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SOPHOCLES

Edité par Venice: Aldus Manutius, August, 1502 (1502)

Ancien(s) ou d'occasion Couverture rigide Edition originale

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Description du livre : Venice: Aldus Manutius, August, 1502, 1502. Hardcover. État : Very Good. 1st Edition. Editio princeps of the seven surviving complete plays of Sophocles, the greatest of the Greek tragedians. This volume contains the first printing of Oedipus Rex, generally considered the greatest Greek tragedy. This edition served as the fundamental text for more than three hundred years. Sophocles (497-406 BC) was not only a playwright, but also a leading citizen of Athens during the greatest period of its history. This period brought the military supremacy of Athens after the defeat of Persia in 478 as well as the building of the Parthenon, the great Temple of Athena, and the stone theater of Dionysus. Sophocles was a general with Pericles during the revolt of Samosin in 441, a state supervisor of tribute from the Athenian empire, and finally one of the ten (probouloi) commissioners over the Council of Five Hundred of the oligarchy after the coup of 411. Sophocles wrote more than 120 plays; those in this volume probably owe their survival to their selection for use as an educational textbook. These seven plays contain some of the most powerful and timeless dramas ever written, including Oedipus Rex, a work in which “the poet attains the supreme height of dramatic concentration and tragic intensity” (Lewis Campbell). This play, Oedipus Rex, part of the Theban trilogy, is generally considered the greatest of the Greek tragedies. A LANDMARK IN THE HISTORY OF PRINTING. This book, printed in Venice by Aldus Manutius, is the first Greek book issued in the Aldine portable format and the first classical text printed in the smallest and finest Aldine Greek type. “By any standard it is a masterpiece, not only of engraving skill executed with marvelous homogeneity on a minute scale, but also of exquisitely planned letter fit” (Barker, Aldus Manutius and the Development of Greek Script and Type). This editio princeps was issued without the commentaries promised on the title-page. Provenance: two inscriptions on binder’s leaf before title: “H. Girdlestone from Francis Turner Inner Temple 1808” and “H. Girdlestone to John Farnham Messenger 1 January 1864.” Eighteenth-century red goatskin, spine gilt, borders with double-rule borders, gold fleurons as cornerpieces, gilt inner dentelles, all edges gilt. Joints tender but secure, very minor wormholes at end affecting several leaves, minor stain to title. A very good copy in an attractive eighteenth-century binding. Half morocco case. N° de réf. du libraire ABE-12590420616

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Aldine Printing] Dante Alighieri (1265-1321)

Edité par Venice in Aedib. Aldi. Accuratissime men. Aug MDII. (Venezia. Aldo Manuzio, 1502) (1502)

Ancien(s) ou d'occasion Couverture rigide Edition originale

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Expéditeur : Buddenbrooks, Inc. ABAA (Newburyport, MA, U.S.A.)

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Description du livre : Venice in Aedib. Aldi. Accuratissime men. Aug MDII. (Venezia. Aldo Manuzio, 1502), 1502. The first Aldine printing of The Divine Comedy and the Aldine "pocket book" format and the first use of the anchor device. With the famous Aldine anchor device on the final leaf. 8vo; 160mm x 95mm, in a beautiful antique binding of full polished vellum, the spine decorated with gilt ruled raised bands separating the compartments, two of the compartments with lettering labels of dark maroon morocco gilt lettered, the covers with triple gilt fillet rules at the borders, marbled endleaves, red edges. [244] leaves, and with the f.82 blank present. A very handsome and desirable copy, very nicely bound. Internally crisp and and quite bright and clean throughout, four of the leaves a bit shorter than the others, but with the same edge colour and clearly part of the text-block for a great time, last leaf with small restoration to the upper outside corner. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus by which books became available to the general publis. This then is a book of the greatest importance. Printed in characteristic Aldine cursive type, this is a well margined and finely impressed copy. It was Aldus who provided the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); it was the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. Printed in characteristic Aldine cursive type, this is a well margined and finely impressed copy. "Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes." PMM. N° de réf. du libraire 23547

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Homer

Edité par In aedibus Aldi et Andreae Asulani Soceri, (1524)

Ancien(s) ou d'occasion Couverture rigide

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Expéditeur : Liber Antiquus, Early Imprinted Books (Chevy Chase, MD, U.S.A.)

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Description du livre : In aedibus Aldi et Andreae Asulani Soceri, 1524. Hardcover. État : Fine. Octavo: I. 16.2 x 10 cm. II. 15.9 x 10 cm. [1-7]8, A-Z8, AA-LL8, MM6 II. A-z8, A-H8, I4 THIRD ALDINE EDITION. The first volume, the Iliad, also includes Herodotus' life of Homer. The second volume comprises the Odyssey and Homeric Hymns. This edition reprints Aldus' letters to Girolamo Aleandro from the first Aldine edition. This set was once the property of the Greek diplomat, scholar, and book collector Johannes Gennadius (1844-1932), whose 26,000 volume personal library forms the core of the Gennadeion, the library of the American School for Classical Studies in Athens. Volume II once belonged to the Scottish antiquary and librarian David Laing and sold as lot 1529 in his sale at Sotheby, Wilkinson & Hodge, 12 May 1879, to Gennadius, who had it rebound to match his copy of Volume I. The set was sold as lot 1525 in the Gennadius sale at the same house, 28 March 1895. With the bookplates of Giorgio di Veroli (sale, Parke-Bernet, 28 February 1956, lot 433). Adams H-745; Ahmanson-Murphy 226; Renouard 98:1; Brunet III, p. 269; Graesse III, 326; Hoffmann ii 460 The first volume is bound in contemporary Italian black morocco, rebacked, the boards blind-ruled in compartments, with the central compartment framed by a scrolling floral roll and decorated with additional gold tools at the center and corners. The single word ILIAS in Greek is tooled in gold at the head of the upper board. The second volume is bound to match in 19th c. black morocco. The edges of both volumes have been gilded. These are both tall copies; the Iliad volume being a few millimeters taller. The first volume is particularly fresh, and both volumes have only minor blemishes. The title and final few leaves of the second volume are lightly soiled and there are minor paper repairs to the tips of the upper blank corners of the first few leaves. With the Aldine anchor and dolphin device (A6) on the title page and the verso of the final leaf in each volume. The text is printed in Greek throughout, except for the two Latin letters by Aldus. N° de réf. du libraire 2106D

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Euripides

Edité par Venice: Aldus, 1503 (1503)

Ancien(s) ou d'occasion Couverture rigide Edition originale

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Expéditeur : Johanson Rare Books ABAA (Baltimore, MD, U.S.A.)

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Description du livre : Venice: Aldus, 1503, 1503. Editio Princeps. 2 vols. bound in one. Thick 8vo., all edges gilt. Woodcut of Aldine Anchor and Dolphin at the rear. Bound in dark brown morocco with gold tooled framework on boards. Decorative gold tooling on the spine. Text in Greek. First compilation of all 18 plays by Euripides. N° de réf. du libraire 11762

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DANTE, Durante ou Dante degli Alighieri, dit;

Edité par Venise Alessandro Paganini 1515 (1515)

Ancien(s) ou d'occasion Couverture rigide Signé

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Expéditeur : Thomas-Scheler (paris, France)

