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To men paron biblion, Souida. Hoi de: SUIDAS

SUIDAS

Edité par in aedibus Aldi, et Andreae soceri, mense Feb., 1514., Venice (1514)

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Description du livre : in aedibus Aldi, et Andreae soceri, mense Feb., 1514., Venice, 1514. Hardcover. État : Fine. Folio. ff. 392. a[alpha]-z[psi]8 &[omega]8 A[Alpha]-Z[Psi]8 &[Omega]8 2A[Alpha]8. quire H misbound, z2 bound upside down. Greek letter, in double column, ruled in red throughout. Woodcut Aldine device on the title-page and verso of final blank, capital spaces with guide letters, manuscript title inscription ‘Collat. ch perf. April 10 1798 M. R.’ with a note in latin concerning the misbound quire [Matthew Raine 1760-1811, headmaster of Charterhouse School], C19th pencil note on fly leaf 'afterwards Mr Heber’s', small label ‘Baron Monson’ [William, 6th Lord Monson] label on rear pastedown. Light spotting and very light soiling on first and last leaves, faint dampstain in a few fore margins, occasional light marginal spots, small repair to r3. A very, very, good copy in fine 18th-century French red morocco, (Derome?) covers bordered with a triple gilt rule, spine, with gilt ruled raised bands, double gilt ruled in compartments richly gilt with a semé of small tools around a fine gilt urn tool at centre, edges with double gilt rule, inner dentelles gilt, marbled paper endleaves, a.e.g. lower corners fractionally rubbed. A fine copy of the first Aldine edition of the Suida, a tenth century encyclopaedic lexicon which gives a wealth of references to ancient sources, some of them now lost. The author of the Suida is unknown. "Suida’ means "fortress" and was intended as an authoritative collection of historical information on secular and ecclesiastical writers and events. At some point Suida was taken to refer to the author, and thus one finds reference to "Suidas" as the author. The first edition of the Suida was printed by Bissolo and Mangio in 1499 in Milan, where they were forced to relocate after Aldus obtained the Venetian monopoly on the printing of hitherto unpublished Greek texts. This Aldine differs slightly from the first, probably being derived from a different manuscript. The lexicon is one of the most valuable documents of Greek philology, grammar, and literary history using material from the classical period; a long chain of later authors, from Eustathius of Thessalonica (c. 1192), quote from him. Suidas's lexicon is something between a grammatical dictionary and an encyclopaedia in the modern sense. It explains the source, derivation, and meaning of words according to the philology of the period, using such earlier authorities as Harpokration and Helladios. It is the articles on literary history that are particularly valuable. In these it gives details and to some extent quotations, from authors whose works are otherwise lost. It uses older scholia to the classics (Homer, Thucydides, Sophocles, etc.), and for later writers, Polybius, Josephus, the "Chronicon Paschale", George Syncellus, George Hamartolus, etc. The lexicon represents a convenient work of reference for those people who played a part in the political, ecclesiastical, and literary history of the Byzantine empire down to the tenth century. Its chief source is the encyclopedia of Constantine VII Porphyrogenitus (912-59), and for Roman history the excerpts of John of Antioch. The lexicon is arranged, not quite alphabetically. Suidas also contains much material for early church history among his biographical articles. The fine red morocco binding is similar in style to late bindings made by Derome le Jeune and his successor Derome-Bradel. The design of the compartments on the spine, and the fine tools used, also bears some similarities to bindings made by the French binder Bisiaux, who copied many of Derome’s tools, that were inherited by Bradel from Derome. "consequently, unsigned Bisiaux bindings are often erroneously attributed to Bradel as Renouard's main supplier of bindings in this style (M. Breslauer, Catalogue 110, p. 274, n. 161)" Bl Catalogue of bindings. Bisiaux, who was active 1777-1781 in Paris, bound many works for Renouard. The tools used, the quality of the morocco, and the gilding are of the highest order and the neo-classical style perfect fo. N° de réf. du libraire L1832

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Canzoniere.] Le cose volgari di messer Francesco: Petrarca, Francesco.

Petrarca, Francesco.

Edité par nelle case d'Aldo Romano, Venice (1501)

Ancien(s) ou d'occasion Couverture rigide

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Description du livre : nelle case d'Aldo Romano, Venice, 1501. Leather. État : Very Good. First Aldine edition. Octavo (18cm); [192] leaves, including blanks z4 and A8. Foliated in manuscript. Bound in nineteenth-century Italian diced russia, gilt-tooled to panel design with center cartouche framing author's name on upper board. Vellum endleaves. Occasional light marginal soiling and stains, title with minor restoration along bottom edge and faded 16th-century ownership inscription ("Ex libris quondam D. Prioris Casarotti seminario legatis"); original gilt edges, gauffered to ropework pattern, with "Petrarca" lettered in ink on bottom edges. Bookplate and collation note of the bookseller Giuseppe Martini (sale, Hoepli, 21 May 1934, lot 154); bookplate of Giannalisa Feltrinelli; bookplate of Kenneth Rapoport. References: Renouard, p. 28:5; Harvard/Mortimer Italian 371; Gamba 712; Adams P-787; Ahmanson-Murphy #35 (New UCLA 43); Olschki, Collection Petrarquesque, #17; Marsand, Biblioteca Petrarchesca, 23 ("per se medesima pregevole cosi' ch'io reputo inutile di farne parola in sua loda.") While Petrarch's fame as a vernacular poet was growing (witness several incunable printings), most of his readers in 1500 would have admired his Latin works. The sonnets were just a toss-off, just "rime sparse." It was this Aldine edition of the "Canzoniere" (as it came to be known) that reversed Petrarch's literary reputation, promoted his achievement in Italian, and made of his sonnets the unbreakable model for love songs in every European language. Pietro Bembo (1470-1547) edited the text from an autograph manuscript, and corrected many textual errors that had become "traditional" in earlier editions. It was only the third printed edition (after two examples in the 1470s) to order the poems in sequence and section them ("in life" and "in death") as Petrarch did in his final revisions. This ordering of the poems is now considered one of Petrarch's breakthrough innovations in the Western lyric tradition, that is, creating an overarching narrative order in a sequence of lyric poems. The earlier editions in correct sequence had been drowned out by several shuffled versions. Bembo's Aldine edition canonized the text as we now know it. It was also the beginning of Bembo's career as a professional scholar (he went on to edit the Aldine edition of Dante, and, significantly, to successfully promote the Florentine dialect of Petrarch, Dante and Boccaccio as the basis for a broader Italian language). It was the second occurrence-the first in a vernacular language-of Aldus's great series of pocketable books that, unlike the big folios chained to library tables, could be taken anywhere. This portability allowed the advent of reading for enjoyment, and Aldine portable books became the model for scholar-printers across Europe. It was likewise the second occurrence-again the first in the vernacular-of Aldus's "italic" typeface. (The font became hugely popular due in great part to this book, for the legend spread that it was very similar to Petrarch's own handwriting.) The copy offered here is one of the minority that includes Aldus's note to the reader and errata appended after the text. Not long after the initial issue, Aldus felt obliged to respond (with mock exaggeration) to certain critics with a list of errata. There he also announces his forthcoming edition of Dante. This 4-leaf note was only sewn into unsold copies of the book, and so it is rarely found. The so-called "Babylon Sonnets" which negatively portray the Court of Rome are sometimes torn out because of a misguided papal decree in 1595; here they are marked with a rule for cancellation, but are otherwise intact. N° de réf. du libraire 5392

