C 1510 (13 results)

Condition: Very Good. Publisher's original illustrated laminated card covers. 8vo 6½'' x 5'' 60 pp. Full-page monochrome illustrations throughout. In Very Good condition with light rubbing to covers, no dust wrapper as published. Member of the P.B.F.A. ART [Italian].

Condition: Fine. Publisher's original colour illustrated card wrap covers [softback], French flaps. Folio 11½'' x 9½''. Contains 215 printed pages of text with colour illustrations throughout. Minimal rubs to the cover and in Fine clean condition, no dust wrapper as published. Member of the P.B.F.A. ART [Italian]. …

4to.; LXI pp., 107 pp. Impresión en papel especial. Cubiertas originales.

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 21 x 27 cm; mit schmalen Rändchen. -- teils etwas fleckig, sonst gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- partly somewhat stained, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 15. …

16vo.; 113 pp., y una lámina fuera de texto [y] 2 hs., 152 pp. y 2 hs., 159 pp. Encuadernación en piel, de la época, con lomera ornada y tejuelo.

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 21 x 28 cm; mit schmalen Rändchen. -- leicht fleckig, sonst gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- slightly stained, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 15.…

IN-PLANO EN FEUILLES DE 21 PLANCHES GRAVEES DONT LE FEUILLET DE TITRE (19,5 X 28 X 1 CENTIMETRES ENVIRON), SOUS PORTEFEUILLE CARTONNE AVEC FRMETURE A LACETS. BON EXEMPLAIRE.

Condition: Buono (Good). FIRST ILLUSTRATED EDITIONLarge 8vo (215x136 mm). 399, [1] pp. Collation: A-BB8. Illustrated with 37 woodcut vignette in text. Text printed in italics in two columns, containing 10 octaves per page. Woodcut printer's devise on the title page, other full-page printer's device on last leaf verso. Colophon and privilege on p. 399. Late 18th-century brown calf, gilt spine covered with red morocco, gilt edges (slightly rubbed). Livio Ambrogio's bookplate on the front pastedown. A very good, clean copy.First illustrated edition (second overall) of this chivalric poem in ottava rima intended as a continuation of Ariosto's Orlando Furioso and dedicated by the author to his patron Ercole d'Este.The work was first published by Marcolini in 1550 without woodcuts. The 1550 edition was then reissued in 1553 in what appears to be a forgery or rather an altered variant (cf. S. Casali, Gli annali della tipografia veneziana di Francesco Marcolini, Bologna, 1953, pp. 253-254). A third edition in four volumes was published in Venice in 1837-1838. This second 1553 edition is also preferable for the text as it was revised by the author and corrected by a ?Diligente Academico Pelegrino', as stated in the title, identifiable with Lodovico Dolce (1508-1568), who improved the orthography and punctuation in particular.Continuing the narration of Ariosto's Furioso, Brusantini connected the events of Angelica, separated from Medoro by the intervention of the sorceress Alcina, with those of Ruggero and Bradamante. To the latter Brusantini gave particular importance, with a clear encomiastic intention: the son of Ruggero and Bradamante is in fact celebrated by him as the progenitor of the Este lineage.Vincenzo Brusantini (or Brusantino) was born in Ferrara in the early decades of the 16th century. Very little biographical information is known about him. A man of letters, he was a friend and correspondent of Pietro Aretino, but had no luck in his career as court poet. He went to Rome in search of ecclesiastical benefits, but received none and instead ended up in prison for reasons that remain obscure to this day. He regained his freedom and wandered around Italy in search of accommodation, which he finally found in Ferrara at the court of Ercole II d'Este. In 1554, Marcolini printed Brusantini's second literary work (Le cento novelle da messer Vincenzo Brugiantino dette in ottava rima), an octava rima version of Boccaccio's Decameron, dedicated to the Duke of Parma, Ottavio Farnese. Brusantini died in Ferrara around 1570 (cf. Brusantini, Vincenzo, in: ?Dizionario Biografico degli Italiani?, vol. 14, Rome, 1972, s.v.).BMCSTC Italian, p. 129; Edit 16, CNCE7740; Casali, Op. cit., pp. 251-251, no. 100. Book.…