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Description du livre : Venise Alessandro Paganini 1515, 1515. In-24 (95 x 50 mm) de 202 ff.ch. et 1 f.n.ch. ; demi-veau brun, dos lisse orné de filets, chaînettes et rosettes dorées, plats recouverts de papier marbré, petits coins de vélin (reliure du début du XIXe siècle). Mambelli, 26 : "Rara ed." ; Brunet, II, 502 ; Sander, 2323 ; Essling, 540 ; voir aussi le catalogue de l'exposition "Alessandro Paganini tipografo a Toscolano (1517-1538)", Toscolano, Fondazione Valle delle Cartiere, 2008, p. 43, n° 36. Édition très rare de la Divine comédie, la première de très petit format. Cette petite merveille typographique sort des presses d'Alessandro Paganini, illustre imprimeur italien à qui l'on doit l'invention de la notion de collection éditoriale, c'est-à-dire d'ouvrages conçus dans le même format et avec la même présentation typographique. L'ouvrage a été imprimé en caractères minuscules, italiques et semi-gothiques, dessinés et fondus par Paganini lui-même. Il en existe deux tirages, l'un paginé en chiffres arabes – c'est le cas de notre exemplaire –, l'autre en chiffres romains. La courte dédicace latine de l'imprimeur au cardinal Giulio de' Medici, futur Clément VII, nous apprend que le De remediis de Pétrarque dédié par Paganini à Léon X le 30 novembre 1515 – imprimé dans le même format et avec les mêmes types – avait paru peu de temps avant ce "dantino", qui a sans doute été publié au début de l'année 1516. L'ouvrage est illustré de quatre jolis bois gravés occupant les trois derniers feuillets : un plan de l'enfer sur double page, et trois schémas des péchés et des punitions correspondantes dont on attribue l'invention à l'humaniste Pietro Bembo (1470-1547). Le plan de l'enfer est signé des initiales I.A., sans doute Iohannes Andrea, ce qui permet d'attribuer ce bois à Giovanni Andrea Vavassore, célèbre graveur et imprimeur vénitien qui, au début du XVIe siècle, passa de la réalisation de cartes géographiques à l'imprimerie, domaine dans lequel il s'illustra jusqu'en 1573. "The remarkable distinguishing characteristic of Paganini's first collection was their small format. In fact, the 1515 edition of Dante in the very compact 24mo is unique among editions of Dante in the Renaissance. It was part of a series begun in the same year which included Petrarch's Rime, Jacopo Sannazaro's Arcadia and Pietro Bembo's Neoplatonic love dialogue, Gli Asolani. This editorial program can be considered an elaboration on Aldus' innovations at the beginning of the century, both for the small format and for the elegant characters which are midway between italic and roman. The choice of works also follows Aldus. Their intended courtly audience is clearly indicated by the persons to whom the individual titles are dedicated, embracing some of the most prominent figures of the Italian High Renaissance courtly society, including Isabella d'Este, Giovanni Aurelio Augurello, and Pietro Bembo" (cf. "Renaissance Dante in Print", cat. d'exposition en ligne). Alessandro Paganini et son père se transférèrent ensuite de Venise à Toscolano – la Benacum des Romains, sur les rives du lac de Garde –, où ils exercèrent l'art typographique entre 1519 et 1538. Ils y imprimèrent notamment une autre édition de Dante, de format in-8. Le Dante de Paganini se rencontre généralement en état très moyen et dans des reliures tardives. Notre exemplaire, sobrement relié au début du XIXe siècle, présente quelques taches et rousseurs sans gravité. Suite à une erreur d'imposition, le couteau du relieur a effleuré les premières lettres du texte imprimé au verso du feuillet 201, et la marge intérieure du premier feuillet a été renforcée. Le plan de l'enfer est un peu court de marges, comme toujours. Quelques annotations et soulignures anciennes à la plume. N° de réf. du libraire 13832

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ALEXANDER OF APHRODISIAS.

Ancien(s) ou d'occasion Couverture rigide

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Expéditeur : Lynge & Søn ILAB-LILA (Copenhagen, ., Denmark)

Evaluation du vendeur : Evaluation 4 étoiles

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Description du livre : [Venice, House of Aldus and Andrea of Asola, September 1513]. Folio. A lovely late 17th or early 18th century full calf, beautifully re-backed to style with raised bands and elegant blindstamped ornametations. Boards with lovely blindstamp-decorations, in style constituting a forerunner of the Cambridge-style binding. A very nice, clean, and fresh copy with the often lacking final leaf with the large woodcut Aldine anchor-dolphin device to verso. Woodcut printer's device to title-page as well. Without the blank A9 (almost always removed when bound). (4), 3-281, (3) pp. The scarce editio princeps of Alexander of Aphrodisias' extremely influential commentary of Aristotle's "Topics", which is responsible for our understanding and utilization of this most fundamental text for the thought of mankind. Aristotle's "Topics" occupies an absolutely central place in the development of science and philosophy since Antiquity. It is this work that sets the boundaries for what we can meaningfully talk about, and even how to talk about it. Through the "topics" mankind will be able to state the true premises that form the foundation upon we build science and philosophy. Alexander's commentary on this fundamental work is the most important and influential that we have. It was of the utmost importance to Renaissance philosophy, science, scholarship and learning, and it greatly influenced the path of Aristotelian scholarship as well as almost all original thought and philosophy within this period. Alexander came to influence all reading of Aristotle in the Renaissance and with his commentary on the "Topics", he came to profoundly influence our understanding of the first principles of thought as well as the dialectical and philosophical training that is necessary for our understanding of them. Without the "topics" of Aristotle, we cannot be certain that we are discussing that which we ought to be discussing. Aristotle's "Topics" provides us with the general basis for all forms of inquiry; as he himself states: "Our treatise proposes to find a line of inquiry whereby we shall be able to reason from opinions that are generally accepted about every problem propounded to us, and also shall ourselves, when standing up to an argument that, avoid saying anything that will obstruct us." (Topica 110a18-22, in Ross' translation, Oxford, 1928). "Alexander of Aphrodisias was the leading ancient commentator on Aristotle in the Aristotelian school. He wrote around AD 200, more than five hundred years after Aristotle's death. His commentaries had an immense influence first on the Neoplatonist school and then on Medieval Philosophy in Islam and eventually in the Latin West. His commentary on "Topics" Book 1 opens the door on a major argument between the Stoics and the Aristotelians on how to think of syllogistic. He discusses how to define Aristotelian syllogistic and why it stands up against the rival Stoic theory of inference." (Richard Sorabji, Preface to Ophuijsen's Translation of Alexander's commentary, in the "Ancient Commentators on Aristotle"-series, ed. by Sorabji. p. (IX).).It is a curious but generally accepted conception that with the rise of the Renaissance came the fall of Aristotle. Whether this is actually true can be disputed, but it is a fact that with the recovery of many lost works of ancient literature, the widening of the range of classical studies and the renewed interest in Plato, Aristotle was no longer the sole authority on a huge number of fields. That this should mean a total ignorance of the teachings of Aristotle must be considered somewhat of a myth (though a very frequently repeated one), and in fact with the grand humanists of the late 15th and early 16th century, the study of Aristotle fits perfectly with the broader comprehension of scholarship. The great humanists like Ficino, Pico and Pomponazzi had not forgotten about Aristotle, and the revival of learning did not mean the neglect of the prince of philosophers. On the contrar. N° de réf. du libraire 48289

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Caesar Caius Julius

Edité par Venezia Agostino Zani 1511 (1511)

Ancien(s) ou d'occasion Couverture rigide

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Expéditeur : Buddenbrooks, Inc. ABAA (Newburyport, MA, U.S.A.)

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Description du livre : Venezia Agostino Zani 1511, 1511. A Very Early Folio Illustrated Edition incorporating incunabular plates, of Caesar's Commentaries, a core classical text of the Roman period. Illustrated with incunabular woodcuts from plates used for the 1493 edition of Livy. The title page is printed in red and there is a very fine, large woodcut to the title leaf (92 x 120 mm) within an elaborate border printed in red and repeated on the first leaf of text, within an altogether different woodcut border printed in black. There is a woodcut of approximately the same size at f. 51; twelve smaller woodcuts (each approx. 56 x 74 mm) are placed at the beginning of each chapter. Folio (mm 314x210), contemporary Italian half goatskin over wooden boards, goatskin on the sides with blind-ruled geometric designs, a pair of scallop-shaped brass fore-edge catches on front cover, vellum half pastedowns cut from a 14th-century theological manuscript, without the claps. A very handsome copy of this rare illustrated work. RARE. ONE OF THE EARLIEST AND MOST BEAUTIFUL ILLUSTRATED EDITIONS AND THE IMPORTANT FIRST ITALIAN ILLUSTRATED EDITION OF THIS GREAT CLASSICAL WORK. The title woodcut depicts a battle scene; the second large woodcut shows Lentulus seated addressing the Senate. The woodblocks depicted, were first used in Giunta’s 1493 edition of Livy and were immensely successful and consequently passed on from printer to printer. Considered very rare. A superbly illustrated edition of Cæsar, apparently the first illustrated Cæsar published in Italy. The title woodcut is strongly reminiscent of Uscello's great tryptich, "The Battle of San Romano," and the spare line of the woodcuts at the head of each chapter is perhaps inspired by Aldus' HYPNEROTOMACHIA POLIPHILI (1499). The text was edited by L. Panaetius. The Duc de Rivoli (Livres a figures Venitiens, p. 160) records a similar edition printed at the same press in 1517 but does not mention this one. A highly important book and a very desirable copy. N° de réf. du libraire 25712

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HOMER

Edité par Venice Aldus Manutius (1504)

Ancien(s) ou d'occasion Couverture rigide

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Expéditeur : Heritage Book Shop, ABAA (Beverly Hills, CA, U.S.A.)