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FICINO, Marsilio, tr.] / IAMBLICHUS

Edité par Venice Aldus 1497. (1497)

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

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Description du livre : Venice Aldus 1497., 1497. Small folio [29.5 x 20 cm], (184) ff., without initial blank, 185 pp., without final blank. Corrected variant with the second leaf signed ‘aii’ and the last word on Kiir spelled ‘absente.’ Bound in 18th-century speckled calf, spine in 6 compartments, gilt, with red morocco title label, with patterned paper pastedowns and collector’s stamp "G." in blue on first page, with contemporary annotations in margins. Minor, faded waterstaining in upper margin and some finger soiling of first few quires, and occasional spotting. Very good overall. First edition of a collection of Platonic theological texts by the 4th-century BC writer Iamblichus, an instrumental figure in disseminating Neoplatonism. Due to the urging of his patron Cosimo de Medici, whose Florentine circle clamored for Hermetic texts, Marsilio Ficino translated and edited the collection. Aldus’ handsome imprint thus became a vital source for the transmission of Neoplatonism during the Renaissance.In his translation, Ficino emphasized the Hermetic passages, due to his veneration for the Egyptian Hermes Trismegistus. Iamblichus himself approached these passages carefully, cautioning the reader that many works circulating under Hermes’ name were not written by him. "Throughout De mysteriis Iamblichus stresses the necessity of ritual in religion and the power of contemplation. It is possible for the initiated to ‘go beyond bodies and matter in service of the gods, being made one with the gods by a power which transcends the cosmos’ (5.20-22). This philosophy of transcendence by the spirit was taken over in its entirety by Ficino" (BPH, Christ, 263).*Bibliotheca Philosophica Hermetica, Christ, Plato, Hermes Trismegistus, 1990; BPH, Ways of Hermes, 2002; HC*9358; BMC V, 557; Goff J-216; IDL 2615. N° de réf. du libraire 4260

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Sophocles:

Edité par [Venetiis: in Aldi Romani Academia mense Augusto 1502]. (1502)

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Description du livre : [Venetiis: in Aldi Romani Academia mense Augusto 1502]., 1502. [196] leaves. Octavo. Full 19th century straight grain red morocco, elaborately gilt extra, a.e.g. Greek letter. Aldine anchor on verso of terminal leaf. Bookplate of Henry Labouchere, 1st Baron Taunton (1798- 1869). Some early and interesting manuscript annotations and highlighting in red ink, a few other annotations faded and occasionally a bit smeared, similar annotations eradicated from title, minute single wormhole in foremargins of final half of text block (in a few instances showing signs of early careful in- fill), otherwise a very good copy, neatly bound. First edition in book form of the Greek text of seven of the Tragedies of Sophocles, edited by Marcus Musurus with a dedication to Jan Lascaris. This was the first of the classical Greek texts published by Aldus Manutius in this portable form, and it remained the most readily available source for study of Sophocles's text until the 19th century, when superior manuscripts became the object of scholarly study. Like the copies noted by Brunet and regarded as the earliest printing of the first signature , the verso of the four-line title is blank, as is the facing recto. A high- water mark in the history of typography, classical texts and drama. ADAMS S1438. RENOUARD 34:6. BM (ITALIAN), p.634. BRUNET V:445-6. N° de réf. du libraire WRCLIT 66896

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BORDONE, Benedetto (1460-1539).

Edité par Venice: [Paulis Manutius Aldus for] Federico Torresano, 1547. (1547)

Ancien(s) ou d'occasion Couverture rigide

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Expéditeur : Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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Description du livre : Venice: [Paulis Manutius Aldus for] Federico Torresano, 1547., 1547. Folio (11 6/8 x 8 inches). Title-page printed in red and black with Torresano's woodcut tower device and within and elaborate floriated border with dolphins. 3 fine double-page woodcut maps, double-page woodcut town plan of Venice, 2 full-page, 2 double half-page, and 105 woodcut maps and town plans in the text. Early 19th-century brown morocco gilt, each cover decorated with a fine central gilt stamp of the Aldus device, all edges gilt (front cover detached). Provenance: early Latin inscription "D[eus] nobis haec otia" (God has given us our tranquility") at the foot of the title-page. First Aldine press edition, following the two Zappino editions of 1528 and 1534, and printed using the same woodblocks. The double-page maps include a fine woodcut of the world on an oval projection based on that of Francesco Rosselli, and depicting the eastern coastline of America as "Terra del Laboratore" and "Ponete modo novo", Europe and the northern coastline of Africa, Asia, and a fine plan of Venice. "Terra de Lavoratore" represents the Atlantic coast of Canada, and "p[ar]te del mondo novo" ("part of the New World") corresponding to the Caribbean Sea. Beneath that textual indication, at the lower margin of the map, Bordone included a corner of South America. Others maps related to the new world include woodcuts of Cuba, Venezuela, Brazil, "La gran citta di Temistican" (modern-day Mexico City) before its destruction by Cortez, and several of the West Indies. The "Copia delle Lettere de Perfetto della India la Nova Spagna detta alla Cesarea Maesta," not included in Zappino's 1528 edition (but in the 1534 edition), is the earliest printed account of Pizzarro's entry into Peru. The isolario, or book of islands, was a popular genre that had first appeared in manuscript examples by Cristoforo Buondelmonte dating from the early fifteenth century, then in printed versions by Bartolommeo dalli Sonetti from the late 1400s. More so than its predecessors, the isolario first published in 1528 by Venice-based cartographer Benedetto Bordone was formative for Renaissance geographical conceptions. Bordone's early sixteenth-century treatment of the island-atlas theme greatly expanded upon the earlier works, augmenting the conventional focus on the eastern Mediterranean to encompass maps of other parts of Europe and the world, stretching as far as the Indian Ocean, the African coastline and the New World. Bordone's maps of islands in the West Indies, and the Pacific: Sumatra and Java, and even one of Japan based on the suppositions of Marco Polo, although schematic in their outlines (perhaps reflecting the author's training as a miniaturist as opposed to a cartographer), were among the first nautical charts of these regions to become widely available. Brown, The World Encompassed, exh. cat. (Baltimore, 1952), n. 83; Burden, 11.; Shirley 59. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department. N° de réf. du libraire 000430

