical gilt spine title of artist and author, t.e.g. (The binding is signed in blind on the rear turn-in which is hard to decipher, but we believe it to be W.L. Smith & Sons). The Book as a Work of Art, The Cranach press of Count Harry Kessler, no. 67; The Artist & The Book, no. 172. Occasional light spotting to the text, else fine with slight bumps to outer corners No. 105 of 225 copies (Nos. 201 to 225 were not for sale). There was also a German edition and a French edition.

FIRST EDITION. 260 x 175 mm. (10 1/8 x 6 7/8"). 2 p.l., xxxv, [1], 459 pp. With the half title. RICHLY GILT CONTEMPORARY SLATE BLUE MOROCCO with wide filigree frames formed by multiple decorative rolls, floral centerpiece composed of small tools, raised bands, gilt compartments with fleuron centerpiece surrounded by small tools, curling cornerpieces, one compartment with date "1743," another with gilt titling, gilt-rolled turn-ins, marbled endpapers. Engraved title, medallion portrait on printed title, historiated engraved headpiece and initial, engraved typographic specimen in the text, decorative tailpiece. Printed in red and black. Front pastedown with book label of Gulielmi [William] O'Brien and library label of Milltown Park Jesuit Library; title page with the library's ink stamp. Forbes Collection, p. 9; Updike I, 171; Dibdin II, 551; Schweiger II, 1174; Brunet V, 1291; Graesse VII, 341. â Tiny chip to head of front joint, extremities a little rubbed, the boards with variable fading, but the once-splendid binding solid and still glittering with gilt. Isolated minor marginal smudges or stains, but A VERY FINE COPY INTERNALLY, clean, crisp, and quite bright, with deep impressions of the type. This is Joseph Manni's intriguing attempt to give an exact textual and a convincing paleographical replication of the most important and complete ancient manuscript of Virgil, the famous "Codex Mediceus" in the Laurentian Library in Florence. As such, it is the first typographic facsimile of any manuscript, and qualifies as an important event in the history of printing. The manuscript is written in rustic capitals, which are imitated with some success in this typographic facsimile by a specially fabricated font of type; marginal and interlinear corrections are also included. The "Codex Mediceus" is of particular importance because it is complete except for the first part of the "Eclogues" (which are supplied here from another source) and because it is one of the few more or less precisely dated Latin literary manuscripts: a note in it says it was reviewed or corrected by Tucius Rufius Apronianus Asterius, who was one of the consuls in 494. This book is seldom found, as here, in an appealing contemporaneous binding.

Edition : First Basel Edition, Expertly restored contemporary full vellum; rebacked expertly saving the original spine, spine raised with five bands and gilt lettered title on morocco label on two; edges sprinkled red; endpapers renewed. , Text in Latin. Some in Greek. Vergilius Maro Publius Bucolica, Georgica, and Aeneis, commentary of Tiberius Claudius Donatus and Maurus Servius Honoratus, with introductory texts by Hiob Magdeburg, Diomedes Grammaticus, and the editors Christopherus Caseanus and Matthias Marcus Dabercusius. This rare edition, with one copy in Berlin?s ?Monumenta Germaniae Historica? and another at the University of Basel, is not listed in most reference books. The Roman poet Publius Vergilius Maro (c.70?19 BC) wrote three of the most famous poems in Classical Latin literature the Eclogues or Bucolics, the Georgics, and the Aeneid. A number of minor poems, collected in the Appendix Vergiliana, are sometimes attributed to him. Virgil is traditionally ranked as one of Rome's greatest poets. His Aeneid has been considered the national epic of ancient Rome since the time of its composition. Virgil's work has had wide and deep influence on Western literature, most notably Dante's Divine Comedy, in which Virgil appears as Dante's guide through Hell and Purgatory. Following his death, Augustus ordered Virgil's literary executors, Lucius Varius Rufus and Plotius Tucca, to disregard Virgil's own wish that the poem be burned, instead ordering it published with as few editorial changes as possible. As a result, the text of the Aeneid that exists may contain faults which Virgil was planning to correct before publication., Size : folio (269x180mm). , Illustrated with initial woodcuts throughout; majority of text in two attractive concentric rectangular frames generally extending over two pages, with the outer in Italic font for commentary and the inner poetry in Roman type. , Unobtrusive, faded ink note in contemporary hand on title; marginalia also at a2 r&v, a4r&v, a6r, c1r. , References : VD16 V 1354; Hieronymus/Petri, Nr. 337; a rare edition ? not in Adams; , [124], 974.; collation: *1r with title, *2-6, **4, tt6, ttt6, tttt6, ttttt5; t5; ttttts4; a-b6, c8; a-z6, A-Z6, Aa-Zz6, Aaa-Lll6, Mm8. An attractive example in very good condition with text clean and crisp; upper cover stained; title expertly repaired; second leaf with marginal reinforcements; small marginal tears at b2, c1,4,5&8; O3&4; R1; small marginal dampstain at c1; marginal soiling at Y4; faint spill not affecting legibility at Q3.