Evaluation du vendeur : Evaluation 5 étoiles

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Prix: EUR 16 533,33
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Description du livre : Venice Aldus Manutius, 1504. First Aldine Edition of Homer’s "Iliad" HOMER. Homeri Ilias[in Greek. Edited by Aldus Manutius]. [Venice: Aldus Manutius, not before 31 October 1504]. First Aldine edition and second edition in Greek of the Iliad, forming the first half of the great two-volume Aldine Homer. Small octavo (6 1/4 x 3 13/16 inches; 158 x 97 mm.). [56, lives of Homer by Herodotus, Plutarch, and Dion], 277 leaves. Bound without the final blank leaf. (Collation: 1-78 A-Z8 AA-LL8 MM6(-1)). Title in Greek and Latin, text in Greek. Greek and italic types. Thirty lines plus headline. Capital spaces with guide letters. Woodcut Aldine anchor and dolphin device (Fletcher no. 3) on A1 recto. Nineteenth-century vellum over boards. Covers bordered with ink rules, smooth spine decoratively tooled in gilt with dark green morocco gilt lettering label, turn-ins ruled in gilt, all edges gilt, marbled endpapers. Lower blank corner of first leaf of Herodotus’s life of Homer renewed, not affecting text. Small intermittent dampstain in the lower margin. Armorial bookplate of George Becher Blomfield on front pastedown. Penciled annotations on verso of front free endpaper. Early ink line numbers in the outer margin of leaves A3 (fol. 3) to C2 (18). Reprinted from Demetrius Chalcondylas’s 1488 Florentine editio princeps with few corrections. Adams H741. Kallendorf and Wells 77. Murphy 86. Renouard, Alde, pp. 46-47. HBS 66538. $20,000. N° de réf. du libraire 66538

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Sophocles

Edité par Venice, Aldus, 1502 (1502)

Ancien(s) ou d'occasion Couverture rigide Edition originale

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Expéditeur : Johanson Rare Books ABAA (Baltimore, MD, U.S.A.)

Evaluation du vendeur : Evaluation 2 étoiles

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Description du livre : Venice, Aldus, 1502, 1502. Bound in full olive morocco with Aldine anchor engraved on front and rear boards. Gilt edges. Text in Greek. Editio Princeps. N° de réf. du libraire 11769

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Herodianus

Edité par Venice: Aldus, 1524 (1524)

Ancien(s) ou d'occasion

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Expéditeur : Johanson Rare Books ABAA (Baltimore, MD, U.S.A.)

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Description du livre : Venice: Aldus, 1524, 1524. In original stamped binding. With one operational clasp with bookplates of the Duke of Sussex and Henry William Poor. [Renouard Tom, I. p. 233.]. N° de réf. du libraire 11746

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GREEK ANTHOLOGY.)

Edité par Venice: Aldus Manutius, November 1503 (1503)

Ancien(s) ou d'occasion Edition originale

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Expéditeur : Peter Harrington. ABA member (London, United Kingdom)

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Prix: EUR 16 248,40
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Description du livre : Venice: Aldus Manutius, November 1503, 1503. Aldine octavo (149 × 93 mm). 19th-century French red straight-grained morocco by Thouvenin, covers panelled with gilt fillets and blind foliate tooling, gilt spine, gilt edges, green silk marker. Extremities lightly rubbed, occasional very light browning at head, an excellent copy. Collation as Ahmanson-Murphy. Woodcut device on title, repeated on final verso. Greek type 4:79 (text), roman 10:82 (title, register and colophon only). First Aldine edition, a handsome copy. Based on the 1494 editio princeps edited by Janus Lascaris, this was the second edition of the anthology assembled by the early 14th century Constantinopolitan monk Planudes, with additions including the editio princeps of the 6th-century Byzantine poem "In Thermas Pythias et aquarum miracula" by Paulos Silentiarius. Planudes' recension of the Anthology was the only collection of ancient Greek epigrams known to the west until the discovery of the Palatine codex in 1606. The Anthology is based on the lost compilation of Meleager of Gadara (1st century BCE), whose title, The Garland, reflected the common comparison of small beautiful poems to flowers; hence the Greek anthologia ("flower-gathering"; Latin florilegium), which metaphoric use led to the modern sense of the English "anthology". Aldus Adams A-1181; Ahmanson-Murphy 62; Renouard Alde 42.9. N° de réf. du libraire 59684

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Pontanus, Joannes Jovianus.

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Hünersdorff Rare Books ABA ILAB (Cheltenham, GLO, United Kingdom)

Evaluation du vendeur : Evaluation 2 étoiles

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Prix: EUR 16 248,40
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Frais de port : EUR 14,51
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Description du livre : Hardcover. État : Fine. 2nd Edition. Urania, sive de stellis libri quinque. Meteorum liber unus. De Hortis hesperidum libri duo. Lepidina sive postorales pompeae septem. Item Meliseum Maeon Acon. Hendecasyllaborum libri duo. Tumulorum Liber unus. Neniae duodecim. Epigrammata duodecim. Venice, Aldus & Asulanus, 1513. 8vo (160 x 103mm) 255 + [1]f. Last leaf with Aldine device. Bound in contemporary brown Italian morocco over wooden boards with blind and gilt fillets around a central star and the lettering PONTANI URANIA on sides. Edges gilt and gauffered with a knotwork pattern; two clasps and catches intact; edges gauffered; gilding slightly faded; top of spine skilfully restored. The augmented second Aldine edition of the moral poems, with the text corrected from the first 1505 edition and with an additional 27 pages of text at the end. Pontanus (1426-1503), humanist and politician, a friend of Aldus Manutius, was tutor at the court of Alfonso and Ferdinand of Naples. One of the most typical Latin poets of the Renaissance, he exerted a powerful influence, especially on the poets of the Pléiade. In Urania the author pronounced his immortality as a poet. An exceptionally fine copy preserved in an unusual Italian morocco binding of the period. Provenance: With early ink ownership signature “Cesare Serai” on title. References: Adams P-1858; Censimento 16; Isaac 12831; Renouard 63/7; Texas 104; UCLA 91. N° de réf. du libraire ABE-6332388924

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Plutarch (c. 50- c. 120 AD)

Edité par In aedibus Aldi et Andreae Soceri, mense Augusto, (1519)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Liber Antiquus, Early Imprinted Books (Chevy Chase, MD, U.S.A.)

Evaluation du vendeur : Evaluation 4 étoiles

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Prix: EUR 14 880
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Frais de port : EUR 2,41
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Description du livre : In aedibus Aldi et Andreae Soceri, mense Augusto, 1519. Hardcover. État : Fine. Folio: 30 x 20.5 cm. [4], 345, [1] leaves. Collation: *4, (lacking blank *4), a[alpha]-z[zeta]8, aa[2alpha]-tt[2tau]8, uu[2upsilon]10 FIRST ALDINE EDITION. This is the second edition in Greek, following the editio princeps printed by Giunta in 1517. The text was edited by Francesco Asulano, Andrea Torresani's son and Aldus' brother-in-law. Renouard, citing Johann Jacob Reiske, reports that there are apparently two editions of this date that differ in a number of textual points. The first Aldine edition appears to have been formed on the preceding of Giunta; the second differs greatly from it, exhibits a purer text, and was the basis for the Basel and Stephanus editions.' It is unclear which of the two variants our copy represents. Plutarch's Parallel Lives, a series of paired biographies in which the lives of famous Greeks and Romans are compared, is one of the signal achievements of classical literature. Renouard, p. 87, no. 9; New UCLA 182; Hoffmann III, 175; Schweiger p. 259, col. 2 Bound in eighteenth-century mottled sheepskin with a citron morocco label, gilt. A fine copy of the Aldine Plutarch with minor faults. The text is printed throughout in Greek, with capital spaces and printed guide letters at the beginning of each life. With the Aldine anchor and dolphin device on the title page and the verso of the final leaf. The title is a little soiled and there are discreetly backed tears in the margins of the first three leaves. A short worm trail has been expertly repaired in the final three signatures, very slightly affecting the text. There are also discreet repairs to the blank, upper corners of the final leaves. The margins of many of the lives have been heavily annotated in Greek and Latin by an unidentified 16th c. reader. N° de réf. du libraire 2105D

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Pollux, Julius

Edité par Aldus Manutius, Venice (1502)