Hardcover. Condition: Fine. Bound in an exquisite binding of eighteenth-century mottled calf, highly polished and beautifully tooled in gold along the edges of the boards. The spine is separated into six compartments by the raised sewing supports, each of which, aside from that bearing the citron morocco label, is decorated with attractive floral tools. The large gilt armorial crest consisting of a Pegasus head and wings "LTHD" on upper cover, earl's coronet and "EDDE" on lower cover. The edges of the text block are stained a solid red. The binding is in exceptional condition, with only the slightest bit of wear. The text itself is in excellent condition. The text of the poem is set in Black Letter and is adorned with attractive woodcut initials and head- and tail-pieces throughout. Creede's woodcut printer's device appears on the title page. Excellent. Provenance: Tollemache, Earls of Dysart, Helmingham (supralibros, engraved armorial bookplate on title verso, note on front pastedown in hand of Lionel Tollemache, fourth Earl). This is the fourth complete printing (first 1584) of the first complete English translation of Virgil's "Aeneid", translated by Thomas Phaer (c. 1510-1560), who was responsible for the first nine books, and Thomas Twyne (c.1500-1581), who translated the final three after Phaer's death. The Phaer-Twyne translation was preceded by Gavin Douglas' version in Scots (1553) and a fragmentary verse translation (books 2 and 4) by Henry Howard, Duke of Surrey (1557). "The complete translation of the 'Aeneid' by Thomas Phaer and Thomas Twyne has every reason to be considered the central English Renaissance 'Aeneid.' The publication history tells the story succinctly. Whereas no other translation of Virgil was printed in England more than twice until the 1650s (and only the Earl of Surrey's translation of Book 4 was printed more than once in England during this time), the translation by Phaer and Twyne went through eight editions, running from 1558 through to 1620. It influenced the translations by Richard Stanyhurst (1582), Sir John Harington (1604) and Sir Thomas Wroth (1620), and it was still one of the most important subtexts for John Vicars' 'The XII Aeneids of Virgil' (1632). Much as the translation by Annibale Caro came to dominate the market for Virgil in Italian, the Phaer-Twyne 'Aeneid' became the English standard. It was not until the eighteenth century that any English translation of Virgil's epic went through more editions. "That this translation would become so successful would have been difficult to predict from its inauspicious beginnings. The initial translator, Thomas Phaer, was a physician and solicitor in the Marches of Wales. He published nothing else in verse and would have made an unlikely candidate for a great interpreter of Virgil. Nevertheless, in 1555 he began work, hoping to be the first to 'sette open' the gate so that future translators could follow. Although Phaer seems to have been aware of both the Middle Scots translation by Gavin Douglas and the two books by the Earl of Surrey, he presented his version of the Aeneid as the start of a new line of translations. By December 1557, Phaer had completed a version of Books 1-7. He had these printed in 1558. By April 1560, he had completed up to the end of Book 9. But late in that spring, he suffered a riding accident that ruined his hand and would soon cost him his life. "Before his death on 12 August, he sent all that he had finished of his translation - which was then up to line 286 of Book 10 - to William Wightman, a friend of his in Pembrokeshire. This friend fervently believed in Phaer's literary gifts and, after Phaer had passed away, he searched the deceased's house for any trace of remaining verses. But there was none to be found. In 1562, Wightman resigned himself to publishing what he had of Phaer's Virgil, hoping that another author might complete the project. Just over a decade later, the work was taken up by Thomas Twyne, who was a physician in London. He completed the fragment of the 'Aeneid' left by Phaer and had it printed in 1573."(Brammall, The English Aeneid, Ch. 1, The Search for a Lofty British Virgil: The Early Elizabethan Aeneids of Thomas Phaer, Thomas Twyne and Richard Stanyhurst, p. 19 f.). FOURTH COMPLETE EDITION (1st 1584). The first seven books were printed in 1558, and the first nine in 1562. The first complete edition, completed by Thomas Twyne, was printed in 1573.…

Soft cover. Condition: Acceptable. No Jacket. In Hebrew. 48 pages. 178 x 111 mm. Pages browned, water stained and fragile. Lacks front wrapper. WorldCat: Libraries worldside that own this item: 4.

On piece of aged, laid paper roughly six inches by eight and a quarter wide. Two inch closed tear at head, and three-quarters of an inch closed tear, with a little loss, to the right. Quarter-inch hole towards top right-hand corner, in sky above archway. Mounted on piece of grey paper. Negligible wear to bottom left-hand corner.…

4to. mayor: XX pp., 349 pp., 6 hs. Edición limitada y numerada de 300 ejemplares impresos sobre papel de hilo. Ejemplar sin desbarbar. Primera edición. Cubiertas originales.

IN-12 (8 X 14 X 2,5 CENTIMETRES ENVIRON) DE 384 PAGES, RELIURE D'EPOQUE PLEIN VELIN IVOIRE, TITRE MANUSCRIT SUR DOS LISSE. ILLUSTRE D'UNE VIGNETTE DE TITRE GRAVEE SUR BOIS. BON EXEMPLAIRE.