Couverture rigide. Condición: Très bon. Estado de la sobrecubierta: Très bon. (Le Virgile du Comte Jean du Barry, l'homme qui découvrit et présenta au Roi la célèbre maîtresse qui prit la place de Madame de Pompadour) VIRGILE (Vergilius Publius Maro) (Andes (Lombardie), 70 avant J.C. - Brindes (Sud de l'Italie), 19 avant J.C.) "L'ENEIDE DI VIRGILIO DEL COMMENDATORE ANNIBAL CARO". 1760, Parigi, Vedova Quillau. 2 volumes in-8° (217x152 mm) (dimensions pages 210x140 mm) I: 1 portrait de Virgile gravé par Ficquet, 2 ff. (1 frontispice gravé, 1 dédicace), 2 pp., 2 ff. (table des gravures sur cuivre et errata), 314 pp., 6 planches gravées sur cuivre h.t., 9 gravures sur cuivre dans le texte, toutes dessinées par G. Rocchi et gravées par J.J. Pasquier, L. Lempereur, J. Tardieu, Le Veau. II: 1 portrait d'Annibale Caro gravé par Defehrt, 1 frontispice gravé par P. Chenu, 342 pp., 1 f. (privilège), 6 planches gravées sur cuivre h.t., 9 gravures sui cuivre dans le texte, toutes dessinées par G. Rocchi et gravées par Defehrt et Prevost. En total: 12 planches et 18 gravures sur cuivre. Reliure de l'époque en maroquin rouge. Encadrement de triple filet doré sur les plats. Dos à cinq nerfs avec décorations et fleurons dorés, pièces de titre et de tomaison en maroquin citron; armoiries dorées en queue des dos. Filet doré sur les coupes. Tranches dorées. Gardes de papier décoré. Exemplaire imprimé sur papier fort. Quelques pages avec des rousseurs, infimes usures à trois coins, mais très bel exemplaire. Provenance : Exemplaire aux armes dorées du Comte Jean du Barry, dit le "Roué" (Lévignac, 1723 - Toulouse, 1794). "Ce Toulousain, beau parleur, bavard et conteur, plein de faconde, connaissait jusqu'où peut être portée la fortune d'un homme qui dispose d'une jolie femme. Cette jolie femme, il osait rêver de la présenter au Roi". (Paul Reboux: "Les Conqûetes d'Amour et la Gloire du Maréchal, Duc de Richelieu", 1929, Paris, Flammarion, p. 250) Il habitait à Paris, rue Neuve-des-Petits-Champs. En 1769, il arriva à présenter, avec l'appui de membres influents de la Cour, la future Comtesse du Barry au Roi Louis XV et, comme reconnaissance, il reçut, entre autre, le comté de l'Isle-Jourdain. Les rarissimes livres lui ayant appartenus et portant ses fers furent catalogués et vendus, au XIXe siècle, comme livres aux armes de la Comtesse du Barry, la favorite du Roi Louis XV. Les fers, au dos, sont attribués à Gravelot (Pour les même fers sur des livres appartenus au Comte du Barry, voir les catalogues Libr. Sourget n° XXX/2005 n° 171 et XXXV/2007 n° 144 et n° 162). Ex libris armorié du XIXe de la famille Alfieri (Asti) à la page de garde de chaque volume. C'est la famille du célèbre poète et écrivain Vittorio Alfieri. (LCPCLIT-0005) (5.500,00 ) (Tous les livres provenant d'Italie possèdent la licence d'exportation (Attestato di Libera Circolazione) du Ministero dei Beni e Attività Culturali).