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Isolario: BORDONE, Benedetto

BORDONE, Benedetto

Edité par Paolo Manuzio for Federico Torresani, Venice (1547)

Ancien(s) ou d'occasion Couverture rigide

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Description du livre : Paolo Manuzio for Federico Torresani, Venice, 1547. Hardcover. État : Very good. FIRST ACCOUNT OF PIZARRO IN PERU. Folio, ff. [10], 74. Roman letter; title in black and red with printer’s device within elegant floral border with dolphins; few decorated and historiated initials; 120 woodcut maps, of which two full-page, eight double-page, one printed upside-down at f. xliir; tiny minor worm hole to title and first two leaves, a few spots at head of first double-page map, light water stain towards outer margin of one leaf. A very good, well-margined copy in early pasteboard; all edges mottled; two early ms shelf marks to title and price inscription to rear pastedown. Third, most correct and complete edition of this curious and informative atlas of islands, first published in Venice in 1528. This is the first and only Aldine edition, issued at the expense of Federico Torresani, Aldus’s brother-in-law and younger son of Aldus’s partner Andrea Torresani. Despite not being presented as a product of the main branch of the Aldine press, it retains the accuracy and the typically elegant layout of the familial output. Unusually for Aldine books, it also enriched by numerous illustrations taken directly from the blocks used in the first edition, but appear particularly bright and neat in this copy. It may well be one of the last collaborations between Federico and Aldus’s main heir, Paolo, who remained in touch with his uncle even after the family quarrel and the consequent split of the partnership between the Manuzio and the Torresani about 1540. Benedetto Bordone (c.1460-1530) was an eclectic Italian artist of the Venetian Renaissance. Born in Padua, he was a skilled miniaturist, editor and cartographer. He is very likely to be the artist behind the exquisite and ground-breaking illustrations of the Aldine Hypnerotomachia. One of his two sons was the famous scholar Giulio Cesare Scaligero, who later made up his surname claiming to be affiliated with the noble Italian family of Della Scala. His most famous work was the Isolario, accomplished a few year before his death. It consists of a broad illustrated survey of the world’s islands and peninsulas as they were known in the early sixteenth century, including learned mythical and historical remarks, drawn especially from Greek and Roman authorities. The book opens with Bordone’s dedication to his nephew, who had travelled the world on board the Venetian and Spanish fleets, probably acting as a military physician. Isolario is an intriguing mix of pioneering intuition and folkloristic belief. In it, Bordone provides the first printed map of Japan, as an island named ‘Ciampagu’, and the earliest depiction of the globe as an oval (this was later developed by Karl Mollweide into the model familiar to us). The final Copia delle Lettere de Perfetto della India la Nova Spagna detta alla Cesarea Maesta rescritte offers the earliest printed account of Pizzarro’s arrival in Peru and it is not included in the princeps. Twelve of the illustrations relate to America, including a rather distorted New World with the Northern portion of South America and the North America as a huge island named as ‘Land of the worker,’ probably hinting at the growing slave trading in the area. Alongside the maps of Western Europe, Eastern Mediterranean Sea, British Isles and Sicily, Bordone also drew detailed plans of Venice and some of its lagoon islands, as well as of the lavish capital city of the Aztec empire (Tenochtitlan, modern Mexico City) before Cortez razed it to the ground in 1521. Finally, one can find sketchy depictions of: the Canaries; Madagascar and Zanzibar; Java and Sumatra (as ‘Iava minore’); Ceylon (‘Taprobana’); Cuba, Guadalupe, Jamaica, Venezuela and Brazil; Thailanda, mistakenly thought to be an island called Lochac. Far east, Bordone includes, for the first time in print, two legendary isles, one exclusively inhabited by women (‘Imangla’), the other by men (‘Inebila’). Not in Brunet or Graesse. BM STC It., 120. Adams, B 2485; Renouard, 141:9; Mortimer It., 82; Harrisse, 221; P. N° de réf. du libraire L2033

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Prudentius; Gregory of Nazianzus et al.

Edité par Aldus Manutius 1501 - 1502 - 1504, Venice (1501)

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

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Expéditeur : MEDA RIQUIER RARE BOOKS (london, United Kingdom)

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Description du livre : Aldus Manutius 1501 - 1502 - 1504, Venice, 1501. Quarto (198 x 123 mm.), 3 volumes. I: [234]; II: [294]; III: [234] leaves; text in Latin and Greek, 2 woodcut printer's devices, volume III with manuscript pagination, late nineteenth-century red morocco by Bedford after a Deseuil pattern, edges gilt, red inkstamp and ex libris (erased) on title-page of volume II. Occasional slight spotting, covers very slightly rubbed; a very fine set of this rare work. Complete set of the first edition of this exceptional three-volume collection of early Christian poetry, described by Frognall Dibdin as one "among the very rarest of the Aldine publications to be found in a perfect state" (see also Renouard: "collection infiniment rare et précieuse"). This series, published in a four-year period (January 1501 – June 1502 – June 1504), stands out as a singular editorial undertaking: it gathers both Latin and Greek poetic texts (the latter always with facing Latin translations) by over a dozen Late-Antiquity Christian authors, mostly dating from the third-fifth centuries A.D. Among them, a special prominence is accorded to Prudentius, whose highly stylized poetry earned him a good repute in modern scholarship as well as a famous definition as Christianorum Maro et Flaccus ("the Virgil and Horace of the Christians") by Bentley. Furthermore, the third volume is entirely devoted to Gregory of Nazianzus, a great Cappadocian Father of the Church whose Greek poems and hymns are here published for the very first time (editio princeps). The collection includes some other first editions (editiones principes) of Greek texts, like the works of the Byzantine hymnographers John of Damascus and Cosmas of Jerusalem and the Homerocentra ("Homeric centos"), a fifth-century poem on Biblical themes – commonly ascribed to the Roman Empress Eudocia – entirely composed in Homer’s Greek. Moreover, the third volume contains the first printing of any part of the New Testament in Greek, namely the chapters 1-6 of the Gospel of St. John; extracts from such chapters are printed discontinuously in the two middle leaves of each gathering of sheets, in order not to leave blank pages. The choice of this text fits within a broader project of a trilingual edition of the Holy Scriptures (Greek, Latin, and Hebrew), which Aldus cultivated in the years between the end of the fifteenth and the beginning of the sixteenth century, but never came to light. The Poetae Christiani Veteres series is also of particular interest to collectors in another respect: its second volume contains the first appearance of Aldus’ famous printer’s device, namely the mark of the anchor and dolphin. This device, whose origins lay in the Classical world, was often associated with the motto festina lente ("hasten slowly"). In Aldus’ intentions – as we can read them in a letter dating from 1499 – it was meant to symbolize the speed and steadiness which should preside over the printer’s work. Only after Aldus’ example, it became common practice among Renaissance printers, especially those producing books for humanists, to adopt emblems or mottos on the title pages of their editions. According to Aldus’ preface to the first volume – addressed to the humanist Daniele Clario, who at that time was active in Ragusa as professor – this collection was mainly conceived for educational purposes: it was meant to provide the Christian youth with edifying readings and, conversely, to diminish the importance traditionally given to pagan poetry and works of fiction (fabulae et libri gentilium). At the same time, as Aldus put it in the introduction to the third volume, Latin translations facing Greek texts were intended to provide those same young students with a useful tool to learn Greek ("If you duly collate those translations with the Greek text, you will at once learn Greek and learn how to live as Christians"). Adams P1685; Renouard 1501:1, 1502:17, 1505:4; UCLA 31, 46, 67. N° de réf. du libraire 003

