Metamorphoses by Ovid, Signed (11 results)

Hardcover. Condition: Fine. Dust Jacket Condition: Near Fine. First Edition Thus. Lvi, 520 Pp. Quarter Beige Cloth Lettered In Gilt On Green; Patterned Boards; Copy #1395 Of 1500 Copies Signed By The Artist And Printer On The Colophon Page. Fine In Very Near Fine Dust Jacket And Near Fine Slipcase. Signed by Illustrator(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good +. Limited Edition. SIGNED. 519pp. Large octavo [24.5cm]. 1/4 beige cloth over illustrated boards. Gilt and green title label on spine. Exhibits negligible dot of staining to base of spine, along with small blemish to page ends. In the original kraft paper dust jacket, with printed title and hand numbered limitation number on the spine. Spine a touch sun faded, with several faint horizontal scratches. In publisher's original slipcase, with noticeable fading to the spine and light scuffing at foot. Signed by engraver Hans Erni and printer Giovanni Mardersteig on the hand-numbered limitation page. In an edition of 1500, of which this is number 1144.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Fine. One of 1,500 copies. Signed by printer and engraver. Introduction by Highet, preface by Garth. Bound in publisher's original quarter cream cloth with red and gilt spine label, illustrated boards. Comes in a brown textured cloth slipcase with spine stamped in black. Beautiful engravings by Erni. Printed by Giovanni Mardersteig. Text is "Garth Translation"; a collection of translations by Dryden, Pope, Congreve, Addison, Garth and others, collated and edited by Sir Samuel Garth in 1717. Book is fine except for one inch split to rear endpapers at hinge, not affecting functionality, and slight sunning to spine. 6 1/4 x 9 1/2 inches. 519 pages plus introduction and preface.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Limited Edition. Number 1287 of 1500 copies. Signed by the engraver Hans Ermi and printer Giovanni Mardersteig on the Colophon. Bound in publisher's ivory buckram with green label on the spine and decorative paper sides. Near fine in a solid binding. Pale yellow topstain. Very good lightly edgeworn dust jacket with a taped repair and tanning and light soiling on the spine. Very good slipcase showing some light handling and soiling. Limited Editions Club letter laid in. 8vo. lvi, 519pp. Signed by Illustrator and Engraver.

4 volumes. First Edition of the most famous illustrated Ovid of the 18th century and one of the most beautiful French illustrated books of the period. With fine provenance, the Taisne de Raymonval family copy, their plate with coat of arms tipped in. Profusely decorated with very fine copperplates throughout, elaborately engraved head and tail-pieces throughout, engraved title-pages and preliminary leaves. A beautiful production. 139 Plates by Boucher, Eisen, Gravelot, Monnet, Moreau and others, engraved title, 3 pages of Dedication, 4 Fleurons on Titles, 30 vignettes and 1 very finely engraved full-page cul-de-lampe at the end of Vol. 4 by Choffad & Monnet 4to, very finely bound by the Belgian binder Isidore Smeers in antique crimson crushed morocco, the covers with triple gilt fillet rules at the outer borders surrounding an inner panel of triple gilt fillet rules and gilt corner tools, the spines elaborately gilt decorated with intricate panel tooling in compartments featuring gilt center and border tooling in an overall dense pattern, raised bands decorated in gilt, two compartments lettered in gilt, elaborate gilt rolled turnovers in multiple layers, gilt ruled edges, marbled end-leaves, all edges gilt. An especially handsome and appealing copy of this revered production. An exceptionally fine set with the bindings, text-blocks and plates in excellent condition. A beautiful survival of a great book with care having been shown in the preservation over the centuries. FIRST EDITION OF ONE OF THE MOST FAMOUS FRENCH ILLUSTRATED BOOKS OF THE 18TH CENTURY AND ONE OF THE MOST BEAUTIFULLY PRODUCED OF ALL ILLUSTRATED OVID PRINTINGS. A COPY IN RARE FINE RED MOROCCO BINDINGS. This work includes the magnificent plates engraved for this superb edition of Ovid's Metamorphoses published by Le Mire and Basan 1767-1771, a book reverred during the great period of 18th century French illustration. There are 140 numbered plats and the "fin des estampes" plate. The designs for this work were executed by a brilliant galaxy of artists such as Eisen, Boucher, Moreau, Le Prince, Monnet, and Choffard, and their designs were skillfully engraved by Le Mire and Basan. There is a significant biography of Ovid presented with this edition. The text is offered both in