Hardcover. Condición: Fair. VERGILIUS MARO, Publius. Opera cum decem commentis, docte et familiariter exposita. The Burne-Jones copy. [Lyon: Jean Crespin], 1529 Folio (31.5x22cm); 2 parts in 1; lacking sigs. A at beginning, F4&5, 1-8 at end; modern binding with early calf boards overlaid, panels triple gilt ruled, central gilt ornament within triple gilt ruled frame, rebacked to style, 5 raised bands, compartments double gilt ruled with ornamentation, gilt title and year of publication; cracking on spine and along joints, worn and scratched, some worm trails making the inner board visible; marbled pastedowns, label to front pastedown of the library of Edward Burne-Jones, ink ownership marking E. Burne-Jones. London. 1884. ; small roman double column commentary surrounding single column text, some pencil annotations; marginal repairs throughout the volume, spotting affecting text in places, and water staining to gutter and margins in parts, light worming to last few leaves; some early ink annotations to margins, 193 fine woodcuts within text, most of them half page, numerous woodcut decorative initials. The commentary is substantially that of the 1517 edition with the Castigationes, & varietates Virgilianae lectionis of Giovanni Pierio Valeriano Bolzani added. One of the most lavishly illustrated works of the sixteenth century, this work comprises 193 large woodcuts accompanying the works of Virgil. The woodcuts are the same Strasbourg blocks used in Jacque Sacon s 1517 Lyons edition, designed for Johann Grüninger. It is crowded with wonderful pictures, in which on the very eve of the Renaissance Virgil is thoroughly medievalized (Pollard, Fine Books, p.112). Grüninger s artist applied a skilled hand a vivid imagination and, although showing some wear and some having been replaced by repetitions of other scenes, these illustrations remain a major artistic endeavour. The extremely detailed interpretation of the text by means of images implies a thorough knowledge of Virgil s text, while the resulting visual narrative, in addition to the textual understanding supplied by the Latin writing, creates a striking and absorbing display (Frick, Visual Narrative, p.241). It comes as no surprise, the provenance of this book being the library of Edward Burne-Jones (1833 - 1898). A Pre-Raphaelite painter, Burne-Jones rejected the industrial world of the Victorians, looking instead for inspiration from medieval art, religion, myths and legends. He made spectacular works depicting Arthurian knights, classical heroes and Biblical angels - working across painting, stained glass, embroidery, jewellery and more. With his friend William Morris he was a pioneer of the arts and crafts movement, which aimed to bring beautiful design to everyone (Tate). Burne-Jones was also an illustrator, producing works in the same vein as his paintings with the Kelmscott Press between 1892 and 1898. No doubt inspired by some of the late medieval woodcut illustration of this Virgil, his works transport the viewer into a mystical past, not only on of aesthetic similarity but directly from the essence of his images. USTC 203548; Adams V474; Redgrave: Bibliographica II. 47-60 ill.; Mortimer French 538; Brun, p. 322.

Condición: Fine. Number of volumes: 2.

33x25,5 cm. 4 nn. Bl., 111, (5) S., 6 nn. Bl., Gonin-Maillol - Bütten mit der Meernixe als Wasserzeichen. Mit 4 Holzschnitt-Titeln. Lose Bogen in O-Bütten Umschlag in OHPgt.-Einband in O-Schuber. Eines von 200 numerierten Exemplaren. Unserem Exemplar liegt noch eine 2teilige Originalzeichnung bei zum Werk passend, welche wohl im Druck keine Verwendung fand. "Obige Zeichnung: Nackte Frau auf einem Stier liegend; Untere Zeichnung: Nackte Frau mit Krug (Wasser läuft aus) und 4 Schaffen". Unten eigenhändig von der Künstlerin signiert. Gezeichnet auf gleichem Bütten wie das Werk und 1 Doppelblatt-Bütten gelegt. Die ausdrucksstarken Umrißlinien-Holzschnitte im Stile Maillols stammen von der Malerin, Bildhauerin und Dichterin Lucile Passavant, einer Schülerin Maillols. Gedruckt bei Dumoulin unter Druckaufsicht von Philippe Gonin. Schönes Exemplar. Katalog Gonin 1976/77 Nr. 70 - Kat. - Kat. Luxemb. 1990 (Text.-Images) Nr. 17 m. Abb. - Hane Cailler, L. P., Genf 1968 (bei P. Cailler) - Benezit VIII 152.