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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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uvres, en grec].: PAUSANIAS;

PAUSANIAS;

Edité par Venise Aldus Manutius 1516 (1516)

Ancien(s) ou d'occasion Signé

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Expéditeur : Thomas-Scheler (Paris, France)

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Description du livre : Venise Aldus Manutius 1516, 1516. In-folio (311 x 218 mm) de 2 ff.n.ch., 282 pp., 1 f.n.ch avec la marque d'imprimeur au recto ; vélin souple à rabats (reliure ancienne). Ahmansson-Murphy 146 ; Renouard, Alde, 76/3 ; Adams P-496. Édition princeps. Pausanias avait visité, au IIe siècle de notre ère, toute la Grèce, Rome et l'Italie et une bonne partie de l'Orient. Sa Description de la Grèce reste très précieuse pour l'étude de la topographie, de la mythologie et de l'archéologie. Alde avait envisagé la publication de ce texte depuis longtemps et on sait par une lettre de 1502, qu'il remerciait Johannes Calpurnius pour le prêt de son manuscrit. L'édition fut établie par Marcus Musurus d'après le manuscrit du XVe siècle, qui se trouve aujourd'hui à Florence. Elle est qualifiée par N.G. Wilson comme "one of the best of the editiones principes" (From Byzantium to Italy, p.155). Dans sa dédicace, Musurus félicite Lascaris de ses efforts incessants pour délivrer la Grèce de l'occupation turque et pour son aide intellectuelle aux grecs de Venise et d'ailleurs. Bel exemplaire imprimé sur beau papier. Il pourrait s'agir d'un exemplaire sur grand papier dont Renouard note : "J'ai déjà fait plus haut une remarque qu'il ne sera pas mal-à-propos de réitérer ici, c'est que dans l'année 1514, et quelques unes des suivantes, il a été imprimé de plusieurs de ces éditions in-folio quelques exemplaires sur un papier plus grand, plus fort et d'une beauté remarquable". Quelques notes anciennes sur les 10 premières pages ; dos et gardes renouvelés au XIXe siècle. De la bibliothèque de John Albert Spranger, Trinity College Cambridge (ex-libris au contre plat et cachet humide sur le titre). N° de réf. du libraire 13873

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Plutarchus

Edité par in aedibus Aldi & Andreae Asulani soceri March 1509, Venice (1509)

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

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Expéditeur : MEDA RIQUIER RARE BOOKS (london, United Kingdom)

Evaluation du vendeur : Evaluation 4 étoiles

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Description du livre : in aedibus Aldi & Andreae Asulani soceri March 1509, Venice, 1509. Quarto (279 x 180 mm.), [8] leaves, 1050 pages, [1] leaf, Aldine device on title page and on verso of last leaf. Eighteenth century English brown calf, covers blind tooled to a panel design with a blind dentelle rule, blind fleurons to corners; flat spine in six compartments with gilt red morocco title piece. Title page lightly fingerstained, a pale waterstain in the outer blank margin at the beginning, some XVI century annotation in Greek. A very good copy. Editio princeps of Plutarch’s Moralia, a collection of essays on ethical, political, literary and religious topics. "The 1509 edition of Plutarch was the product of many years' work (Aldus complains in the preface that the work on the Moralia was very difficult and comments that he had been nearly forced to abandon the project many times). The work was edited by Demetrius Ducas, a Cretan scholar who was a participant in Aldus's academy. Ducas was assisted by Erasmus as well as Girolamo Aleandro, who just one month after the Aldine publication published his own, somewhat improved, edition of some of Plutarch's essays in Paris. Renouard and other early scholars guessed that the manuscripts used for the preparation of the text were those which Bessarion had donated to the city ofVenice along with the rest of his extensive manuscript library. It now seems unlikely that Aldus or anyone else had access to these materials until nearly a century after Bessarion's death in 1472. In fact, the press copy of much of the Aldine edition of Plutarch has been discovered at the Ambrosian Library in Milan; its state is a case study in how early printers treated these manuscripts. Rather than make a new, corrected, and edited copy of the text for the typesetters, Ducas and others simply wrote changes onto the original thirteenth-century manuscript itself. Parts of the manuscript contain the page markings of the Aldine text, ensuring that the type for a given page ended and started at the correct point. Some of the pages are marked stampato ("printed"), indicating that those sections had already been printed from another source and there was no need to go over them again. There is evidence from this manuscript that even as manuscript pages were being handed to the typesetters the editing of the work was still in process. Although the direction of the chain lines in the paper implies that this is a quarto book, that is, each piece of paper was printed in four sections and then folded to form four leaves, Renouard notes that the size of the final leaves is so large that if this had been the procedure, Aldus would have needed a much larger press than he is known to have had. Therefore, Renouard posits that he cut the sheets in two and printed them as folios, each piece being printed in two sections and then folded into two leaves and sewn together to form the book." (In Aedibus Aldi. The Legacy of Aldus Manutius and his press. Brigham Young University, Provo, Utah, 1995. Nr. 18) Adams, P-1634; American STC Italian, 2:614; Renouard, 55, no. 1; Dibdin, 2:171. N° de réf. du libraire 005

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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