the Latin and in French. The romantic intersection is thus completed. Though most illustrated books published in France at this time fell into the rococo style, Ovid's stories begged a classical treatment, and indeed this book marked the transition from Rococo to Neo-Classical style, the latter being best exemplified by Moreau (in his later work) and Fragonard. The poem is mainly a collection of Greek and Roman myths, retelling classical stories such as Echo and Narcissus, Jason and Medea, and Venus and Adonis. It also includes the Eastern Babylonian tale, Pyramus and Thisbe. This great epic work has been recognized throughout the centuries for its inventiveness, charm, and originality. "As a story-teller and guide to Greek myth and Roman legend, Ovid was very influential on later Roman writers and was read, quoted, and adapted during the Middle Ages. He was the favourite Latin poet of the Renaissance, and there were many translations of his works into English."-M.C.Howatson. His influence upon great writers through history, from Chaucer to Marlowe and Shakespeare, is well-known. Ovid's lively and witty poem on the transformations of the Greek and Roman gods has attracted many artists. The present edition demonstrates how the team-work of illustrators helped make the third quarter of the eighteenth century one of the most productive periods of book-illustration in Europe. To accompany the text and translation the team of publishers - acting 'par les soins des Srs Le Mire et Basan' - commissioned 140 plates, a cul-de-lampe and 34 vignettes from a team of draughtsmen and engravers of overlapping generations. Evidence of the pressure under which they worked may be gathered from their frequent recourse to earlier models. Boucher copied his own paintings, Monnet copied Boucher, and Eisen copied Rubens's oil sketches. Monnet, Moreau, Gravelot and above all Eisen drew heavily on editions of the Metamorphoses issued at Amsterdam in 1732, Paris in 1676 and perhaps Lyons in 1557. The handsome result forms a compendium of an illustrative tradition. The Belgian binder Isidor Smeers (b. 1834), who worked for most of his life in Paris, was one of Firmin-Didot's preferred binders. "Superbe ouvrage de aux soins de l'editeur Basan et du graveur le Mire. C'est un des plus galamment illustrees de tout le siecle" (Cohen-de Ricci). "Thus there came into being these four splendid volumes in which the veteran Boucher appears beside the young Moreau, with Eisen, Choffard, Monnet and Gravelot also playing substantial roles. The result is a hight point among illustrated books of the eighteenth century" (Gordon N. Ray). Cohen-de Ricci, 769 'The Life of Ovid is by C. P. Goujet. All plates are signed. The most celebrated of the illustrators was the painter Boucher (whose Molière of 1734 had established his mastery in this genre); he contributes ten designs. Other veterans were Charles Eisen (58 plates) and H. Gravelot (6). Of the younger men Charles Monnet contributed 35 plates and Jean-Michel Moreau 26; single plates were designed by Le Prince, Parizeau and St. Gois. The engravers show a similar mixture of established and younger artists: Noel Le Mire himself engraved 25 plates and Basan 3, and others were made by Le Veau (16), J. Massard (16), D. Nee, N. DeLaunay, Baquoy, L. Binet, J.B. Simonet, N. Ponce, De Ghent, Duclos and Helman. The publication is further adorned with a full-page cul-de-lampe and 34 vignettes by Pierre-Philippe Choffard - which are accorded their own 'Explication' in Volume IV. The team of publishers comprised Barrois, Leclerc, Guillyn, Hochereau, Pissot, Pault (jeune), De Lormel, Prault (fils aîné), Despilly and Panckoucke. The publication is dedicated by.

Hardcover. Condition: Fine. Benard Picart (illustrator). 1st Thus. The Metamorphoses P. Ovidius Naso Ovid; Verburg, Isaac (trans.) : R. en J. Wetstein, en W. Smith, Amsterdam, 1732 One giant heavy volume Elephant folio (445 x 296mm). [16], 524pp., [4]. Title-page in black and red with engraved vignettes. Text in English and Latin (parallel). Contemporary full mottled tree calf heavy gilt with spine rasied bands, professionally restored quite beautifully, interior is fine. These Metamorphoses illustrated with in-text copper-engravings by Bernard Picart, Charles le Brun and several other artists. The translator of this edition, Isaac Verburg, was born in Leiden around the year 1684. He was Rector of the Latin schools in Amsterdam and author and translator of several books; he died in 1745 in Amsterdam. Rare copy of the popular English translation of Ovid's masterpiece in prose, Metamorphoses, with clean, bright and large illustrations. Binding.