Rilegato. Condición: in ottime condizioni. [Incunabolo] (cm. 31,3) bella legatura del XX secolo in mezza pergamena antica, piatti con foglio dalla Cronica di Norimberga del 1493, sguardie antiche. -- carte 317(di 328). Carattere romano, 61 linee, testo inquadrato dal commento. Molti capolettera ornati e figurati grandi e piccoli a fondo nero molto belli. Edizione assolutamente rarissima posseduta secondo I.G.I. da 1 sola biblioteca italiana: Fondazione Ugo da Como di Lonato (Brescia), che ne possiede un esemplare scompleto. Goff solo 2 copie in America, Sander nessuna vendita, Mambelli cita il solo esemplare della Nazionale di Parigi e Graesse lo cita senza descrizione. Manca ad Hain, Proctor, Polain, Oates, Harvard, Pellechet (Lyon), BMC e ai celebri Cataloghi come Baer N°585, Harper(1930), Rosenthal Monaco 1900, Olschki 1903 "Monumenta", Olschki 1915 "Incunabula" e a molti altri da noi consultati. Il nostro esemplare inizia con carta numerata 2 segnata b2 e termina con la carta numerata 319 che contiene al verso il colophon e il registro, la successiva carta che manca è bianca. L'opera termina con carta 319 ma in realtà sono 328. Mancano le prime 8 carte di cui la prima è bianca, segnate a8 e la carta 1 segnata b1, nonchè la carta 158 segnata x6, in fine manca l'ultima carta P8 che è bianca. Complesivamente mancano 9 carte a stampa e due carte bianche. Alcune lievi macchie marginali all' interno, alcuni aloni alle prime 15 carte e alle ultime 16. Ultima carta con vecchio restauro al margine bianco basso, peraltro esemplare bello fresco e genuino ben accettabile per la sua rarità con notazioni manoscritte dell' epoca ai margini. * Copinger 6062; * I.G.I. 10219; * Goff V 182; * Mambelli 65; * Kallendorf 30; * Panzer III 303; * Denis Suppl. 318; * Graesse VII 334; * Castan "Incunables" Besancon N° 955; * H. Walters (Olschki) Baltimore 1906 pag. 409 ha una copia scompleta priva delle prime 8 carte.[F80].

42, [3] Bl. [A8, B-C4, D8, E-F4, G8, H6]. Durchgehend rubriziert. [Mit 5 Dystichen auf dem Titel]. Mit schwarzgrundiger Schmuckinitiale B im Titel und schwarzgrundiger Holzschnitt-Initiale im Vorwort (Proemium) von Hermannus Torrentinus. Pergamentband des 19. Jhs. (Vorsätze erneuert). Von einer Humanistenhand sehr extensiv annotiertes Exemplar dieser ungemein seltenen Strassburger Ausgabe. Sie stellt den dritten Druck der "Bucolica" des aus Zofingen stammenden, seit 1500 in Strassburg wirkenden, Johannes Knobloch [eigentlich Cist (gest. 1528)] dar. Knoblochs erstem Druck von Vergils Zyklus in zehn hexametrischen Gedichten von 1508, basierend auf der Kölner Bucolica-Ausgabe von 1503, folgte 1510 ein geringfügig korrigierter Neudruck. Der Kommentar des aus Zwolle stammenden Grammatikers Hermannus Torrentinus [Herman van Beek oder van der Beeke (gest. 1520)] war erstmals 1495 gedruckt worden. Ausgerichtet ist Torrentinus' Text auf die Bedürfnisse des poetischen Anfangsunterrichts und gibt entsprechend häufig ganz elementare Erklärungen. In jedem Abschnitt des Kommentar wird zunächst eine kurze Einführung zur vorausgegangenen Textpartie geboten, an die sich die "Constructio" anschliesst, in der zum leichteren Verständnis die poetische Wortfolge in die in Prosa zu erwartende Abfolge gebracht wird. Dabei werden die einzelnen Wörter jeweils mit "id est" glossiert und paraphrasiert. Danach folgen die Worterklärungen. Torrentius' Kommentar wurde noch bis in die Mitte des 16. Jhs. hinein wiederholt abgedruckt. - Teilweise mit schmalem Wasserrand, die Marginalien stellenweise im Aussensteg etwas beschnitten. - VD 16, V-1446; Schmidt 79; Panzer VI, 55, 246; Ritter 2415; Muller 112; The Vergil Collections at Princton, Nr. 527; vgl. B. Schneider, Vergil (Ausstellungskat. HAB Wolfenbüttel 1982), D. 96 (Ausgabe 1510). Nicht in Mambelli und Leoncini. Very interesting copy, studiously and extensively annotated by a contemporary Humanist hand of this very scarce Strasbourg edition. It represents the third print of the "Bucolica" by the Swiss born Strasbourg printer Johann Knobloch (died 1528). After his first print in 1508, which is based on the Cologne edition of 1503, Knobloch reissued a slightly corrected edition of Vergilius' cycle of ten hexametric poems in 1508. The commentary of the Zwolle born Hermannus Torrentinus [Herman van Beek or van der Beeke (died 1520)] had appeared first in 1495. It was written for the use of elementary instruction in poetry in his school at Groningen and Zwolle and offers correlatively often elementary explanations. In every part of the commentary is given a short introduction to the previous section of the poem, followed by the "Constructio" and the explanations of the single words. The commentary of Torrentius, whose eyesight was failing around 1508 was reprinted up to the middle of the 16th century. - With narrow waterstain in parts, few marginalia minimally affected by slightly trimmed outer margin. - 19th century vellum (later endpapers and fly-leaves). Sprache: lateinisch.