Quantité : 1

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

Evaluation du vendeur : Evaluation 5 étoiles

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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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ARISTOTELIS STAGIRITE PERIPATETICORUM PRINCI-//PIS DE PHYSICO AUDITU: Aristotle
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Description du livre : 1495. Hardcover. État : Very Good. Folio - over 12 - 15" tall. Aristotle. ARISTOTELIS STAGIRITE PERIPATETICORUM PRINCI-//PIS DE PHYSICO AUDITU LIBER PRIMUS [ET] AUERROIS // CORDUBENSIS CO[M]MENTARIA. IMPENSA . OCTAUIANI SCOTI IN VENETIJS. 1495-1496. [leaf ¿ approbation and Prologus] a-o¿ p¹¿ q-t¿; u-z [et] [com] [rum] aa-gg¿ hh¿; ii-rr¿; ss-tt¿ vv10 xx-yy¿ [leaf ¿ Registrum Chartarum]. Title from leaf 1 a. Contents: Physicorum. Liber primus de celo [et] mundo. De generatione aute[m] et corruptione. De anima. De sensu et sensato. De memoria et reminiscentia. De somno [et] vigilia. De causa longitudinis vite. Liber Averroes De substantia orbis. Metheororum. Registrum chartarum. Includes several colophons. First: Aristotelis stagarite philosopho[rum] monarche: //phisicorum opus: cum Auerroys Cordubensis // expositionibus feliciter explicit. Studio quoq[ue]: ac // Impensa Octauiani Scoti diligentissime [et] ca//stigatissime correctu[m]: [et] ex stercore [et] tenebris: in no//bilissimum [et] clarissimum locum deductum: Ve-//netijs i[m]pressum a[n]no salutis d[omin]i. M.cccc.xcv. die // vltimo septembris.--Cf. leaf 160 b. The second colophon (for De celo [et] mundo) is dated 28 November, 1495--Cf. leaf 262 a; and the third colophon (for De generatione et corruptione) is dated 5 December, 1495-- Cf. leaf 278 b. Final colophon: Summi philosophi Aristotelis Stagyrite // peripatheticorum principis: cum Auerroys cor-//dubensis expositionibus Metheororu[m] opus: cu[m] // noua traductione in quartum [et] vltimum predicti // voluminis feliciter explict. Impensa quoq[ue] ac di // ligentia Octauiani Scoti Venetijs impressum // fuit. Anno d[omin]i. M.cccc.lxxxxvj. die. xxij. Aprilis /// Laus Deo.--Cf. leaf [391] a (misnumbered 361). Contemporary leather-backed wooden boards, leather and clasps restored, in a full period-style leather folding box with gilt-decorated raised bands. Some minor worming on about 70 leaves at front and rear, few leaves have minor darkening; mostly bright and clean copy, with early marginalia and ownership inscription from 1505. Decorative initial letters; woodcut capitals and many diagrams. A very good copy of what is sometimes called the third Latin edition of Aristotle¿s Physics, intended to complement the same printer¿s contemporary printing of the Organon. Only one institution in North America appears to have both the Organon and Physics of this edition, though not as a matched pair (since they were not issued as such). Until the appearance of Aldus¿ Greek Aristotle, November 1495- June 1498, this edition held sway as the best in Latin, with its standard commentaries of Averroës and others. BM 15th cent. V. 348 (IB.21097) Goff A-965. Hain 2190. N° de réf. du libraire 000025

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STEPHANUS BYZANTINUS. - MANUTIUS, Aldus, ed.

Edité par Venice, Aldus Manutius (1502)

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

Quantité : 1

Expéditeur : Hellmut Schumann Antiquariat (Zurich, Switzerland)

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Description du livre : Venice, Aldus Manutius, 1502. Greek types with a few Roman, introd. page in Latin. 2 cols. 80 unn. leaves. Folio. 19th-century English red leather, spine gilt, t.e.g. (slightly rubbed). From the library of George Thomas Robinson (British architect, 1829-1897), with his engraved armorial bookplate with motto "Virtute non verbis". Venice, Aldus Manutius, January 1502. First edition of the epitome of a geographical lexicon no longer existent in its original form. This geographical lexicon of Stephanus of Byzantium was edited by the great scholar-printer Aldus Manutius and dates from the 5th century. It lists place-names in the ancient world and adjectives derived from them and contains material from ancient authors whose works are now lost with notes of historical events. The author, of whom nothing is known but the text, flourished c. 528-535 A.D. The manuscript from which Aldus worked was incomplete; he indicated the lacuna by omitting the letter F in the quire sequence, expecting the reader to supply the missing text should it be discovered. The work was dedicated to Giovanni Tiberio, professor at Brescia, for whom Aldus had already been supplying Greek texts. - A nice clean copy. - Renouard p. 38. 15; Adams S-1717; Hoffmann III, 626; Brunet V, 530 ("assez rare"). CLASSICS ; ITALY ; GRAPHIC ARTS:ALDUS ; N° de réf. du libraire 32957-128

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Canones, et Decreta Sacrosancti Oecumenici, et Generalis: COUNCIL OF TRENT]

COUNCIL OF TRENT]

Edité par Aldine Press/ Aldus [Paulum Manutium], Rome (1564)

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

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Description du livre : Aldine Press/ Aldus [Paulum Manutium], Rome, 1564. Hardcover. État : Very Good. 1st Edition. EXTREMELY RARE FIRST PRINTING of the Canons and Decrees of the Council of Trent, one of the most important publications in the history of the Catholic Church; printed by Paulus Manutius and Aldus the Younger of the Aldine Press and the request of Pope Pius IV. The Council of Trent (1545-63), was "highly important for its sweeping decrees on self-reform and for its dogmatic definitions that clarified virtually every doctrine contested by the Protestants. Despite internal strife, external dangers, and two lengthy interruptions, the council played a vital role in revitalizing the Roman Catholic Church in many parts of Europe. Pius IV confirmed the council's decrees in 1564 and published a summary of its doctrinal statements; observance of disciplinary decrees was imposed under sanctions. In short order the catechism of Trent appeared, the missal and breviary were revised, and eventually a revised version of the Bible was published. By the end of the century, many of the abuses that had motivated the Protestant Reformation had disappeared, and the Roman Catholic Church had reclaimed many of its followers in Europe" (Britannica). Commissioned by Pius IV, Paulus Manutius of the esteemed Aldine Press traveled to Rome to produce the beautifully printed summary of the doctrines, decrees, and conclusions of the Council. With engraved initials throughout and the large familiar Aldine anchor device printed on title. There were several printing of the Canones in 1564. This is the FIRST PRINTING, with undated privilege on verso of title, pagination in Roman numerals, and final dated leaf at page CCXXXIX. Canones, et Decreta Sacrosancti Oecumenici, et Generalis Concilii Tridentini sub Paulo III, Iulio III, Pio IIII, Pontificibus Max. Romae: Paulum Manutium, Aldi F., 1564. Folio (210x284mm), eighteenth century full speckled calf. Top of spine chipped. Early owner signature on title page; some underlined passages with old handwritten annotations in the margins. Early repair in a blank area of the title. Occasional foxing; mild dampstaining towards the end of the book. A large, wide-margined copy in elegant 18th-century binding. SCARCE. N° de réf. du libraire 1567

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Caesar Caius Julius

Edité par Venezia Agostino Zani 1511 (1511)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

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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GREEK ANTHOLOGY.)

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

Ancien(s) ou d'occasion Edition originale

Quantité : 1

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

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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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Strozii poetae pater et filius.: STROZZI (, Ercole

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

Quantité : 1

Expéditeur : Antiquariat Buechel-Baur (Winnenden, Germany)

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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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INSTITUTIONES GRAECAE GRAMMATICES: URBANUS BELLUNENSIS (BOLZANI,

URBANUS BELLUNENSIS (BOLZANI, Urbano VALERIANI, c.1443-1524).

