Ariosto, Signed (24 results)

Soft Cover. Condition: Very Good. Don Maitz (illustrator). 1st Edition PBO. SIGNED by author on bookplate on dedication page. Page yellowing. Signed by Author.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Signed Dated & Dedicated in Blue Ink on the FFEP, 13 Page Introduction, Light Edge Wear to the DJ also included a Signed stapled Introduction of his next book by author. Inscribed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 247 pages, octavo. Book and dust jacket are in Fine condition. This is Elzabeth Dipple's copy with her signature on front free endpaper. Laid in is an offprint from "Modern Language Notes": Shaping the Ore: Image and Design in Canto 1 of Orlando Furioso, by Marinelli, inscribed by him to Elizabeth Dipple. 020207A.

Paperback. Condition: As New. Signed by Chelsea Quinn Yarbro on title page, with a written note on the dedication page explaining the intitials of the dedication. Included is a press release from Pocket Books about the book. Covers are unmarked, and are exceptionally clean and bright for a book of this vintage. Spine is solid and firm, with no creasing. Interior text block is straight and firm, and free of markings. A very attractive copy. First Paperback. Size: 12mo - 6 3/4 in - 7 3/4 in. Year: 1980. Signed.

Condition: Good. 1823. No edition remarks. 358 pages. Signed by the author. Half bound brown leather with marbled paper covered boards and gilt lettering to spine. Signed with dedication from the author on front pastedown. Re-bound. In Italian. Pages with some foxing and tanning, particularly to endpapers and textblock edges. Binding remains firm. Boards have heavy wear with bumped and abraded corners. Spine ends similarly worn. Gilt slightly dulled. Board surfaces scratched and rubbed.

No Binding. Condition: Fine. Print (8.5 x 11) of cover for Yarbro's Ariosto slightly revised to include artist Maitz as the character on the griffin. Hand - SIGNED by the artist. Signed by Illustrator(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First edition. Very good or better in very good dustwrapper. Inscribed.

Condition: Good. 1st Edition. Blue cloth binding with gilt armorial to front board. Light marking to boards, slight bumping to corners. Top page edge gilt, other edges untrimmed. Heavy foxing throughout. Previous owner's inscription to front pastedown endpaper. Inscribed by the author to front free endpaper: 'Arthur Francis Spender, with kindest regards from the author, November 1906.' Scarce. Overall condition is Good. Size: 6 x 9 inches (15 x 23 cm). Hardback. Printed pages: xviii, 395. Signed by Author.

Cloth. Condition: Near Fine. First Edition. This study traces the archetype of the cave back to its origins in Homer and forward through the ages to Ariosto. The symbolism of the Cave is multi-faceted and complex, and it, together with its ramifications, forms a metaphoric field that remains relatively stable during Antiquity, changing radically in some respects as the Western world shifts from polytheism to Christianity. Chapter notes, a bibliography, and an index are included. This copy is clean and solid. SIGNED BY THE AUTHOR, inscribed on the half-title page. Signed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. First edition. Fine in fine dustwrapper. Inscribed by Hanning to Rochelle Owens and George Economou: "For Rochelle + George - real poets, real friends, offered in homage. Love, Bob.".

brossura. Condition: Buono (Good). In 16, p. 107 con due tavole, brossura, dedica autografa dell'autrice in antiporta, lieve alone a pie di pagina Buono (Good) .

Cm. 23,5, br. edit., pag. 44. Dedica autografa a Venceslao Santi. Interessante. Tratto da Giornale storico della Letteratura italiana.

Condition: Very Good. Signed Copy First edition copy. . Acceptable dust jacket. Limited edition, one out of 1200 copies. Inscribed by author on half title page. (art, drawings) NOT AVAILABLE FOR SHIPMENT OUTSIDE OF THE UNITED STATES.

Couverture souple. Condition: Très bon. Ref 072. Genova, 1939. Fort in-8° de 412 pages.Tres bon etat. Ouvrage en langue italienne. Avec un envoi autographe à Roger Clérici. Signé par l'auteur.

Brossura. In 8° ,br. ,cc. nn. 4 + pp. 207 + 2 ill. nn. f. t. Antip.figurata con ritratto di Lodovico Ariosto.Dedica e firma dell'autore sul foglio in bianco che precede il front. Autografato dall'autore.

19 cm. br. originale con titolo stampato al piatto; pp. 21, dedica autografa del curatore a Ferdinando Berti Molto buono.

Hardcover. Condition: Very good. No jacket. First Edition. Inscription from the author to his aunt, and a handwritten letter tipped-in to the first blank page and signed by Dodge. 3/4 leather binding. Covers slightly bowed. Signed.

Firenze, "La Nuova Italia", 1936, in-16, br., pp. 121, (3). Esemplare autografato dall'Autore.

Hardcover. Condition: Near Fine condition. Dust Jacket Condition: No dust jacket. Gockinga, René (illustrator). First Edition. San Francisco: The Roxburghe Club, 1930. This is a presentation copy, inscribed to Dr. Frederick P. Keppel [1875-1943, Dean of Columbia College, 1910-1918, president of the Carnegie Corporation, 1923-1941] and signed by the translator, Theo. W. Koch. 7.75" wide by 11.25" tall. Near Fine condition. SEE PHOTOS. Bright, square, tight. Pages are clean, crisp, and unmarked. The first book published by the Roxburghe Club. Limited to 250 numbered copies, this being #228. Finely printed by Edwin and Robert Grabhorn. Illustrated with a portrait of Ariosto and a title page of ORLANDO FURIOSO (1532), both engraved by F. De Nanto, and with several facsimiles of old manuscripts (from the Pierpont Morgan Library]. Modern illustrations by René Gockinga. Bound in the original green paper-covered boards, with a printed paper spine label. The four green silk book closing ties remain bound-in, however the loose ends of the ties have perished. No slipcase. INSCRIBED / SIGNED by Theodore Wesley Koch. First Edition. Hardcover. Near Fine condition/No dust jacket. Illus. by Gockinga, René. xx, 31pp. Great Packaging, Fast Shipping.