Condition: Gut. Tome Second. 495 Seiten mit vielen Illustrationen (Kupferstiche); sowie 8 Seiten Register; 30 cm; fadengeh. Pergamentband d.Zt. Gutes, stabiles Exemplar; der Pergamenteinband an verschiedenen Stellen angerissen; Gebrauchs- u. Lagerspuren; Seiten etwas nachgedunkelt; augenscheinlich KOMPLETT. - Mit farbigen Vorsätzen. - Französisch. - Aus der Bibliothek des Intendanten Boleslaw Barlog / Vorsatz mit WIDMUNG von Olaf Bach an B. Barlog; SIGNIERT "Berlin 27. Juli 48". - Boleslaw Barlog (gebürtig Boleslaw Stanislaus Barlog; * 28. März 1906 in Breslau; 17. März 1999 in Berlin) war ein deutscher Regisseur und Theaterintendant. . // Olaf Bach, geboren als Othello Bockermann (* 7. April 1892 in Hamburg; 1. November 1963), war ein deutscher Schauspieler bei Bühne und Film. . (wiki) -- Das vordere farbige Vorsatz mit Exlibris "H. W. Eyres". --- Publius Ovidius Naso (kurz Ovidius Naso, deutsch Ovid * 20. März 43 v. Chr. in Sulmo; wohl 17 n. Chr. in Tomis) war ein antiker römischer Dichter. Er zählt in der römischen Literaturgeschichte neben Horaz und Vergil zu den drei großen Poeten der klassischen Epoche. Ovid schrieb in einer Frühphase Liebesgedichte, in einer mittleren Phase Sagenzyklen und in einer Spätphase Klagelieder. Ovids gut erhaltenes Werk übte, nachdem es in der Spätantike weniger beachtet worden war, einen immensen Einfluss auf die Dichtung, die bildende Kunst und die Musik des Mittelalters sowie des Barock aus. In der Romantik ging der Einfluss zurück, lebte im späteren 19. Jahrhundert aber wieder auf. Sein Werk hat sich in das kulturelle Gedächtnis der Nachwelt tief eingeprägt; hier ist vor allem sein Hauptwerk, die Metamorphosen, zu nennen. / Die Metamorphosen (lateinisch Metamorphoses "Verwandlungen" oder Metamorphoseon libri "Bücher der Verwandlungen") des römischen Dichters Publius Ovidius Naso, geschrieben vermutlich um das Jahr 1 n. Chr. bis 8 n. Chr., sind ein in Hexametern verfasstes mythologisches Gedicht über Metamorphosen (altgriechisch metamórphosis "Verwandlung in eine andere Gestalt"). In 15 Büchern zu je etwa 700 bis 900 Versen wird die Geschichte der Welt von ihren Anfängen bis hin zur Gegenwart des Dichters erzählt und in rund 250 Einzelsagen aus der römischen und griechischen Mythologie mit hohem künstlerischen Esprit dargestellt. Von ihrem Erscheinen an sind die Metamorphosen eine der populärsten Mythendichtungen überhaupt und sicherlich die den mittelalterlichen Schriftstellern und Dichtern am besten bekannte. Der Einfluss dieses Werks auf die Literatur nachfolgender Zeiten sowie auf die bildende Kunst des Mittelalters, des Barock bis hin zu der der Neuzeit ist enorm. Thematischer Kern ist das in Mythen häufig anzutreffende Verwandlungsmotiv, worin meist ein Mensch oder ein niederer Gott in eine Pflanze, ein Tier oder ein Sternbild (Katasterismos) verwandelt wird. Das Werk beginnt mit einem Proömium, setzt an bei der Entstehung der Welt aus dem Chaos und endet bei der Verwandlung von Caesars Seele in einen Stern, woran noch eine Anrufung an Augustus und ein Epilog anschließen. Die logische Verknüpfung der oftmals thematisch nicht zusammengehörigen Einzelgeschichten erfolgt durch Überleitungen. Behandelt werden sowohl zentrale Geschichten und Figuren der Mythologie (zum Beispiel Kosmogonie, Herakles, Trojanischer Krieg) als auch eher abgelegene Mythen. Manche Metamorphosen werden sogar nur ganz knapp angedeutet oder nebenbei erwähnt (wiki) // INHALT : Erneuerung der Tierwelt (Verse 416-437) ----- Python (Verse 438-451) ----- Daphne (Verse 452-567) ----- Io (Verse 568-621) ----- Argus (Verse 622-688) ----- Syrinx (Verse 689-746) ----- Phaethon (Verse 747-779) ----- Le Jugement de Paris. Sprache: Französisch Gewicht in Gramm: 1800.