Ancien(s) ou d'occasion Couverture souple Edition originale

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Description du livre : Aldus Manutius, Venice, 1502. First edition. Pollux, Julius [Poludeukes, Ioulios] (fl. 2nd cent. A.D.). [Onomasticon] Pollucis vocabularii index in latinum tralatus, ut vel graece nescientibus nota sint . . . Folio. [104]ff. Venice: apud Aldum, April 1502. 296 x 201 mm. 18th or early 19th cent. gilt-ruled calf, a little rubbed, rebacked preserving original gilt spine. Fine copy.Editio princeps. Pollux, a Greek grammarian and sophist from Alexandria, was appointed professor of rhetoric at the Academy in Athens by the Roman Emperor Commodus (son of Marcus Aurelius). According to Philostratus's Lives of the Sophists, Pollux was given this post on account of his melodious voice. Pollux was the author of numerous rhetorical works, of which only a few titles survive, and the Onomasticon, a thesaurus of Attic Greek synonyms and phrases arranged thematically in ten books. "It supplies in passing much rare and valuable information on many points of classical antiquity- objects in daily life, the theater, politics- and quotes numerous fragments of lost works. Pollux was probably the person satirized by Lucian as a worthless and ignorant person who gains a reputation as an orator by sheer effrontery, and pilloried in his Lexiphanes, a satire upon the affectation of obscure and obsolete words" (Encyclopaedia Britannica [1999]). The editio princeps of Pollux's Onomasticon, issued by Aldus Manutius in 1502, made the work widely available to Renaissance scholars and antiquaries, and anatomists of the period drew on the Onomasticon for obscure Greek words to describe parts of the body. The Onomasticon was a valuable source of information for several important nineteenth century works of classical scholarship, and has continued to attract the interest of researchers in a variety of fields-in 2004, John H. Dierkx published an article on "Dermatologic terms in the Onomasticon of Julius Pollux" in The American Journal of Dermatopathology. Adams P-1787. Ahmanson-Murphy 54. Renouard, pp. 32-33. N° de réf. du libraire 40354

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HOMER

Edité par Heirs of Aldus the Elder, Venice (1524)

Ancien(s) ou d'occasion Couverture rigide

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Description du livre : Heirs of Aldus the Elder, Venice, 1524. Hardcover. État : Near Fine. 3rd Edition. 8vo - over 7¾ - 9¾" tall. [Works in Greek] Ilias and Ulyssea. Batrachomyomachia. Hymni XXXII, 2 volumes. Venice: Heirs of Aldus the Elder, April 1524. 8vo (162x100 mm), [1-8] 9, 20-26, [1-40], [1-2] 3-277 [1]; [1], 2-251 [1] leaves; signatures (1-7)8 (A-Z)8 (AA-LL)8 MM6; (a-z)8 (A-H)8 I4; titles in Greek and Latin, Aldine device on titles and verso of the final leaf in each volume. Late 18th century red morocco gilt, spines with 5 raised bands (spines slightly faded), cut edges gilt, internally very fresh with only a little very light foxing / browning to first and final few leaves and few mm of light brown staining to fore-margin of a few leaves, old faded inscription to first title page. An exceptionally fine copy with ample margins, free of stamps or markings. ---- Ahmanson-Murphy, Aldine Coll. 197/1; Renouard, Annales de l'imprimerie des Alde, 98:1; Fock, Bibliotheca Aldina, 44; Adams H745; Brunet III, p. 269-70; Graesse III, 326; Fletcher, H.G. New Aldine studies, p. 47-49. - Third Aldine edition, printed in Greek throughout except for the two letters in Latin from Aldus Manucius to Girolamo Aleandro, which were reprinted from the first Aldine edition. The text is based on the 1517 edition, with additional typographic errors. The first volume contains the Iliad and Herodotus' Life of Homer, and the second comprises the Odyssey and Homeric Hymns. N° de réf. du libraire 001958

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STROZZI (, Ercole & Tito "Vespasiano")

Edité par Venice, Aldus & Asolanus 1513 (following the Venecian calendar; according to the usual European calendar 1514). (1514)

Ancien(s) ou d'occasion Couverture rigide Edition originale

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Description du livre : Venice, Aldus & Asolanus 1513 (following the Venecian calendar; according to the usual European calendar 1514)., 1514. Hardcover. État : Fine. 1st Edition. 8vo. (8), 99 lvs., (1) leaf, 152 lvs. With Aldus’ device (Fletcher Nr. 5) on title and last leaf verso. 16th century gilt-stamped vellum (darkened, soiled, rubbed); new end-papers and fly leaves, lacking ties. First Aldus edition of Strozzis’ poems, first edition of most of the complete works; scarce. PROVENENCE: The reverse of the title page has an autograph in the form of a six-line dedication to the two Strozzis from Daniel Finus; leaf A8 verso also has a longer laudation to Aldus Manutius by him written in manuscript. Both were published only in the 20th century (A. della Guardia: Tito Vespasiano Strozzi. 1916, p. LVIII, and S. Pasquazi, Poeti estensi. 1966). Daniele Fini, born in Ferrara 1470, son of an Fini „Hadrianus" Fino. Like his father before him, he took on political functions in his home city (Chamberlain and University Chancellor) but his main interest was literature. His principle writing activities were chiefly in composing poems in Latin and Italian (see Michaud XIV, 138 and Barotti / Barotti / Baruffaldi: Memorie istoriche de letterati Ferraresi. Vol. I. p. 133 ff). He was a member of Ferrara's humanistic circle and was one of Strozzi's closer friends. The copy of the work here is very likely to be a VOLUME OF DANIELE FINI'S POSSESSION, in which he wrote his poems. FOR FULL DESCRIPTION PLEASE VISIT ON OUR WEBSITE "THE SPECIAL OFFER". The decoration of the binding presents an outer frame with a closely set, slightly spirally winding pattern, copied from Greek art. Centrally there is a floral design, and also floral decoration in the corners of the frame. Light browning throughout (a few leaves somewhat more so) and finger marks mainly concerning the bottom outside page edges; occasional mould or water stains (but mostly to outside edges), two pages with small amount of damage to paper at the lower bottom white margin. On the whole, an unusual document with reference to Humanism in Ferrara and in an extremely rare contemporary binding. Censimento 16 CNCE 37457; Renouard / Ald. I, 98; Fletcher p. 111; Cat. Laur. 111; Ald. Slg. SBB 203; Adams S 1956; BMSTC (Italian Books) 650; Ebert 21848. N° de réf. du libraire 851

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Dante Alighieri (1265-1321)

Edité par nelle Case d' Aldo et d' Andrea de Asola, (1515)

Ancien(s) ou d'occasion Couverture rigide

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Description du livre : nelle Case d' Aldo et d' Andrea de Asola, 1515. Hardcover. État : Fine. Octavo: 15.6 x 9.6 cm. [2], 244, [4] leaves. Collation: 2, a-z8, A-H8. Complete with blank leaves i2 and H7. SECOND ALDINE EDITION (first 1502), the first illustrated Aldine edition. The first Aldine Dante appeared in 1502, edited by Pietro Bembo. Aldus himself is believed to have prepared this second edition of Dante, which appeared shortly after his death in 1515. The title page announces the inclusion of the new map (the location, shape, and size) of the Inferno. The map -a cross-section of the Inferno- was inspired by the illustrations in Girolamo Benivieni's (1453-1542) Giunta edition of 1506. Aldus also incorporated variant readings included by Benivieni in the Giuntina. The volume opens with a dedicatory epistle by Andrea Torresani, Aldus' partner and father-in-law, to the celebrated Vittoria Colonna (1490-1547). Renouard, p. 73, no. 8; Ahmanson-Murphy 136; Adams D-88 Bound in 19th c. green morocco, paneled and tooled in gold, with a large central stamp of the Aldine device in gold on both boards. The contents are in fine condition. The top margin is cut a bit close in the final signature, just shaving the woodcut rule of the diagrams and illustration. With the bookplate of the Reverend Edward Francis Witts (1813-86). With woodcut schematic diagrams of the sins punished in the Inferno and the moral scheme of Purgatory, as well as a double-paged woodcut illustration of the Inferno, based on the researches of Antonio Manetti (1423-1497). The Aldine anchor and dolphin device appears on the title page and the verso of the final leaf. N° de réf. du libraire 2107D

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Pindar (Pindarus)

Edité par Venice: Aldus, 1513 (1513)

Ancien(s) ou d'occasion Edition originale

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Expéditeur : Johanson Rare Books ABAA (Baltimore, MD, U.S.A.)

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Description du livre : Venice: Aldus, 1513, 1513. Editio Princeps, 8 vo. (153x97 mm), Woodcut Aldine device on title-page. 4 blanks pp., 8pp. Greek prose text 374 pp. Greek poetry and colophon, 3 blank pp. Full red crushed morocco with blind fillets and tooled gold flowers done by Alexander Thompson of Oxford. This is the first time the works of Pindar were printed, i.e., hitherto his works were known only in manuscript form. This edition of Pindar is extremely rare, complete and in a beautiful binding. N° de réf. du libraire 11767

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PLATO.