Rarísima edición de la que no hemos encontrado ejemplares en bibliotecas públicas. Al estar falto de la portada y probablemente un par de hojas al final, no tenemos indicaciones de lugar de impresión, impresor y fecha, y deducimos por los textos fechados en la introducción que esta es posterior o coetanea a la fecha indicada en el folio aa5: "Ex offcia nostra literaria in Parrhysiorum Lutecia. ad viii. Kal. Maiis. M.D.V et etiam idus ad apriles. Anni ab redemptione humana M.D.XV. Tipografia romana para el texto original, y gótica para los comentarios; letras capitales xilográficas. Ilustrado con 166 grabados en madera, 80 de ellos a 3/4 de páginas, y los demás a media página. 5 hojas (de 8, faltan la portada y las dos hojas siguientes), CXII folios + CCXXII folios (faltan los folios CLXXIX-CLXXXII), 6 hojas, XXXVIII folios (faltan los folios XX-XXI). restauraciones en los margenes de algunas hojas, sombras antiguas de humedad en la primera parte del libro que va desapareciendo. Dos hojas con la imagen recortada y vuelta a montar sin perdida (fol.L y CLXXXIII). Encuadernación moderna en pergamino con título rotulado en el lomo. Anchos márgenes. 32x21 cm.

Hardcover. Condición: Very Good. An early 16th century edition of the works of Virgil. Contained within is his poetical epic, the Aeneid, along with his Eclogues, and Georgics. There are close to 200 beautiful woodcuts, various size, with many half page and three-quarter page examples. These are exemplary copies of the woodcuts from the Strasbourg Gruninger edition of 1502, displaying images of battle, mythological creatures, and more. Close to half of the woodcuts have been crudely enhanced in color wash by an amateurish hand. There are some contemporary ink annotations as well. The title page is missing and has been supplied in an 18th century manuscript facsimile. Three parts bound into one quarter vellum volume in folio, (7 of 8)+122+250+47 leaves This volume is in very good shape, with minimal rubbing and wear to the binding. There is some damp staining affecting about 100 leaves, and scattered spotting and staining. Some of the pages have been trimmed a bit sharply.

Hardcover. Condición: Very Good. P. Virgilii Maronis Opera. Mauri Servii Honorati grammatici in eadem commentarii. Castigationes. (Paris, Robert Estienne, 1529-32). Folio (320 x 218 mm). [13], 707, [62], [6], 205, [24]. Roman type. Small woodcut printer's device to collected titlepage, full-page woodcut printer's device to the Castigationes. Woodcut criblé initials throughout. 19th century half calf over marbled boards with vellum-tips, spine divided by blind-ruled raised bands into seven compartments, gilt-lettered and ruled red morocco label in second compartment, gilt-lettered direct to tail of spine. Mild soiling and browning to edges of leaves, occasional marginal annotations and marking to text in an early hand. Overall a fine and wide-margined copy in a simple yet attractive binding. The first work from Robert Estienne's press to contain the three sizes of Roman type attributed to Claude Garamont, and an early example of the magnificent full-page printer s device of the scholar at the olive tree with the full tag noli altum sapere, sed time ("be not high-minded, but reverent"), which first appeared in his Bible of 1527/8. The Castigationes of Pierio Valeriano Bolzani (1477-1558), first printed in Rome in 1521, were originally issued by Estienne in 1529, and the unsold copied were included with the 1532 Virgil (as indicated on the collected title-page and thus not strictly, as often claimed, two works bound as one). Bolzani was a prominent Italian humanist, tutor to the nephews of Leo X (Giovanni de' Medici), and secretary to Cardinal Giulio de' Medici (the future Clement VII). Bolzani published widely (including a treatise on the vicissitudes of the intellectual life), but is most famous for his early work on Egyptian hieroglyphs, following upon the discovery in the 15th century of the Hieroglyphica of Horapollo. While editions of Virgil were legion in the first hundred years of printing, Estienne's 1532 Virgil stands out for the quality of the text-including the first critical edition of the commentary of Servius-as well as the beauty of the typography. While austere in some regards (Estienne's editions of Classical texts lack the florid woodcut illustrations that were popular in certain quarters), Esitenne's main audience were the humanists and scholars of the nascent French renaissance, and his role in advancing humanist learning would soon be rewarded when François 1er appointed him Royal Printer. Renouard 37/12 and 30/14.