Ovid. Hans Erni, illustrator. Ovid's Metamorphoses in Fifteen Books.Verona: The Limited Editions Club, 1958. Limited edition, No. 253 of 1,500 numbered copies. Signed by illustrator Hans Erni and printer Giovanni Mardersteig. Octavo. [520]pp. Illustrated, with engravings by Hand Erni. Publisher's beige quarter cloth over green paste paper boards, top edge stained yellow, original paper dust wrapper, housed in custom card slipcase. From the collection of Larry McMurtry, at his home in Archer City, Texas. His book, with personal brand-mark bookplate. . Jacket and slipcase sunned, soiled, and worn, else fine. LMM-367.

First Edition. Small 8vo. [154 x 94mm)]. [2], v-xv, [1], 236, [4 (advertisements)]pp., title-page printed in red and black. Very lightly browned and some slight spotting in places but otherwise fine. Contemporary red morocco, covers elaborately tooled in gilt, spine gilt, black morocco label, marbled endleaves, gilt edges, green ribbon marker (spine a little darkened, very slightly rubbed at the joints and edges).   London: for Robert Horsfield, 1760 ESTC records British Library, Chawton House and Bodley in the U.K; more common in the USA. Rare Book Hub does not record a single copy. The one and only record on ABPC is for the Browning copy (see below).   A very pretty copy of this abridgement of Ovid - designed for the use (and improvement) of young ladies and dedicated to the 15 year old Lady Sarah Lennox.   The dedication to "Lady Lennox" is signed "N Tindal" suggesting that the translation and abridgement was prepared by Nicholas Tindal (1687-1774) who is most famous as the translator of Paul de Rapin's Histoire d'Angleterre which was published in London between 1723-5. Tindal also wrote a Continuation of Rapin which took the work up to the accession of George II in 1727.    Tindal writes more broadly in his dedication:   "This abridgment is designed not only for the benefit of those who are either unable or unwilling to read the original or the translations at large, but chiefly for the improvement of your sex, a matter of infinitely more importance than what is commonly thought. It is scarce to be conceiv?d, what advantages would accrue to civil societies, if a more rational education was bestowed on that half of the human species, which governs the other. - For the experience of all ages plainly shows, that such as the women are, such will be the men. - Hence the effeminacy, which so universally prevails in dress, equipage, furniture, amusements, and even in the very arts and sciences - What can remedy these infatuations? What can cure these egregious follies? - The answer is easy. - Let your sex be early impressed with true notions of things. - With sentiments of honour, virtue, and greatness of mind. . To prepare the way to so happy a change, the Fables of Ovid seem to be extremely well calculated. - They are highly entertaining to read. - Consequently they will take off the female mind from trifling amusements, and fix the attention. They afford a knowledge no less useful than pleasant. .?    The book is dedicated to the young Lady Sarah Lennox (1745-1826) who would have been 15 years old when it was published. Tindal writes that the "Fables of Ovid were abridged for your ladyship?s private use" suggesting that Tindal may have been employed as tutor. Sarah Lennox was the second youngest of four daughters of Charles Lennox, 2nd Duke of Richmond (1701-50). Sarah was sent, along with her two sisters Cecilia and Louisa to live in Ireland with their elder sister Emily (who in 1747 had married James Fitzgerald, 1st Duke of Leinster) after first her father died in 1750 and her mother died in 1751. Sarah returned to England in November 1759 and lived with her eldest sister, Lady Caroline Fox husband of Henry Fox, 1st Baron Holland. Sarah Lennox was much admired by the Prince of Wales (later George III) and Horace Walpole said of her "No Magdalene by Correggio was half so lovely or expressive" (see ODNB). It seemed highly likely that Lennox would marry the future King but various parties discourages the Prince and he instead married Princess Charlotte of Mecklenburg-Strelitz in 1761. Sarah went on to have an unhappy marriage to Charles Bunbury and had a number of affairs including one with Lord William Gordon which resulted in the birth of a child. Bunbury offerd to bring up the child as his own by Lennox left her husband and did not return instead she lived with her sister at Goodwood. She later married George Napier (1751-1804) and had eight children.   A presentation copy (to the Duchess of Richmond) of this work bound in "old English red morocco extra, gold borders on sides" was sold at Sotheby's in 1890 and perhaps suggests that a number of copies were elaborately bound, such as this one, for presentation.    Robert Browning's copy ("sgnd & with notes") was sold at Christie's in December 1983.    Provenance: Lynedoch Gardiner (1820-1897), signature in the upper margin of the title-page dated February 12th 1865. Gardiner has produced a neat 5pp index on the front flyleaves.   Literature:  Stella Tillyard's Aristocrats: Caroline, Emily, Louisa and Sarah Lennox, 1740?1832 (1995). .