Edité par Paris: Josse Bade for himself and Jean Petit, 27 May 1518 (1518)

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Description du livre : Paris: Josse Bade for himself and Jean Petit, 27 May 1518, 1518. Folio (336 × 237 mm), complete with final blank. Contemporary blind-stamped calf over wooden boards with partially bevelled edges sewn on four double cords, metal clasps and catches. Skilfully rebacked with original spine laid down and corners repaired, front free endpaper renewed, occasional later pencil or ink marginalia, small worm trace (diminishing in size) to outer margin of first 4 leaves, a few small stains, occasional minor spotting, but generally crisp and clean internally, a handsome copy in a contemporary blind-stamped binding, probably of Parisian execution. Title and woodcut printer's device within elaborate woodcut architectural border, handsome criblé initials. Provenance: (1) from the library of Johann Rudolph von Erlach (1577–1628), with ink presentation inscription to lower outer corner of title recording its gift in 1609 by Michael Augspurger of Bern and with letterpress book label "Bibliotheque de Spietz" (Schloss Spietz, seat of the von Erlach family) to front pastedown; (2) ownership inscription of Fritz Baur of Basel, dated 1878 to front pastedown, above (3) ink inscription recording posthumous gift from W. Baur to (4) Dr. S. V. Rasmussen of Basel, dated 2 April 1925. The first Plato published by Josse Bade (Jodocus Badius Ascensius) and Jean Petit (Parvus). One of the four important librairies-jurés to the University of Paris, Petit helped Bade, an associate of Erasmus, establish his own press in 1503 and the partnership flourished, producing a stream of finely printed translations of the classics and editions of contemporary writers in the first three decades of the century. Bade's printing shop and bookshop on the rue Saint-Jacques became an important meeting place for French humanists and for foreign scholars like Thomas Grey and Thomas Lupset, who had been Erasmus's students. The text is the famous Latin translation of Marsilio Ficino which, on its first publication at Florence in 1484, was the first printed edition of Plato's works, long preceding the Greek editio princeps published by Aldus in 1513. The volume also includes the pseudo-Platonic dialogue Axiochus by Rodolphus Agricola, and Agostino Dati's version of the pseudo-Platonic Halcyon. "Marsilio Ficino (1433–1499) [was] the great Renaissance champion of Plato from a Christian point of view and the leader of those who wished to effect an accommodation between Platonism (or more accurately Neoplatonism) and Christianity, as the most distinguished of Plato's several Medicean apologists His enthusiasm for Plato and the Platonic tradition did not blind him to the various differences with Christianity, even to their irreconcilability on certain fundamental issues. Indeed, his willingness openly to confront these differences made him all the more credible and persuasive as an apologist for Plato and for the value of the Platonic tradition as a philosophical propaedeutic to the study of Christian theology" (Michael J. B. Allen, "Marsilio Ficino on Plato, the Neoplatonists and the Christian Doctrine of the Trinity", Renaissance Quarterly, vol. 37, no. 4 (winter 1984), pp. 555–584). Adams P1443; Gaselee, Early printed books in Corpus Christi College Cambridge, 217; Renouard, Badius Ascensius, III, 168. N° de réf. du libraire 76745

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EURIPIDES

Edité par Venice, Aldus (1503)

Ancien(s) ou d'occasion Couverture rigide

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Description du livre : Venice, Aldus, 1503. Hardcover. État : Very Good. EDITIO PRINCEPS. 2 volumes 8vo. (242) (216) unnumbered ff. Vol.1: Α-Γ⁸, Δ⁴, Ε-Η⁸, Θ⁶, Ι-Λ⁸, Μ⁶, ΝΞ⁸, Ο¹⁰, Π-Ρ⁸, Σ¹⁰, Τ-Υ⁸, Φ⁶, Χ-Ω⁸, ΑΑ-ΒΒ⁸, ΓΓ⁶, ΔΔ-ΖΖ⁸, ΗΗ⁶ Vol.2: ΘΘ-ΙΙ⁸, ΚΚ¹⁰, moved from vol. I [Lacking (chi)⁴ the register and Aldine device] ΛΛ⁸, ΜΜ¹⁰, ΝΝ-ΟΟ⁸, ΠΠ-ΡΡ⁸, ΣΣ¹⁰, ΤΤ⁸, ΥΥ⁶, ΦΦ-ΧΧ⁸, ΨΨ⁴, ΩΩ⁸, ΑΑΑ-ΒΒΒ⁸, ΓΓΓ⁶, ΔΔΔ-ΖΖΖ⁸, ΗΗΗ⁶, ΘΘΘ-ΚΚΚ⁸, ΛΛΛ⁴ (Δ4, Φ6, ΗΗ6, ΣΣ10 and ΥΥ6 are blanks, all present.) Greek letter. Capital spaces, with guide letters, Aldine dolphin device to verso of last. A fine, clean copy in lovely dark blue straight grained morocco gilt, c.1800 in the style of Bozerian, covers with border of leafy scroll within gilt rules, inner dentelles gilt with Greek key roll, spines richly gilt, yellow silk endpapers, all edges gilt, a little rubbed at extremities. **** EDITIO PRINCEPS of eighteen Euripidean plays (though the t-p mentions only 17), including 'Rhesus,' sometimes attributed to Sophocles, but often considered a later addition to the corpus. All the tragedies with the exception of 'Electra' are present, as well as the satyr play 'Cyclops.' Edited by Aldus, all but four are here published for the first time. Frequently based on myths, Euripides explores a variety of themes in his work, from xenia and the role of women in Alcestis, to the revenge and betrayal of the cuckolded wife in Medea, to hubris and misogyny in Hippolytus, to the aftermath of the Iliad in Andromache and Trojan Women, and a new take on Odysseus' dealings with the Cyclopes in 'Cyclops.' "It would seem from the preface that only 1000 copies were printed" (Dibdin), making it a set of particular rarity as well as beauty. This collection was the first to unite the disparate manuscripts of Euripides, and therefore formed the foundation for much later study of the tragedies. Much of the lasting importance of Euripides is due to his literary innovations which must have been striking to his contemporaries. He created deus ex machina as a literary device, prominently featured strong women and slaves for the first time, and focussed on real people and raw human emotions. His influence can be detected in the works of Joyce, Racine and Corneille. This copy is deliberately, for aesthetic reasons, incomplete of the register and the Aldine device of the first vol. The binder, most probably at the behest of the owner, wanting to create a uniform size for the two volumes, moved the last play of Vol. I to Vol. II, and then discarded the register and Aldine printer’s device as this now appeared in the middle of the text, rather than the end of the vol. The binding is very fine and, though unsigned, is undoubtedly the work of Bozerian, perhaps the most fashionable of the late C18th French binders. A beautiful copy of one of the most important of the Aldine Editio Princeps. **** BM STC It. C16th p. 239. Dibdin I 524 "frequently found in an imperfect or indifferent condition". Adams E 1030. Renouard 43:10 "première et rare édition d'Euripide". Brunet II 1095 "Cette édition est recherchée et les beaux exemplaires se trouvent difficilement.". N° de réf. du libraire 1444

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BECH, Philipp, ed.].

Edité par Joannes Oporinus (colophon: Bern, Samuel Apiarius,, Basel, (1556)

Ancien(s) ou d'occasion Couverture rigide Edition originale

Quantité : 1

Expéditeur : Antiquariaat FORUM BV (t'Goy-Houten, UT, Netherlands)