Rilegato. Condición: quasi ottimo. In folio (30x21). Con bel frontespizio xilografico a bordura e 24 grandi xilografie in deliziosa coloritura di epoca più tarda. Ininfluenti strappi marginali a pochissimi fogli e all ultima carta ma buon esemplare solido in ottima legatura tardo Settecento mezza pelle, titoli su tasselli bicolori ai dorsi. Edizione notevolmente rara del corpus virgiliano. Bella edizione figurta; è una delle numerose impressioni eseguite dai Giunta a Venezia e Firenze utilizzando parte delle matrici copiate dalla celebre edizione strasburghese del Gruninger del 1502. ICCU/EDIT16, n.26827. Non in SANDER ed ESSLING.

Affascinanti legature coeve in piena pelle con nervi, ricchi fregi e titoli in oro su tasselli al ds. (insignificanti tracce d usura). Tagli rossi. Esemplare assai fresco ed in ottimo stato di conservazione. Elegantissima edizione dell opera di Virgilio dal ricco apparato iconografico. Folio (cm. 43), 3 Voll., 2 cc.nn., XCII pp. (tra cui una splendida incisione allegorica a piena pagina che precede la Dedica), 1 c.nn., 211(1) pp.; LX pp., 1 c.nn. ( Aenae Trojani Navigatio , carta geografica a piena pagina), 336 pp.; XXIV, 343 pp. con tre tavole n.t. a piena pagina incise su rame da Marco Carloni, Francesco Barbazza e Ignazio Benedetti. Num.me grandi vignette e capilettera figurati. Frontiespizi in rosso e nero con ritratti calcografici entro medaglione.

. Illustrateur : BARBIER (George). Ilustrador. Aquarelle signée et datée au milieu à droite, 1917, complétée du cachet en bas à gauche, 39 x 28.5 cm., cadre. Scène galante dans laquelle Tircis, peu farouche, conte fleurette à la belle Amarante. Tous deux amoureux échangent des vers . Dessin préparatoire pour la quatrième de couverture du Numéro de La Vie Parisienne du 22 septembre 1917. George BARBIER (Nantes 1882-1932), peintre et illustrateur, a beaucoup travaillé pour la mode et le théâtre, composant des dessins de costumes et des décors. L'artiste a également illustré de nombreux ouvrages. Il a exposé régulièrement au Salon des Artistes Décorateurs de 1912 jusqu'à sa mort. En 1920 il participait à l'exposition du Musée des Arts Décoratifs à Paris: "La mode au XXème siècle vue par les peintres", représentant ce qu'on a nommé par la suite "l'Art Déco". Barbier s'est très tôt intéressé au théâtre, et ses dessins témoignent de l'influence des Ballets Russes Personnages de comédie (1922) et Vingt-cinq costumes pour le théâtre (1925) témoignent de ce goût (article Barbier et le théâtre, par Alain Stoeffler, in George Barbier, La Nascita del Deco, 2008, pages 62-83). uvre originale.

Rilegato. Condición: ottimo. Apollonio di Giovanni Ilustrador. edizione limitata. Il Virgilio Riccardiano (Ms. Ricc. 492). Vergilius Publius Maro: Bucolicon, Georgicon, Aeneis Biblioteca Riccardiana, Firenze. ArtCodex, Modena, 2002. Riproduzione in facsimile delle Bucoliche, Georgiche, Eneide di Virgilio con miniature che rappresentano il viaggio di Enea ambientato città di Firenze al tempo di Lorenzo il Magnifico. Legatura in pelle con cornici di filetto impresse a secco sui piatti. Formato 20x31 cm. Pagine 512. Commentario (21x31 cm. pagine 173) in italiano. Cofanetto in legno pregiato, formato 34x44x13 cm. Tiratura limitata e numerata di 999 copie. Condizioni ottime. 10000g. In pelle con cornici di filetto impresse a secco sui piatti.