Condition: Good. Large, heavy folio. 40 x 57cm. Original linen slipcase and thick chemise with paper sculptural covers. Each of the 22 lithograph plates is pencil signed. One of 250 siged and numbered copies (+ 30 hors commerce).In folio en feuilles, tirage limité à 250 exemplaires. Les lithographies sont signées au crayon par l'artiste ainsi que la page de justification.Couverture rempliée écrue, chemise rigide ornée d'un motif en haut-relief et emboîtage recouvert de toile caramel et portant le nom de l'artiste et le titre en lettres brunes sur le dos.Marcello Tommasi (Pietrasanta, 1928 - Lido di Camaiore, 2008):The Italian sculptor and painter Marcello Tommasi, active mainly in Florence, Paris and Pietrasanta, is considered "the symbolic heir of fifteenth-century Neoplatonism". Since he was a child, he has breathed the air of art because he was the son of the sculptor Leone Tommasi and brother of the famous painter Riccardo Tommasi Ferroni. Between 1948 and 1958, he attended Pietro Annigoni's studio, drawing, painting and sculpting.Master of figurative art, he worked in both fields of sacred and secular art, often taking inspiration from the Greek myths. His enormous production includes hundreds of works including drawings, sketches, sculptures, paintings and frescoes.Today, his works are kept in the Cabinet of Drawings and Prints in the Uffizi, in the National Museum of Warsaw, in the modern art galleries of Barcelona, Malaga, Piacenza and the Vatican, at the Azorin Museum of Monóvar, at the National Library of Paris, at the University of Pisa and at the Institute of Art History of the University of Florence.

Full Calf. Condition: Near Fine. First Edition thus. Beautifully presented collection of 72 etchings by Pieter van der Borcht the Elder (who signed the plate on p. 357), from one of the gems of Renaissance illustrated books, a very early juvenilia, Ovid's Metamorphoses abbreviated. Oblong 16mo: 209-212,215-218,221-246,251-310,315-362,[17, index and approbatio]pp, with 72 full-page plates on 71 leaves (the versos of which carry the letterpress texts related to the plates on the rectos); the final plate is the full-page Plantin device, with the legend 'Labore et Constantinia.' Newly bound by Fitterer in full mottled calf with richly gilded spine. A defective copy (priced accordingly), but rich in beautiful plates and beautifully bound. Funck 374-375. Hollstein III, 100, nos. 200-377. Adams O-504 (misidentifuing the format as oblong 8vo]. Delen II, 92-93. The vast majority of pages are interleaved with period blanks, which are neither paginated nor signed. The missing plates and texts from this sequence would have appeared on O3 (Pictura), O6 (Hercules and Achelous), Q4 (Ganymede), Q5 (Hyacinth), V4 (The Destruction of Troy), and V5 (Polymnestor). In total there would have been 181 plates, which includes the etched title page through the plate illustrating the Plantin device. Our copy, p. 209 through the Plantin device plate woiuld have had 78 plates.Thus, 6 plates are missing from this sequence. Rare full-page plates from the first illustrated edition of this summary of stories from the Metamorphoses, once ascribed to the medieval grammarian Aelius Donatus and later to Lactantius Placidus, the ostensible author of a medieval Latin glossary, but both attributions proven incorrect by Gerlinde Bretzigheimer.) The etchings are by Pieter van der Borcht (c. 1530-1608), the Flemish Renaissance artist, who signed the plate on p. 357. (Van der Borcht went to work for Christopher Plantin at an early age and designed many of the printer's typographical ornaments.) "One of the gems of Renaissance illustrated books, adapted anonymously .from Ovid for the young and dedicated by the printer to two young boys, Luis and Martin Perez de Baron. N. B. With few exceptions (always identified), we only stock books in exceptional condition. All orders are packaged with care and posted promptly. Satisfaction guaranteed. (Fine Editions Ltd is a member of the Independent Online Booksellers Association, and we subscribe to its codes of ethics.).