Benevenuto cellini (13 résultats)

Hardcover. Etat : Good. Etat de la jaquette : No Dust Jacket As Issued. Cover show light wear / rubbing. ; 8vo 8" - 9" tall; 464 pages.

Hardcover. Etat : Good. No Jacket. Gold titles on gray/green embossed covers, 504 pages including index. Corners are bumped and there is mild soiling to cover. Frontispiece portrait of Cellini. Collation by Guiseppe Molini, notes by G. P. Carpani and translation by Thomas Roscoe.

hardcover. Etat : Good. Good Slipcase. . Posted within 1 working day. 1st class tracked post to the UK, Airmail with tracking worldwide. Robust recyclable packaging. Picture is the actual item.

Hardcover. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Etat : Good. 3rd Edition. The Third edition, printed one year after the first, a scarce title, in contemporary full calf leather, marled boards and edges. With a frontispiece engraved by Collyer after Vasari, xvi, 428 pages and xi, 428 pages. Wear to bindings externally with repairs to spines, but sound now with very clean and fresh text blocks.…

Etat : New. WE CAN PROVIDE ANY BOOK FROM BRAZIL ! ---- All our books are Shipped with Fedex or the Brasilian Post for standard Shipment, Fedex or DHL for expedited shipment. ---- For more information, please contact us. ---- The book will be sent from Brazil.

paperback. Roubos, sequestros, quadrilhas, falsificações, códigos secretos, documentos perdidos, crianças desaparecidas: sem o faro investigativo do menino Mila, o escoteiro detetive, e seu olhar racional e atento a indícios e detalhes, nem o agente de polícia Furão nem o delegado Dr. Felisberto teriam qualquer chance de descobrir a solução para os casos misteriosos que se sucedem, vertiginosamente, em pleno Rio de Janeiro dos anos 1920! Junte-se a nós nesta verdadeira viagem no tempo, leitor, e seja você também um Sherlock mirim (escoteiro ou não!). Pela primeira vez disponível em livro para seus leitores, graças à arqueologia literário-detetivesca do pesquisador Leonardo Nahoum, estes dez contos do personagem Mila, o escoteiro detetive, criação do escotista e escritor Benevenuto Cellini dos Santos (1869-1927), foram publicados cem anos atrás na revista O Tico-Tico (1923-1925) e representam uma faceta desconhecida dos primórdios de nossa literatura infantojuvenil policial: o que temos aqui é uma inédita promoção do escotismo (cujos ideais começavam a ser adotados pelas redes escolares oficiais) embalada em histórias policialescas, gênero adorado pelos mais jovens, mas tido como pernicioso pelas patrulhas pedagógico-morais de plantão. Aventura, detecção sherloquiana e um projeto moral redentor para a infância brasileira: é essa a essência da criação genial de Benevenuto Cellini dos Santos Mila, o escoteiro detetive.…

Hardcover. Etat : Very Good. Frontis, half leather, gilt spine lettering, boards, x, 512;403 + errata + table of contents. Covers well worn, rubbed and soiled, leather scuffed/scraped, spine/spine tips missing pieces, outer/inner hinges cracked, Volume II front cover almost detached and ffep detached, ink names (N.W. Ridley Colborne), scattered foxing and toning else contents very good condition. Textblock tight. N.W. (Nicholas William) Ridley Colborne was the Member of Parliament for Bletchigley, Surrey, England. FIRST ENGLISH LANGUAGE EDITION.…

Fine, bright condition. A beautiful copy! 8vos., blue half-morocco leather & blue cloth over boards, stamped in gilt; marbled endpapers. With 40 Portraits & Views. (illustrateur).

Full calf. Etat : Very Good. First Edition. 4to (258 x 190mm). [xvi], 318pp., [2], [8, index]. Signatures: * ; A-Z; Aa-Rr (Rr4 blank). Dedicated to Richard Boyle, 3rd Earl of Burlington, signed Seb. Artopolita (ie. Cocchi). Title page printed in red and black. Four woodcut initials, three historiated with Renaissance putti. 18th century mottled calf; boards loosening; cords quite week. Soiling to edges of prelims, otherwise an internally very good copy on large paper. The genuine First Naples Edition of the famous autobiography of 16th-century Mannerist sculptor Benevenuto Cellini. The Vita di Benvenuto Cellini remains the fullest account of Cellini's remarkable career as Florentine sculptor foundational to the Mannerist art movement. It is presented through the filter of his own memory, as an autobiography, and the linguistic aspects are as audacious as many of the events of the sculptor's life. It has been considered and published as a classic, and commonly regarded as one of the most colorful autobiographies (certainly the most important autobiography from the Renaissance). The Vita was begun in 1558, when Cellini was 58 years old, or possibly in the previous year when Cellini was under house arrest. Working intermittently on the work for almost a decade, it seems Cellini's intention was to leave a record of his life for posterity and that his Vita should act both as an apologia and further demonstration of his qualities as a universal man. Cellini was notoriously contentious and a prominent pro-Medici. Among his known and frequent public altercations, he was officially accused or charged at least three times of the crime of sodomy with men, and on one occasion with a woman. Cellini also memorably escaped the Castel Sant'Angelo after an apparently false charge of embezzlement; he was recaptured and only released at the aid of the Cardinal d'Este of Ferrara. The Vita recounts some extraordinary events and phenomena in Cellini's life including his supernatural visions and ends abruptly in the year 1563- though he lived until 1571. The Vita remained unpublished during Cellini's lifetime, though contemporaries such as Giorgio Vasari, himself an important art-historical chronicler, knew of its existence. Benedetto Varchi, another in the Medici circle, may also have read it. The manuscript was believed lost, though imperfect 17th-century copies existed. These copies circulated to Filippo Baldinucci and Antonio Cocchi, who issued this Naples edition ('legal' edition) in 1728. Counterfeit copies were printed by Bartolini to discount the original (Cicognara cites place of publication as Florence and date of publication as 1730). The Vita while hugely important is not uncommon in large art history collections.…