242 Doppelseiten. Exemplar mit etwas stärkeren Gebrauchsspuren. Der Einband ist etwas fleckig, nur an den Ecken leicht berieben und an einer 4 mm großen Stelle am Rücken aufgerieben. Auf den ersten 70 und den letzten 35 Seiten ist ein Wasserrand sichtbar. Auf der Titelseite (mit dem bekannten Druckerzeichen der Aldus-Presse, einem Anker und einem Delphin) und im Text gibt es Anmerkungen und Anstreichungen in brauner Tinte. Aus einem Nichtraucherhaushalt. Sehr seltene Ausgabe der Hauptwerke Vergils, der Eklogen (Bucolica), Georgica und Aeneis, aus der berühmten venzianischen Verlagsdruckerei des Aldus Manutius, die von dessen drittem Sohn, Paulus Manutius, mit an den Rand gedruckten Anmerkungen versehen wurden. Paulus Manutius gilt als bedeutendster Latinist Italiens im 16. Jahrhundert. Leider wurden die Seiten vor dem Binden teilweise so knapp beschnitten, dass einzelne Buchstaben der Marginalien an- oder sogar abgeschnitten wurden. Auf den letzten Seiten wurde auch die Kopfzeile beschnitten, so dass ab Seite 199 die Paginierung größtenteils fehlt. Sonst handelt es sich um ein gut erhaltenes Exemplar mit nur mäßiger Seitenbräunung. Sprache: Latein. // Private parchment binding of the period. Book with slightly stronger signs of wear. The cover is slightly stained, only slightly rubbed at the corners and rubbed in a 4mm spot on the spine. A watermark is visible on the first 70 and last 35 pages. There are notes and underlines in brown ink on the title page (with the familiar Aldus press printer's mark, an anchor and a dolphin) and in the text. From a non smoking environment. Very rare edition of Virgil's main works, the Eclogues (Bucolica), Georgica and Aeneid, from the famous Venetian publishing house of Aldus Manutius, which were provided with notes printed in the margins by his third son, Paulus Manutius. Paulus Manutius is considered the most important Latinist in Italy in the 16th century. Unfortunately, some of the pages were trimmed so tightly before binding that individual letters in the marginalia were added or even cut off. On the last few pages the header was also cropped, so that from page 199 onwards the pagination is largely missing. Otherwise it is a well-preserved copy with only moderate browning on the sides. Language: Latin. la Privater Pergamentband der Zeit.

Hardcover. Condición: Fine. A very fine copy, bound in contemporary mottled calfskin, the spine elaborately and richly tooled in gold. The spine is separated into compartments by raised sewing supports. The second compartment bears a large red morocco label beautifully tooled in Roman capitals: "RUAEI VIRGILIUS". The boards are framed by two decorative rules. The binding is in excellent condition with only light wear, the corners lightly bumped. Internally, the text is in very good condition, with occasional light foxing and toning. There is a small dampstain in the gutter in the first two signatures of the Aeneid. The engraved frontispiece, with a central scene showing Arion and the dolphin (an allusion to the Dauphin) and a medallion portrait of Vergil, is just a trifle foxed. Engraved vignettes introduce the Bucolics, Georgics & Aeneid. A pleasing copy of the Delphin Virgil, edited by the great Jesuit orator and classicist Charles de la Rue (Carolus Ruaeus) (1643-1725). The "Delphin Classics" were dedicated to Louis de France, "le Grand Dauphin" (1661-1711). The series was the work of thirty-nine scholars and was edited by Pierre-Daniel Huet, who was working with Jacques Bousset, tutor to the Dauphin. SECOND EDITION of the Delphin Vergil; this issue was printed "Ex Typographia David Roger 1689.".

Second edition of Baskerville's first ("perhaps finest") book; 4to, pp. [10], 432; contemporary full mottled calf neatly rebacked, preserving the old red morocco label on spine; a bit of spotting to the prelims, but a very good copy nonetheless. This second edition, virtually identical, was (surreptitiously?) printed by Baskerville ca. 1771, which is identified by the positioning of the letter J in Johannis in the imprint. The first edition has the J between the B and the I in Birminghamiae; in the second edition it is to the left of the B. Gaskell 2: "The second edition, unlike the first, is a rare book.".

Hardcover. Condición: Very Good. Small quarto measuring approx. 8x6 inches [20x15 cm] bound in full vellum-covered boards, 4 leaves, 1-300 pages, [4] pages "Redestryd"; series title page for "Uitsteeckendste Wercken" of Virgil precedes the regular title page [photos]; binding square and tight, pages clean and unmarked, engraved portrait of Virgil before page 1; I cannot find this edition in WorldCat, some occasional ownership marks, but nothing offensive; scarce.

Hardcover. Condición: Near Fine. A-D8 E4 F-N8 A-Z8 2A 12 2B-2Q8 2R10. 322 II. Woodcut initials and illustrations. Folio (209 x 195 mm). 18th century morocco, spine gilt, gilt dentelles, a. e. g. A few minor paper flaws and 2 repairs at margins at end, else fine. A handsome edition in a very attractive and well-preserved binding.