Condition: Très bon état. 3 vol. in-16, veau fauve moucheté, dos lisses ornés de fleurons dorés et de pièces de titre et de basane verte, frise grecque en encadrement doré sur les plats, tranches cirées (Devers), XVI + 358, 449 et 321 pp. Charmante édition en italien comprenant les pièces suivantes : Cinque Canti, La Cassaria, I Suppositi, La Lena, Il Negromante, La Scolastica, Le Rime, Le Satire, I Versi Latini. Jolie reliure uniforme de l'époque signée au dos de chaque volume "Relié par Devers".

XV, 57 pages with some large geographical maps and many wholepage autograph-facsimiles (with transcription). - Publisher's darkblue cloth with gilt-titled spine; Folio (ca. 41 x 29 cm). *** FIRST EDITION, oversize hardbound limited original; inscribed and fully signed by Gonzalez ''Recuerdo afectuoso de la visita de Mr. R. F. Doublet a mi colecion . . .'' (dated 1956) on the front flyleaf. Loosely inserted is a 6-leafs-typescript about the subject (summary or transcription?, by Gonzalez or Doublet?). - Binding minimally rubbed, else in best condition.

Together five parts bound in two volumes, 4to, pp. [iii]-xv, [i], 396; [iv], '42' (mistake for 423), [1] blank; [ii], 4, [ii], 84, [8] index; 4; iv, 56; vii, [1] errata; contemporary calf, gilt spines with morocco labels (somewhat rubbed, but sound). First editions, second issue of the principal work. A fine copy of a curious translation of Ariosto, complete with additional matter. Huggins (1696-1761) first published his version of Orlando Furioso in 1755, without his name attached but with a dedication to George II signed by his friend Temple Henry Croker: it was reissued two years later, in the present form. It is not at all clear who were the actual translators of the poem: Huggins seems to have allowed Croker to appear as editor, but felt that he himself was by far the most important contributor (hence the change of title page in 1757). However, other translators were clearly involved, since each canto is signed with one or other of six initials (H and C presumably stand for the two already identified, but there are also W, M, S and R). The same year as the reissue, Huggins published his Annotations on the poem, apparently intended to accompany the two-volume translation but they seem to be extremely rare (with seven copies located by ESTC). The two-leaf additional poem bound at the end in this volume seems properly to be part of the Annotations, and is thus treated by ESTC. Two years later Huggins published Part of Orlando Furioso, which prints new versions of part or all of eight cantos apparently intended as a rebuke to Croker, whose part he felt was not well enough done and whom he allowed to become involved 'through most earnest solicitations'. These translations, he asserts, were done without reference to the former translation and it seems that he wished to criticise Croker by showing that he was able to produce varying versions of the great poem at will. This too is very rare, for ESTC records only five copies: two at Oxford, and Trinity Dublin, Harvard and Library Company. Further to this, there is a Johnsonian subtext to the book. Huggins's translation is said to have been helped by contributions from Johnson's friend Giuseppe Baretti, but Huggins had quarrelled with Baretti in April 1755 (over a gold watch, not Ariosto), and Johnson was persuaded to write placatory letters to Huggins to try to patch up the row. Subsequently, Thomas Warton asserted that Huggins 'wanted to get an approbation of his translation from Johnson; but Johnson would not'. (Many years later, Johnson did assist John Hoole with his translation of the same poem, and subscribed to the book.) Huggins further quarrelled with the Johnson circle when Warton's Observations on the Faerie Queene disparaged his Ariosto, and he replied with a detailed rebuttal entitled The Observer Observ'd (1756). This pamphlet is frequently cited with approval in his Annotations, once at least recommended as a 'study'd book'. Johnson did not take sides, remarking that 'Huggins has ball without powder, and Warton powder without ball' (Boswell, ed. Hill-Powell, IV 473-6); his masterly letters written to pacify Huggins are printed by Redford (Hyde edition II 83-6). Provenance. Bookplate in each volume of Henry Edward Bunbury (1778-1860), army officer and the son of the artist H.W. Bunbury: he is said to have accumulated a fine library and art collection. Later owned by B.E.C. Davis, with his inscription dated 1916: Bernard Davis was the author of a book on Edmund Spenser (Cambridge, 1933), and his light pencil notes are found in many places in the volumes.

A gorgeous album devoted to Ferrara. 175, 6 pp. plus 32 full-page steel engravings and lithographs (two of the latter are delicately colored by hand.) On fine wove paper. Large folio (38.5 x 28.5 cm). In the original embossed polished cloth binding, title in gilt. A bit of light wear to binding and a bit of faint internal spotting, but still a very good, undoctored copy. Extremely rare. One copy in WorldCat.

Brossura. Condition: discrete. Cm.27,5x19. Pg.38. Fioriture alla coperta muta staccata. Dedica autografa dell'autore. 200 gr.