Encuadernación de tapa dura. Etat : Muy bien. 1ª Edición. 4to, [xvi], 318pp., [2], [8, index]. Signatures: * ; A-Z; Aa-Rr (Rr4 blank). Title page in red and black with woodcut device; woodcut initial letters. Some minor foxing, but a very fresh and clean copy overall. Bound in full vellum, scuffed and slightly bowed, with gilt lettered label on spine. Red speckled edges. Early ownership stamp to first blank. First edition of the autobiography of the angelic goldsmith, libertine, drunkard, murderer and worse, creator of the immortal Perseus that stands in the Loggia dei Lanzi in Florence - perhaps the greatest sculpture of the Renaissance-. Cellini was among the greatest rapscallions in the history of the world. His autobiography is comparable only to the autobiographies of Casanova and Berlioz (and, perhaps, the lost memoirs of Byron). In addition to the vivid recounting of Cellini's exploits, the work constitutes the most detailed record of the working life of a Renaissance artist that has come down to us. The work was begun in 1558, but the manuscript was lost for over 150 years In Italian. The Vita recounts some extraordinary events and phenomena in Cellini s life including his supernatural visions and ends abruptly in the year 1563- though he lived until 1571. The Vita remained unpublished during Cellini's lifetime, though contemporaries such as Giorgio Vasari, himself an important art-historical chronicler, knew of its existence. Benedetto Varchi, another in the Medici circle, may also have read it. The manuscript was believed lost, though imperfect 17th-century copies existed. These copies circulated to Filippo Baldinucci and Antonio Cocchi, who issued this Naples edition (legal edition) in 1728. Counterfeit copies were printed by Bartolini to discount the original (Cicognara cites place of publication as Florence and date of publication as 1730.…

Hardcover. Etat : Fine. 4to (250 x 185mm). [xvi], 318pp., [2], [8, index]. Signatures: * ; A-Z; Aa-Rr (Rr4 blank). Dedicated to Richard Boyle, 3rd Earl of Burlington, signed Seb. Artopolita (ie. Cocchi). Title page printed in red and black. Four woodcut initials, three historiated with Renaissance putti. Contemporary Italian vellum; (wide clean margins and very appealing). Genuine First Naples Edition of the famous autobiography of 16th-century Mannerist sculptor Benevenuto Cellini. The Vita di Benvenuto Cellini remains the fullest account of Cellini's remarkable career as Florentine sculptor foundational to the Mannerist art movement. It is presented through the filter of his own memory, as an autobiography, and the linguistic aspects are as audacious as many of the events of the sculptor's life. It has been considered and published as a classic, and commonly regarded as one of the most colorful autobiographies (certainly the most important autobiography from the Renaissance). The Vita was begun in 1558, when Cellini was 58 years old, or possibly in the previous year when Cellini was under house arrest. Working intermittently on the work for almost a decade, it seems Cellini's intention was to leave a record of his life for posterity and that his Vita should act both as an apologia and further demonstration of his qualities as a universal man. Cellini was notoriously contentious and a prominent pro-Medici. Among his known and frequent public altercations, he was officially accused or charged at least three times of the crime of sodomy with men, and on one occasion with a woman. Cellini also memorably escaped the Castel Sant'Angelo after an apparently false charge of embezzlement; he was recaptured and only released at the aid of the Cardinal d'Este of Ferrara. The Vita recounts some extraordinary events and phenomena in Cellini's life including his supernatural visions and ends abruptly in the year 1563- though he lived until 1571. The Vita remained unpublished during Cellini's lifetime, though contemporaries such as Giorgio Vasari, himself an important art-historical chronicler, knew of its existence. Benedetto Varchi, another in the Medici circle, may also have read it. The manuscript was believed lost, though imperfect 17th-century copies existed. These copies circulated to Filippo Baldinucci and Antonio Cocchi, who issued this Naples edition ('legal' edition) in 1728. Counterfeit copies were printed by Bartolini to discount the original (Cicognara cites place of publication as Florence and date of publication as 1730). The Vita while hugely important is not uncommon in large art history collections.…

Hardcover. Etat : Fair. Phaidon Press London 1949.