Hardcover. Condición: Very Good. First Edition. 4 volume set. Large paper set, 24 x 15 cm. Bound in contemporary red, straight-grain, morocco leather. Gilt ruled. 5 raised spine bands. All edges gilt. Minor shelf wear / rubbing to bindings. Engraved frontispieces, title vignettes, as well as two additional engraved plates in vol. 1. Collated: vi, cclv, [1], 566; xciv, 820; [2], 730; [2], 259, [1], 704, [4] pages. Contents: T.1 Bucolica Et Georgica; T.2 Aeneidos, Lib. I.-VI; T.3 Aeneidos, Lib. VII.-XII; T.4 Carmina Minora. Minor foxing, browning, mostly to prelims. Bookplate of Revd. John Longe, Coddenham, Suffolk (1765-1834). Later book plate of Humphry and Mary Ward (1851-1920). John Longe, Coddenham, Suffolk (1765-1834). Later book plate of Humphry and Mary Ward (1851-1920). Mary Ward was a British novelist and founding President of the Women's National Anti-Suffrage League. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

Hardcover. Condición: Very Good. Folio (370 x 250 mm), 6, 277, 307. Roman type. Late 19th / early 20th century green crushed morocco by Period Binders of Bath, spine divided by gilt-tooled raised bands into six compartments, compartments with double-gilt fillets enclosing a broken fillet and stylised floral motif, boards with matching double gilt fillets enclosing a broken fillet with elaborate fleur-de-lys at corners, inner dentelles double ruled and gilt-tooled. Spine slightly faded, lacking half-titles and list of subscribers, occasional light foxing and browning to page edges. Peter Burmann the Elder (1668 1741), and his nephew peter Burmann the Younger (1713 1778), were a dominating force in European Classical scholarship in the 18th century, and were responsible for the publication of many variorum editions of Latin texts. At his death, Peter Burmann the Elder left his edition of Virgil unfinished, and it was brought to completion and published by his nephew at Amsterdam in 1746. As typical of all Foulis editions, the bare text is printed, without any scholia or commentary. A gracious folio Virgil from the fabled Foulis press in a resplendent binding. Gaskell 639.

Hardcover. Condición: Very Good. An early 16th century edition of the works of Virgil, using the text established by Jodocus Badius Ascensius, and other scholars. Contained within is his poetical epic, the Aeneid, along with his Eclogues, and Georgics. There are close to 200 in text woodcuts, all decorated with woodcut borders, the woodcuts are greatly reduced variants of the cuts from the Strasbourg Gruninger edition of 1502, displaying images of battle, mythological creatures, and more. There are additional woodcut initials as well. The title page is missing, as are the first six preliminary leaves to the first part. The second part is lacking the second title page of the Aeneid, and the first preliminary leaf. The poetical works themselves are textually complete. Two parts bound into one half vellum volume in folio, (1 of 8)+CLXI+(4 of 6)+CCLXI+(1) leaves This volume is in very good shape, with minimal rubbing and wear to the binding. There are restorations to the first and last leaf, the last leaf having been mounted as well. There is some foxing and staining throughout. The last numbered leaf is misnumbered as 262.

4 volumes, contemporary panelled vellum, 4to., engraved frontispiece by P. Tanjé after De Bourg, title-pages printed in red and black, 14 half-page engravings after De Bourg by Tanjé and Folkema, folding engraved map, facsimile engraved plate by N. V. Frankendaal, a fine set of this celebrated edition, prepared by Peter Burmann but published posthumously by his nephew, Vol. 1) 33 leaves, LXXXII, 519 pages // Vol 2) 2 leaves, 706 pages // Vol. 3) 2 leaves, 707 pages // Vol 4) 2 leaves, 358 pages and [189] leaves (Index), with bookplates Brunet V, 1292 la 8000 Buch.

8vo, pp. [2], 388; engraved frontispiece; contemporary red straight-grain paneled morocco, gilt-lettered direct on smooth gilt-decorated spine, interlocking gilt border on covers, a.e.g.; pages foxed, a little wear at the extremities, but in all a nice copy with a painting on the fore-edge of a country manor house atop a knoll, surrounded with trees; the painting seems a trifle faded, but it is likely 19th century, possibly done at the time this book was given as a prize to William Semicot Brickwell, Trinity College, Oxford, 1818. With a later engraved bookplate of R. Nash Brickwell. Gaskell 34.