Edité par VENEZIA, ALDO MANUZIO, GENNAIO 1497 (1497)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Libreria Antiquaria Il Cartiglio (TORINO, TO, Italy)

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Description du livre : VENEZIA, ALDO MANUZIO, GENNAIO 1497, 1497. ottocentesca in mezzo marocchi. État : Buone. Legatura del XIX secolo in mezzo marocchino marrone con angoli e carta decorata; al dorso, autore e titolo in oro a uno scomparto superiore, editore e data a quello inferiore, in oro; fregi a secco agli altri scomparti; tagli blu; sguardie policrome. Al contropiatto anteriore, ex-libris di "Richard Copley Christie"; alla carta di guardia policroma posteriore, ex-libris "John Rylands University Library of Manchester Withdrawn from stock April 1988". Tra la carta di guardia anteriore bianca e la carta con il titolo, foglietto incollato di mezza pagina, manoscritto con annotazioni ottocentesche  sull'autore e sull'opera; al verso della carta con il titolo, timbro "Manchester University". Collazione: 214 carte non numerate, comprese le 2 carte di errata in seconda emissione; a10-b z & A8 -B10 -(C2 );  27 linee; Tipi: 2: 114 greci e romani. Alla carta a4 verso, diagramma a silografia  a piena pagina; nel testo, qualche lettera istoriata a silografia e spazi con lettere-guida.  Alcune annotazioni a penna lungo il testo. Prima rara edizione in incunabolo della prima grammatica latina e della più conosciuta grammatica greca dell'epoca  Aldo Manuzio fondò la sua tipografia  a Venezia nel 1495 con il preciso intento  di pubblicare i classici, in particolare i greci, con i testi in lingua originale.  Per incoraggiare ulteriormente lo studio del greco, Aldus chiese al suo amico Urbanus di comporre una grammatica greca scritta in latino e greco, rendendo così accessibile il linguaggio di Aristotele e Omero ad un pubblico molto più ampio. Cfr. Renouard, "Ce livre est estrêmement rare. Erasme, dans une lettre de 1499, dit que dès-lors il lui fut impossible d'en trouver un seul exemplaire". Esemplare complessivamente in buone condizioni dai buoni margini, leggerissima gora che compare all'angolo inferiore ad alcune carte, più estesa alle ultime pagine; restauro integrativo agli angoli delle ultime 2 carte di errata, senza interessare il testo. " 0. N° de réf. du libraire 1427

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Platonis opera a Marsilio Ficino traducta: adiectis: PLATO.

PLATO.

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

Ancien(s) ou d'occasion

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

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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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Tragoediae: EURIPIDES

EURIPIDES

Edité par Aldus, Venice (1503)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Sokol Books Ltd. ABA ILAB (London, United Kingdom)

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Description du livre : Aldus, Venice, 1503. Hardcover. État : Fine. ALDINE PRINCEPS IN BOZERIAN BINDING EDITIO PRINCEPS. 2 volumes 8vo. (242) (216) unnumbered ff. Volume I: ?-??, ??, ?-??, ??, ?-??, ??, ???, ? ?, ?-??, ? ?, ?-??, ??, ?-??, ??-???, ???, ??-???, ??? Volume II: ??-???, ?? ?, moved from volume I [Lacking (chi)? the register and Aldine device] ???, ?? ?, ??-???, ??-???, ?? ?, ???, ???, ??-???, ???, ???, ???-????, ????, ???-????, ????, ???-????, ???? (?4, ?6, ??6, ??10 and ??6 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 title page mentions only seventeen), 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 focused 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 Volume I to Volume 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 volume. 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." Greek. N° de réf. du libraire L1444

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Pontanus, Joannes Jovianus.

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

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

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Description du livre : Hardcover. État : Fine. No Jacket. 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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De serpentibus (with) Antisophista (and) De guaiaci: LEONICENO, Niccolò (with)

LEONICENO, Niccolò (with) LEONICENO, Niccolò (and) HUTTEN, Ulrich von

Edité par Giovanni Antonio Benedetti (with) Girolamo Benedetti (and) Johann Schoeffer, Bologna, 1518 (with) Bologna (and) Mainz, 1519 (1519)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Sokol Books Ltd. ABA ILAB (London, United Kingdom)

Evaluation du vendeur : Evaluation 5 étoiles

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Description du livre : Giovanni Antonio Benedetti (with) Girolamo Benedetti (and) Johann Schoeffer, Bologna, 1518 (with) Bologna (and) Mainz, 1519, 1519. Hardcover. État : Very good. THE FABRI-IMPERIAL COPY 4to, 3 volumes in one. 1): FIRST EDITION. 54 leaves, A-M4, N6; 2): FIRST EDITION. 78 leaves, A4, BB-II4, K-S4, T6; 3): FIRST EDITION. 44 leaves, a-l4. Roman letter, little Greek; large printer's device on first colophon, full-page coat of arms of dedicatee on title and full-page portrait of author on final leaf of 3); intermittent marginal light damp stain to 2). A very good copy in eighteenth-century ¾ calf, gilt spine, titles on morocco labels, patterned endpapers; minor worm trails on front joint and rear cover; remains of shelfmark label on front; contemporary 9 line ms record on second title of the gift of this volume by Johann Fabri to St Nicholas College in Vienna in 1541; tiny circular stamp of the Selbourne library to margin of ff. Aiv, Giiir. A very interesting collection of uncommon first-edition medical treatises on snakes, venoms and syphilis by Niccolo? Leoniceno and Ulrich von Hutten. Leoniceno (1428-1524) was a very influential physician, botanist and scholar of the Italian Renaissance. A skilled student of Greek, he taught in Padua before settling in the university and the court of Ferrara. Here, he accomplished several pioneering translations of the Greek classics, such as Arrian, Diodorus, Appian, Polybius, Cassius Dio and, first and foremost, large part of Galen’s corpus. Over the course of his extraordinary long life, Leoniceno was well acquainted with the most prominent scholars of his time, including Pico della Mirandola, Ermolao Barbaro and Angelo Poliziano. Lending Aldus Manutius some of his prized manuscripts, he took an active part in the Aldine Greek editions of Aristotle and Galen. In 1497, he published the first scholarly account of syphilis, following the epidemic in the Italian peninsula after the arrival of the French troops of Charles VIII. Ulrich von Hutten (1488-1523) was a German poet as well as a precursor and early partisan of Luther. After quitting monastic life and searching in vain for patrons of his pen, he eventually came into the service of the prince-archbishop Albert of Brandenburg. In 1517, the Emperor bestowed him the title of poet laureate. Later, he lost Albert’s favour and took part in the disastrous religious uprising known as the Knights’ Revolt in 1523; he died in seclusion in Zurich. He published extensively both in Latin and German and set up a printing press in Strasbourg. The work opening this volume is the earliest scientific attempt to describe effects and antidotes of snakes’ venom and discusses other dangerous reptiles such as crocodiles. This is the most correct variant of the first edition, comprising the ‘Mendae ex incuria’ on title verso. De Serpentibus also includes a short essay on vipers, previously issued by Aldus Manutius about 1497, almost certainly in recognition of Leoniceno’s contribution to the Aldine enterprise. Then follows the Antisophista, a defence of Leoniceno’s pedagogical and theoretical thinking. Although allegedly written by a former pupil of his hidden behind the pseudonym ‘Medicus Romanus’, this work is frequently ascribed to Leoniceno himself. It strongly argues that many Italian physicians and professors of medicine dwell too much on the sophistications introduced by Roman, Arab and medieval translators, instead of going back to Greek sources and grasping the true meaning of medical terms. Leoniceno’s teaching marks a fundamental watershed in the history of early modern medicine, triggering the revival of Galenic and Hippocratic studies (see R. J. Durling, ‘A Chronological Census of Renaissance Editions and Translations of Galen’, Journal of the Warburg and Courtauld Institutes, XXIV, 1961, pp. 230-305). The third work of the volume consists of one of the earliest reports by a patient affected by syphilis. Von Hutten suffered from this illness for 15 years and decided to share his pain with readers by describing symptoms and treatments with the help of Albert of Brandenburg’s physicians. He tried unsuccessfully to. N° de réf. du libraire L2011