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Description du livre : Joannes Oporinus (colophon: Bern, Samuel Apiarius,, Basel, 1556. 2 works in 1 volume. 8vo (15 x 10 x 4.5 cm). Richly gold-tooled tanned sheepskin (ca. 1700), sewn on 5 supports, each board with a border made from double fillets and a floral roll, diapered with fleurs-de-lis, the spine with a double-fillet border in each of the 6 compartments (plus a flower roll at the foot), the title "Graecor Veterum" in the 2nd and the others diapered with smaller fleurs-de-lis, comb-marbled paste-downs, headbands worked in yellow and green, gilt edges. The first work (De disciplina puerorum, bound 2nd) with several woodcut decorated initials (2 series). With the main text set in an Aldine-style italic type. The second work (Greek Epistolae, bound 1st) with a remarkable woodcut device on the title-page (a Greek theta with 2 winged serpents coiled around its curved elements and a putto with a torch sitting on its crossbar), 2 woodcut decorated initial letters (1 Greek and 1 roman) and a cast vine leaf ornament. With the Greek text set in Claude Garamont's famous Grec du Roi and the Latin translation set in his Aldine-style italic. 31, [21]; [16], "840" [= 804] pp. (2) [MOREL, Guillaume, ed.]. Graecorum veterum selectae brevesque epistolae.Paris, Guillaume Morel, King's printer for Greek, 1562. Two rare works, both the first editions of these collections, in an elegant French binding from ca. 1700.Ad 1: Rare first and only collective edition of 27 Latin pedagogical works originally published separately in the first half of the 16th century. It includes texts by Louis Vives (De ratione studii., De instutione puella ., Ad sapientiam introductio .), Erasmus (De instituendis pueris ., De civilitate morum peurilium ., Concio de puero .), Rudolph Agricola (De formando studio .), Melanchthon (De corrigendis studio sermo .), Christophe Hegendorf (De instituenda vita et corrigendis moribus iuventutis Paraenesis .), Otho Brundels (De disciplina et puerorum institutione Paraenesis .), Sebald Heyden (Paedonomia scholastica .) and others. Even the separately published works are very rare and hard to bring together. This collection presents the essential pedagogical concepts and opinions of the Renaissance. It was assembled and edited by Philipp Bech (ca. 1521-1560) professor of Greek (and later of medicine) at the University of Basel.Ad 2: Rare first edition of a selection of excerpts from Greek epistles by more than a dozen classical authors, printed by Guillaume Morel. The authors include Diogenes of Sinope, Apollonius of Tyana, Philostratus, Theophilact and many more. It is followed by a Latin translation. Morel (1505-1564) had a classical education and was appointed King's printer for Greek in 1555. He probably collected and edited these epistles himself. The Greek text is set in the second largest size (Gros Romain: 118 mm/20 lines or 17 point) of Claude Garamont's famous Grec du Roi, introduced by Robert Estienne in 1543 and used by Morel since 1554. The Cicéro (81 mm/20 lines or 12 point) italic used for the Latin translation is also by Garamont, introduced in 1545 and still with upright and rather small capitals in the Aldine manner. The USTC gives an erroneous collation (it should end C8 D2 rather than C10) and records it as Matthias rather than Samuel Apiarius. Morel himself published further editions of this collection in 1557 and 1562 and at least one more appeared after his death. Aldus's Greek edition of collected Epistolae, Venice, 1499, covered at least many of these authors and may have served as Morel's principal source.The endpapers are watermarked: crowned arms of Simon Arnauld (1618-1699), Marquis of Pomponne (since 1682), supported by 2 griffins, above "I [heart] C" [= J Cusson], similar to Heawood 715 (Paris 1728): see also Gaudriault, p. 93. With extensive interlinear (and some marginal) contemporary annotations in the Greek text of the Epistolae, an 18th-century(?) owner's inscription on an endleaf and an early 20th-century bookplate of Michel Tsoulidès. With some running heads and page numbers. N° de réf. du libraire 15097

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Theocritus.

Edité par Rome: Zacharias Callierges (1516)

Ancien(s) ou d'occasion

Quantité : 1

Expéditeur : Blackwell's Rare Books ABA ILAB BA (Oxford, OXF, United Kingdom)

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Description du livre : Rome: Zacharias Callierges, 1516. a little light toning and spotting, ff. [88], [116], 8vo, early nineteenth-century mid-brown polished calf, spine gilt in compartments, red morocco lettering piece, edges red, marbled endpapers, corners slightly worn, joints near-invisibly strengthened and front flyleaf re-attached, bookplate of Thomas Gaisford and letter from Earl Spencer to Gaisford glued to front endpapers, Gaisford’s ownership inscription and manuscript table of contents to blank endpapers, good The first edition of Theocritus to include the scholia (the fourth edition overall), and also the second book ever printed in Greek at Rome. Callierges, a Cretan native, printed initially at Venice but in the early 1510s moved to Rome, probably at the invitation of Pope Leo X, and had a fount of Greek type cast. With it he printed Pindar in 1515, and then this edition of Theocritus in January 1516. ‘As a printer of Greek, the achievements of Callierges are second only to those of Aldus. As an engraver of Greek type, he is in a class by himself. Only the potent commercial force of the Aldine press and the magic homogeneity of Griffo’s types have obscured its fame’ (Barker, Aldus Manutius and the Development of Greek Script and Type, p. 75).This copy belonged to Thomas Gaisford (1779-1855), Regius Professor of Greek and later Dean of Christ Church, Oxford. It was given to Gaisford in January 1815 by the collector George John Spencer, 2nd Earl Spencer - the prime mover in the creation of the Roxburghe Club - and his letter presenting the volume is tipped in. He writes: ‘Having understood from Mr Grenville that you are desirous of referring to the edition of Theocritus printeed by Callierges & having fortunately a duplicate copy of that book by me; I have desired Mr Bliss who is returning from here to Oxford to take charge of the volume, & beg you would do me the favour to accept it. The copy was in my original library here & formerly belonged to Dr George the headmaster of Eton. It is not in very firm preservation, but will I hope be looked upon by you as a mute testimony of the respect with which I remain, sir, your very obedient humble servent, Spencer’. Gaisford was then in the process of editing Theocritus for his collection of Poetae Minores Graeci (1816), in which he also printed the scholia and added a useful critical apparatus. He presumably arranged for the current binding to fix the ‘not very firm preservation’ that Spencer describes. (Adams T460; Dibdin II 485; CNCE 32693). N° de réf. du libraire 51683

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Pindar.

Edité par Rome: per Zachariam Calergi Cretensem (1515)

Ancien(s) ou d'occasion

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Expéditeur : Blackwell's Rare Books ABA ILAB BA (Oxford, OXF, United Kingdom)

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Description du livre : Rome: per Zachariam Calergi Cretensem, 1515. second edition of the text but the EDITIO PRINCEPS of the scholia, first leaf of text printed in red and black, that leaf with two small abrasions and one vertical hole, the hole also reaching (though less so) the next leaf, with one or two letters lost from about 2 dozen words in total, intermittent dampmark in lower margin, some soiling and spotting, foliated in a later hand, early annotations and manicules to last three leaves, ff. [240, incl. blanks iota6 & Theta9], 4to, eighteenth-century calf, spine and corners skilfully repaired, new labels in impeccable period style, leather a little darkened and marked in places, sound The second edition of Pindar (following the 1513 Aldine editio princeps) and the first book printed in Greek in Rome. Callierges, a Cretan native, printed initially at Venice but in the early 1510s moved to Rome, probably at the invitation of Pope Leo X, and had a fount of Greek type cast, producing this book as the first use of it. ‘As a printer of Greek, the achievements of Callierges are second only to those of Aldus. As an engraver of Greek type, he is in a class by himself. Only the potent commercial force of the Aldine press and the magic homogeneity of Griffo’s types have obscured its fame’ (Barker, Aldus Manutius and the Development of Greek Script and Type, p. 75).Dibdin calls the Callierges Pindar ‘scarcer and dearer’ than the Aldine, and records that three of the parts are more accurate. ‘Due to its great merits, the Roman edition became the textus receptus for three hundred years’ (Fogelmark, The 1515 Kallierges Pindar, in Syncharmata, p. 38). This is Adams’ first listed variant, with gathering [beta] in the earlier state and no red printing on [Alpha]3. (Adams P1219; CNCE 23572; Dibdin II 286). N° de réf. du libraire 52028

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ALDINE IMPRINT). JUVENALIS, DECIMUS JUNIUS. [and] PERSIUS FLACCUS

Edité par Aldus, 1501; Paris: Simon Colines, Venice (1501)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, U.S.A.)

Evaluation du vendeur : Evaluation 5 étoiles

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Prix: EUR 11 160
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Description du livre : Aldus, 1501; Paris: Simon Colines, Venice, 1501. Hardcover. The First Octavo Juvenal, and one of the Earliest Books in Aldus' New Italic Typeface. 165 x 102 mm (6 1/2 x 4"). Juvenal: [78] leaves; Catullus: 167, [1] pp. Two separately published works in one volume. First Aldine Edition of Juvenal; reprint of Aldine 1502 Edition of Catullus. Pleasing early--and very probably contemporary--calf, covers with a blind-ruled mitered frame, lower cover with 19th century blindstamped coat of arms (probably German) at center, raised bands, top compartment and a thin strip at bottom of spine expertly renewed, ties missing, PASTEDOWNS FROM A MID-13TH CENTURY MANUSCRIPT with extensive contemporary marginalia (see below). Front free endpaper with early ink inscription "Antonius Dulworth(?) ex dono fratris . . . " and with modern bookplate of Gerald Mander of Tettenhall Wood in Staffordshire; front flyleaf with inscription of Henry Bracegirdle (who bought this volume in Oxford on 6 December 1660); title page with 17th century inscription of Edward Palmer, King's College Oxford; marginalia throughout in Bracegirdle's hand, including an index at the end. Juvenal: Renouard, pp. 29-30; Ahmanson-Murphy 36. Catullus: Renouard, "Simon de Colines," p. 132; Schreiber 52. A handful of small abrasions to front cover, joints and extremities a little rubbed, but the binding sound and rather appealing as a lucky survival without much wear. Two leaves with short closed marginal tears, half-inch wormtrail at tail of gutter on last four leaves, other trivial imperfections, but A REMARKABLY FINE COPY INTERNALLY, the leaves clean and fresh, the Juvenal notably bright. This is a fine copy of the first octavo edition of Juvenal and one of the first books in the new italic typeface, instituted in imitation of the cursive hand in fashion at the time and perfectly suited for the small format editions popularized by Aldus. The collection of 16 satires by the great Roman poet Juvenal (ca. 60 - ca. 130) and six satires by the short lived Stoic Persius (34-62) has provided inspiration for a number of poets intent upon denouncing the vices of society. Among many other examples, Johnson's "London" clearly borrows from Juvenal's third satire, which shows Megalopolis (i.e., Rome) as the seat of vice and corruption. Reflecting Aldus' sustaining commercial goal of providing modestly priced portable editions of the classics to a wide audience, our volume apparently represents the first octavo edition of these satires, and Schweiger points out that the volume comprises a new recension of the text, taken from manuscripts and earlier editions. The work is typographically important as one of the earliest books to appear in italic type. Updike says that "the first books printed in the new font were the Virgil and Juvenal of 1501," and he reproduces the opening page of our text as an example of the new typeface, instituted in imitation of the cursive hand in fashion at the time and perfectly suited for the small format popular editions mentioned above. (In addition to the Virgil, issued in April, and our Juvenal, published in August, Renouard lists a Horace, issued in May of 1501 as the earliest italic printings.) Renouard indicates that there were two Aldine editions dated 1501: our printing (without the printer's famous anchor on the title) and one with the anchor present; the latter edition actually appeared several years later (STC Italian suggests 1515). Like the 1995 auction copy (in 19th century boards, sold at Christie's for £3,910) our copy has two stocks of paper; one bears an "A" watermark very close to, and perhaps identical with, Briquet 7919, while the other matches Briquet 9547. The Juvenal is preceded by a reprint of the 1502 Aldus edition of the Latin elegiac poets Catullus, Tibullus, and Propertius (all first century B.C.) from Parisian printer Simon de Colines (1480-1546). Colines married the widow of the remowned printer Henri Estienne and operated the Estienne press until 1526, when Henri's son Robert took over the busi. N° de réf. du libraire ST12442

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Castiglione Conte Baldassarre

Edité par Vinegia Figlioli di Aldo (Aldus) 1545 (1545)

Ancien(s) ou d'occasion

Quantité : 1

Expéditeur : Buddenbrooks, Inc. ABAA (Newburyport, MA, U.S.A.)

Evaluation du vendeur : Evaluation 5 étoiles

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Prix: EUR 10 457,33
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Description du livre : Vinegia Figlioli di Aldo (Aldus) 1545, 1545. A very early and rare printing of Castiglione by Aldus in the original folio format mirroring the 1528 printing. Elaborate Aldine device impressed on the title and at the end on the verso of the colophon leaf. Dedication to Michel de Selva, vescovo di Viseo. Folio, handsomely bound in fine Italian vellum. 122 ff. pp. A beautifully preserved copy, handsome and clean. RARE ALDINE EDITION OF THE CLASSIC LANDMARK IL CORTEGIANO. Castiglione’s great work is one of the most famous books of the Italian Renaissance and represents the highest level of committment to the prince and the new political and social order. The Courtier is the prototype of the courtesy book, written as conversation between members of the court. At the time of its composition Castiglione was at the court of Guidobaldo de Montefeltre and Elizabetta Gonzaga at Urbino, together with Bembo, Giuliano de' Medici, Federico Fregoso and other Renaissance luminaries; members of that court feature as speakers in the conversation. Castiglione, after serving the Sforzas at Milan and the Gonzagas at Mantua, came to the Court of Urbino in 1504 where de Montefeltre and his consort Elizabetta Gonzaga were the center of the most brilliant court in Italy, which counted among its members Bembo, Bibbiena, G. de’Medici and many other eminent men. This brilliant book is based on Castiglione’s experience of life among these dazzling figures. ‘The Courtier’ depicts the ideal aistocrat, and it has remained the perfect definition of a gentleman ever since. It is an epitome of the highest moral and social ideas of the Italian Renaissance and is written in the form of a discussion between members of the court. The fundamental idea that a man should perfect himself by developing all his faculties goes back to Aristotle’s ETHICS and many of the Aristotelian virtues reappear---honesty, magnanimity and good manners. The ideal man should also be proficient in arms and games, be a scholar and connoisseur of art; he should develop graceful speech and cherish a sense of honour. Relations between the prince and the courtier, forms of government, and rules for the conduct of a lady are also discussed and the book ends with the celebrated pronouncement on platonic love by Bembo. This Renaissance ideal of the free development of individual faculties and its rules of civilized behaviour formed a new conception of personal rights and obligations in Europe. The book was translated into most European languages and between 1528 and 1616 no less than one hundred and eight editions were published. It had great influence in Spain where traces of it can be found in DON QUIXOTE and in France in Corneille’s writings. But its most potent influence was probably in England. Its influence can be seen in Shakepeare, Spenser, Ben Jonson, Sir Philip Sidney, Robert Burton and Shelley. It had a great impact on the development of English drama and comedy. The beautiful and highly important printings of the house of Aldus are exceptional and revered in their own right. This, one of the most exceptional of Italian Renaissance works published by the great Renaissance printer of Italy. N° de réf. du libraire 25180

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CREVENNA, Pietro Antonio).

Ancien(s) ou d'occasion Couverture rigide Edition originale

Quantité : 1

Expéditeur : Jonathan A. Hill, Bookseller Inc. (New York, NY, U.S.A.)

Evaluation du vendeur : Evaluation 5 étoiles

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Prix: EUR 10 333,33
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Description du livre : Hard cover. Engraved vignettes on titles & numerous engraved head- & tail-pieces throughout. Six vols. Large 4to, cont. half-calf & boards (boards with some wear or rubbing, Vol. III with some dampstaining and mildew — now dormant — towards end), spines gilt, red & green morocco lettering pieces on spines. [Amsterdam]: 1776. A nice set of this rare and famous catalogue, privately printed in three hundred copies; it is one of the most highly appreciated 18th-century catalogues of a private library. Crevenna (d. 1792), a passionate and scholarly Italian bibliophile from Milan, spent most of his life in Amsterdam where he assembled his collections, rich in rare and excellent editions of the Greek and Latin classics and other important books and MS. including over 1000 incunabula, books printed by the Aldine and other presses, and important groups of Italian and French literature. By trade, he was a tobacco merchant who married Antoinetta Maria Bolongaro, the daughter of a very wealthy Italian merchant also living in Amsterdam. Assisted by his librarian, the Milanese author Carl’Andrea Oltolina, he himself compiled this richly annotated catalogue, well-known for its many learned bibliographical notes. The catalogue also serves as an early catalogue of autograph MSS. The last volume comprises extensive indices, including incunabula arranged according to date, a list of the Greek and Latin authors, chronological lists of books printed by Aldus, the Giunti, Gryphius and others. Very good and large set with all the errata leaves. Two spine labels partly flaked away and one head-cap a little chipped. From the library of Duke Albrecht of Saxe-Teschen with his characteristic binding style and endpapers. ? Gustave Brunet, Dictionnaire de Bibliologie Catholique, col. 593–"Ouvrage recherché, assez rare; les descriptions des premières éditions y sont faites avec grand soin." Peignot, p. 92–"Excellent ouvrage, assez rare, les descriptions des premières éditions y sont faites avec exactitude. On y relève quelquefois Debure." Pollard & Ehrman, Table XXXII. Taylor, Book Catalogues, p. 8–"Crevenna assembled a gentleman’s library of expensive standard works and, as the preface relates, took much pleasure in the task. The catalogue lists more than a thousand incunabula and was important for that reason in a time before the appearance of larger and better bibliographies" (& see pp. 100, 129, 135, & 238). N° de réf. du libraire JHABES2074

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Prix: EUR 9 749,04
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Frais de port : EUR 12,62
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Description du livre : Venice: Aldus July, 1503. Aldine device on title, minor stains and soiling on title, 2 small patches of worming affecting a few letters on verso and the succeeding leaf, one patch on title filled in, insignificant marginal dampstaining at beginning and end, ff. [viii], 112, folio (324x215 mm), contemporary limp vellum with external lacing on spine, thong ties lacking, a bit soiled, occasional early underscoring and marginalia, modern bookplate of Kenneth Rapoport, preserved in a blue cloth folding box, very good An attractive copy of the first Aldine edition of the chief work by the Greek émigré scholar and religious leader (1403-72), originally published in 1469, defending Platonism and its compatibility with Christianity in response to an attack by the Aristotelian George of Trebizond. (Renouard pp. 40-41, ‘fort rare’; Adams B831;CNCE 5644). N° de réf. du libraire 55296