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Il libro del Cortegiano, Nuovamente Ristampato: Castiglione Conte Baldassarre

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.)

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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.)

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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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Galen

Edité par Aldus, Venice (1525)

Ancien(s) ou d'occasion Edition originale

Quantité : 1

Expéditeur : Jeremy Norman's historyofscience (Novato, CA, U.S.A.)

Evaluation du vendeur : Evaluation 4 étoiles

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Description du livre : Aldus, Venice, 1525. The Aldine GalenGalen (A.D. 129 / 130-199 / 200). Galeni librorum pars prima [secunda]. . . . Two volumes only (of five). 2 vols. in 1, folio. [4], 24, 180 [i.e., 181], 108; [4], 184, 106ff. Vol. I colophon leaf (p4) misbound after p1; Vol. I also lacking blank leaves F4 and & 6. Venice: in aedibus Aldi, et Andreae Asulani soceri, April 1525 (colophon). 317 x 227 mm. Full morocco, antique. First three leaves of Vol. I repaired, fore-edges of some leaves a little frayed, Marginal dampstaining affecting the first approximately 50 leaves and approximately the last 25 leaves, but a very good tall copy, otherwise quite clean, with a few early marginal annotations. Signature on title of the 19th-century scholar Joseph R. Gasquet, author of "The Radical Medicine of Galen in his Time", Brit. & Foreign Med.-Chir. Rev. 11 [1867]: 472-88). Editio Princeps in Greek of the first two volumes (of five) of the magnificent Aldine Galen, which, by publishing in one place all the known Greek texts of Galen, marked a new era in both medical and philological scholarship. The collection's five folio volumes, the climax of nearly 100 years of active scholarship, represent the largest single body of text issued by the Aldine press, which had by then passed into the hands of Aldus Manutius's father-in-law Andreas Asulanus, Aldus having died in 1515 before he could fulfil his long-held desire to issue a new edition of Galen. Considering that Galen's works represent 25% of all surviving Greek literature, publishing this enormous work in one year would have been a major challenge for any printer or publisher. Asulanus, with the help of his sons Franciscus and Fredericus, continued Aldus's scholarly tradition, bringing out a number of Greek literary and historical editiones principes; "but whereas the family's not unlimited linguistic expertise might have sufficed to produce creditable editions of geographers and poets, it was clearly not up to the challenge the works of Galen presented. . . . To meet this challenge, the Pavian professor of medicine G. B. Opizzoni (ca. 1485-ca. 1532) was placed in charge of a large group of assistants recruited mainly from northern medical scholars then studying in Italy: John Clement (ca. 1495-1572), Edward Wotton (1492-1555), William Rose (ca. 1490-1525), and Thomas Lupset (1495-1530), all Brittani and followers of Thomas Linacre (ca. 1460-1524), and the Saxon Georg Agricola (1495-1555), of De re metallica fame." . . . The significance of the first printing of a classical author cannot be overestimated, especially a prolific one like Aristotle or Galen, whose works were not to be found in a single or even very few manuscripts, but had to be pieced together from as many manuscripts as the printer could lay his hands on. Not only did the texts of these authors go from being the private reserve of a few fortunate manuscript-owners and their friends to being available throughout the scholarly world-and that in a standard, corrected form-but their survival from the naufragium of the middle ages was once and for all assured" (Paul Potter, in Norman, 100 Books Famous in Medicine, no. 5). The Aldine Greek Galen was quickly adopted as authoritative, and was relied on heavily by subsequent translators of Galen's works. One of the rarest of Aldine publications, only two or three complete sets of this work have been sold during the past 30 years. A complete set, if it could be found, would be worth in the range of $50,000 or more. We are offering the first two volumes of this work at an affordable price; these volumes contain 37 (nearly one-quarter) of the 160 Galenic texts identified in Durling's bibliography. Among these are the Anatomici libri novem, Galen's major anatomical work; De motu muscularum, containing the first description of artificially stimulated contraction of dissected muscle tissue; works on dissection of the nerves, veins and uterus; the embryological De foetum formatione; and ten works on pharmacology and drug. N° de réf. du libraire 22177

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SATYRAE]. [bound after] CATULLUS, TIBULLUS [and] PERSIUS.: ALDINE IMPRINT). JUVENALIS,

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.)

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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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A complete set of Baskerville's classics, in: BASKERVILLE, John

BASKERVILLE, John

Edité par Baskerville, 1757-, Birmingham (1773)

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

Quantité : 1

Expéditeur : Hordern House Rare Books (Potts Point, NSW, Australia)

Evaluation du vendeur : Evaluation 2 étoiles

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Prix: EUR 10 805,33
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Description du livre : Baskerville, 1757-, Birmingham, 1773. Seven volumes, quarto, in matching full contemporary red straight-grain morocco bindings, almost certainly by Kalthoeber, elaborate gilt borders on covers, gilt-decorated spines in 7 compartments, gilt-lettered in 3, all edges gilt and gauffred, blue-grey paper endpapers; a remarkably fine and compelling set, the first volume extra-illustrated by the insertion of an engraved title page by J. Goeree after G. Valk from an unidentified edition of Virgil. A glorious set of this great series of printed classics, a late eighteenth-century high point in printing and publishing and generally seen as Baskerville's greatest achievement alongside his famous Bible. The set consists of the first editions of each of Baskerville's classical authors (Virgil, Juvenal & Persius, Horace, Catullus, Terence, Sallust & Florus, and Lucretius),The superb bindings are unsigned, but the tools, materials, and style clearly indicate the work of Christian Kalthoeber, the famous German craftsman producing some of the finest bindings of the period in London during the 1780s and 1790s.The beauty of Baskerville's books lies not only in his celebrated and unmistakeable types, still honoured today in computer-produced fonts, but also in paper and ink, both manufactured under his supervision. This magnificent set is the result of the addition of these to Kalthoeber's distinctive and beautiful style of binding.'The famous quarto 'Virgil,' the first of those 'magnificent editions' which, in the words of Macaulay, 'went forth to astonish all the librarians of Europe' (History, ch. iii.), appeared in 1757, and is not too highly praised by Dibdin as 'one of the most finished specimens of typography' (Introduction to the Classics, ii. 554).A beautiful quarto 'Horace' appeared in 1770, and seems to have sold fairly well. He was thus tempted in 1772 to bring out a series of quarto editions of Latin authors Catullus, Tibullus, Propertius, Lucretius, Terence and next year Sallust and Florus. These noble quartos are said to be incorrect texts; for their magnificence of type, paper, ink, and presswork there can only be unqualified praise. Nothing finer had yet been attempted in England.''The typography of Baskerville,' says Dibdin, 'is eminently beautiful. He united in a singularly happy manner the elegance of Plantin with the clearness of the Elzevirs. He seems to have been extremely curious in the choice of his paper and ink: the former being in general the fruit of Dutch manufacture, and the latter partaking of a peculiarly soft lustre, bordering on purple. In his italic letter, whether capital or small, I think he stands unrivalled; such elegance, freedom, and perfect symmetry being in vain to be looked for among the specimens of Aldus and Colinseus' (Introduction to the Classics, ii. 556).' (DNB).The modern study of Baskerville's printing is Philip Gaskell's Bibliography in which these appear as numbers 1 (first printing on wove paper, and his "first and perhaps finest book", with 20 additional names in the subscribers' list, a number unrecorded by Gaskell); 15; 39 (with engraved vignette title page, frontispiece, and 4 engraved plates by Gravelot, the latter appearing in only half of the edition, and on the higher of 2 qualities of paper); 43; 44; 46; 50; and 51. N° de réf. du libraire 4302351

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TRAVAMALA DE SALIS, Battista

Edité par Paganino Paganini, Venice (1499)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

Expéditeur : Sokol Books Ltd. ABA ILAB (London, United Kingdom)

Evaluation du vendeur : Evaluation 5 étoiles

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Prix: EUR 10 057,17
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Description du livre : Paganino Paganini, Venice, 1499. Hardcover. État : Fine. POCKET CONFESSION MANUAL IN FINE CONTEMPORARY BINDING 8vo., ff. (14), 479 (i.e. 476), (+)2, a12, aa-zz12, aa-zz16, &&16, 7716, 4416, AA-CC16, DD12. Gothic letter, double column, 49 lines; edges a bit dust-soiled, occasional small light damp stain to gutter, clean tiny tear to outer lower corner of 17 and 479 (i.e. 476), loosening title. An extremely good copy, unwashed and well-margined, in contemporary Rhineland German brown calf over wooden boards, blind-tooled with diaper panel with stamps of rose, lily and monogram ‘Ihs’ as well as smaller decorative floral medallions, resembling the style of a workshop based in Münster (Einbanddatenbank, w001463); spine in four compartments, original bronze clasps; slightly scuffed, loss to joints and spine; contemporary red and blue rubrication with touch of yellow, red underlining and manicula throughout; contemporary small vellum labels attached on fore-edge margins marking alphabetical progression; contemporary German purchase note on title and two early sixteenth-century [French?] ex libris of three priests, pastedowns and endpapers from folded manuscript on vellum with Litany of Saints from mid-thirteenth-century Breviary, possibly Flemish, elegantly and neatly rubricated in red and blue, additional later vellum leaf attached after front pastedown with contemporary manuscript annotation in Germanic hand, including initials ‘NKFS’; front pastedown detached from board with minor loss; ex libris 1712 of the library of the Premonstratensian Abbey of Saint-Josse de Dommartin (Pas-de-Calais) on verso of additional vellum leaf, front endpaper verso and final verso. Early and second octavo edition of this famous manual for confessors, first published in Novi Ligure in 1484 and expanded by the author four years later. Battista Travamala, died 1496, was a Franciscan friar from Salo, in Liguria, from which he took the alternative name de Salis. His most influential work was this Summa casuum, also known as Summa Baptistiana, Rosella casuum or Summa Rosella, completed in 1483 in the convent of Levanto. It encountered immediate success. Following the deliberations of the Fourth Lateran Council in 1215, a large number of manuals on penance appeared, to enhance priests’ intellectual preparation and instruct them on how to be prudent confessors. These handbooks discuss in detail the foundation of moral theology, presenting as questions (casus) numerous examples of correct application of canon law. This Summa adopted the alphabetical order of topics, in line with Bartholomeus de San Concordio, author of an earlier Summa. Relying on this and previous literature, Trovamala independently developed some important legal principles, such as those regarding invalidity of marriage in the case of false premises by one of the spouses. This edition also provides a rare early example of pocket-size octavo pertaining neither to devotion or (as developed by Aldus two years later) classic literature. As the three owners’ inscriptions on title point out, this genre of books was meant to be used by clerics at any time in their daily work and thus needed to be easily transportable. One of the priests using this desirable copy even marked the beginning of alphabetical sections to recover information more quickly. ISTC, is00050000; BMC, V, 460; GW, 3326 (+ Accurti, II, 70); Goff, S-50; Hain, 14186; Graesse, VI, 233. Latin. N° de réf. du libraire L2113

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En griego:] Olympia. Pythia. Nemea. Isthmia.: Píndaro. (c. 518

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 5 étoiles

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Prix: EUR 9 500
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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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Il libro del Cortegiano, di nuOvo rincontrato: Castiglione Conte Baldassarre

Castiglione Conte Baldassarre

Edité par Vinegia Figlioli di Aldo (Aldus) 1547 (1547)

Ancien(s) ou d'occasion Couverture rigide

Quantité : 1

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

Evaluation du vendeur : Evaluation 5 étoiles

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Prix: EUR 9 099,18
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Description du livre : Vinegia Figlioli di Aldo (Aldus) 1547, 1547. Early Printing by Aldus. Elaborate Aldine device Impressed on the titlepage and at the end on the verso of the colophon leaf. Dedication to Michel de Selva, vescovo di Viseo. 8vo, bound in 17th century stiff vellum, red morocco lettering label gilt. ff. (5), 195, (8). A fine example with the title label with a bit of chipping and with some light loss. 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 commitment 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 aristocrat, 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 Shakespeare, 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 19132

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