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Description du livre : Colophon: Venice: In aedib. Aldi, 1503. some light foxing, thin dampmark to top margin of first few leaves, six gatherings with copious marginalia in an early hand (see below), final leaf with the partly-erased inscription of ‘Antonii Larisi’, ff. [vi], 182,[bound with:]Origen. Explanatio. in Epistola Pauli ad Romanos Divo Hieronymo interprete. [Colophon:] Venice: Per Simonem de Luere, 1506, final blank discarded, ff. 73, folio, later vellum, spine and fore-edge lettered in ink, a little bit darkened and rumpled, very good The first Aldine edition of Origen, containing homilies on the Old Testament in a Latin translation by Jerome. A couple of incunable printings of various short works preceded this edition, but Origen was a dangerous author to be associated with, since Jerome himself had alleged him to be a heretic. When Pico della Mirandola attempted a revival in 1486 it resulted in his own arrest for heresy, and only in 1493 was Pico pardoned, freeing other humanists to investigate Origen’s works. This Aldine edition marked the beginning of the new understanding and was immediately followed by a number of other printings of works by Origen, including the first collected works in 1512 and Erasmus’s edition, published shortly after his death. For Aldus the edition is significant in containing the first appearance of the large-format dolphin device, and also a preface acknowledging the partnership of Aldus’s father-in-law for the first time.Bound with it is a rare printing from this significant period of another exegetical work by Origen, also printed in Jerome’s Latin translation, by Simon de Luere of Venice. This text, on Romans, does not survive in the original Greek (the homilies in the Aldine edition saw their Greek editio princeps in the seventeenth century). An early owner has taken advantage of the new freedom around Origen’s works and read substantial sections of this copy carefully. A number of leaves have frequent annotation in a careful hand in the margins on both sides of the text. Many appear to be keywords but the quantity is greater than usual and others add details or summarise passages. If nothing else, the interests of the reader are made relatively clear: in the table of contents of the first work, every reference to the Pope in the contents of the homily on Leviticus is called out. (First work: Adams O291; Ahmanson-Murphy 72; CNCE 55859; Second: CNCE 31790; not in COPAC or Worldcat). N° de réf. du libraire 51957

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Píndaro. (c. 518 - c.438 aC.)

Edité par Zacharias Callierges (para Cornelio Benigno), 1515, 13 de agosto, Roma: (1515)

Ancien(s) ou d'occasion Edition originale

Quantité : 1

Expéditeur : Els Llibres del Tirant (Barcelona, Spain)

Evaluation du vendeur : Evaluation 4 étoiles

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Prix: EUR 9 500
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Frais de port : EUR 14,50
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Description du livre : Zacharias Callierges (para Cornelio Benigno), 1515, 13 de agosto, Roma:, 1515. 4º. (21,9 x 15,6 cm.). 244 hojas, incluyendo las dos blancas. Las primeras hojas de la Olympia y Pythia, impresas en negro y rojo. El comentario están impresos rodeando al texto. Encuadernación del siglo xix en piel con gran supra-libros dorado en ambos planos. Adams 1219. Censimento 16. El primer libro impreso en tipos griegos en la ciudad de Roma.Los textos de Píndaro que han llegado a nuestros días son en su mayor parte estos epinicia, odas corales en honor a los ganadores en los juegos. Están agrupadas por juego: Olympia, Pythia, Nemea e Isthmia. Aldo publicó la editio princeps en 1513, pero con un texto reducido y sin las scholia aquí presentes.Zacarias Callierges habia trabajado como impresor previamente en Venecia, donde realizó cuatro obras en griego entre 1499 y 1500 y cuatro más en 1509; entre 1500 y 1509 trabajó como escribiente en Venecia y Padua. A requerimiento del Papa Leo X se trasladó a Roma en 1514 para que enseñara en el Gymnasio Griego. La imprenta de Callierges fue financiada por el Cardenal Chigi a través de su canciller, Cornelio Benigno y se estableció en Villa Chigi, donde imprimió obras literarias y litúrgicas hasta 1523.Los tipos utilizados para este libro fueron utilizados posteriormente por la imprenta de Giunta en Florencia."The first Greek book printed at Rome and the EDITIO PRINCEPS of the Greek Scholia, it remains the most splendid edition of the Olympia, Pythia, Nemea and Isthia of Pindar, greatest of the lyric poets of Ancient Greece. The works comprise the 'Victory Odes' celebrating the four great festivals and games of the Hellenic calendar. This is the second edition of the text proper, first printed by Aldus two years earlier but the readings for three of the works (which may be partly based on different ms. sources) are preferable to the Aldine. It is also the first production of Kallierges' Roman press, then just established by the wealthy financier Cornelo Benigno, chancellor to Cardinal Agostino Chigi in the Villa Chigi itself. It was probably the prize in the great race with Lascaris and Angelo Coloni to establish the first Greek press in Rome and it is a magnificent example of early Greek printing. Kallierges' fonts were based on those he first used at Venice in the Etymologium Graecum of 1499 "one of the most beautiful Greek books ever produced", Mortimer, Harvard It. C16 II p688 and which demonstrates Kallierges' ingenious solution to the problem of Greek accents which had bedevilled all earlier Greek types. His early scribal training must have helped considerably. Pindar was the star of the Alexanidria Pleiade and an inspiration not just to his Greek successors, but to many moderns, among them Ronsard, Pope, Goethe, Holderlein and Foscolo." [Socal]. N° de réf. du libraire 12577

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ARISTOTLE (ARISTOTELES).

Ancien(s) ou d'occasion Couverture souple

Quantité : 1

Expéditeur : Lynge & Søn ILAB-LILA (Copenhagen, ., Denmark)

Evaluation du vendeur : Evaluation 4 étoiles

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Prix: EUR 9 137,34
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Description du livre : (Venice), Aldus (In aedibus Haeredum Aldi, et Andreae Asulani Soceri, 1536). Small 8vo. Contemporary full vellum with remains of ties to boards. Some soiling, but a nice, sturdy copy. Pasted-down end-papers with annotations and calculations in ink. A bit of light brownspotting and top edge with an ink stain that touches numbering on a couple of leaves (still legible), but no lettering. Printed in Latin and Greek. Woodcut Aldus printer's device to title-page and last leaf (which also has a contemporary owner's name: Guillielmo Curgaz?). 28 + 26 + (2) ff. (2 final leaves being index, errata, colophon, and printer's device). Exceedingly rare first edition of the tremendously important publication that marks the beginning of Aristotle's influence in literature, being the first separate edition of Aristotle's "Poetics" (which had only previously been published in the collection "Rhetores Graeci" in 1508), together with the first printing of Pazzi's highly influential Latin translation and the two important prefatory letters. It is this publication that inaugurates the humanist interest in Aristotle's "Poetics" and creates the influence that this work is to have upon modern literature and poetical scholarship, ruling the field of literary theory until the time of the Romantics. This milestone publication constitutes a key event in the development of literary theory during the Renaissance. "[T]he modern influence of this famous work dates from the memorable year 1536." (Sandy's II:(133)). The present publication constitutes a work of immense importance to not only Renaissance thought and literary scholarship, but also to the entire modern development of literary theory and literary criticism. Having been rediscovered around 1500, Aristotle's "Poetics" came to play a foundational role in the history of scholarship - beginning with this edition, which for the first time bases the text upon the three newly discovered manuscripts not previously known, which has for the first time the "Poetics" on its own as (as opposed to being printed in a bigger collection of various Greek texts), as well as the Latin translation that came to be by far the most influential. "In composing this valuable and very rare edition, Pacius consulted three ancient MSS. One of which was in the Vatican. From the account of Buhle, this appears to be a very valuable work. The Latin version was published in 1538 (this is erroneous - in fact it was published together with the Greek text in 1536. Presumably Dibdin has not seen a copy of the work himself, due to the great scarcity of it): to which two very interesting epistles, by the two Pacii, are prefixed." Dibdin I:320). "Almost all that we now have of the Aristotelian Corpus was available by the close of the thirteenth century, but by the early fifteenth century the humanist search for ancient texts had turned up two important and previously little-known works bearing the philosopher's name - the "Mechanics" and the "Poetics". Both these short treatises were copied in 1457 for Cardinal Bessarion in an important Greek manuscript that was to help shape the printed tradition of Aristotle's non-logical works. No work of Aristotle's is more unlike the "Mechanics" than the "Poetics", which entered Europe's consciousness at about the same time and with even more dramatic effect. Lorenzo Valla (possibly), Angelo Poliziano, and Ermolao Barbaro knew the "Poetics" before Giorgio Valla made his defective Latin translation in 1498, superseded in 1536 by the version of Alessandro Pazzi. Once accessible, its impact was extraordinary. Even in its partial state, the "Poetics" was the most comprehensive work on literary theory and criticism surviving from the classical period, and it soon came to dominate literary discussion. Since the "poetics" bears the stamp of Aristotle's authority, it is unsurprising that modern critics regard its reappearance as a key event in the development of literary theory during the Renaissance and no wo. N° de réf. du libraire 50398

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