Ariosto Ludovico; R Bacchelli (intro)Biblio.com
1338 risultati
1967rif. 045947Milan: Electa 1967. First Edition. Softcover. Near Fine Condition. Fabrizio Clerici. 3 volumes in slightly worn slipcases 1 text volume and 2 plate volumes. In English Heroical Verse by John Harington 1560-1612. 158 finely executed illustrations many double page - a few tiny creases and marks generally fine internally chemises with very slight wear modest wear to slipcases. A very fine edition of Orlando Furioso with a remarkable array of illustrations by Clerici; one of 150 copies. The racy beginnings of Harington's translation of Orlando Furioso got him banished from Queen Elizabeth's court until he finished his translation which it was assumed he would be unable to do but he completed it in 1591 and returned. Size: Folio. Illustrator: Fabrizio Clerici. Quantity Available: 1. Shipped Weight: Over 3 kilos. Category: Literature & Literary; Poetry. Inventory No: 045947. Electa paperback
1787rif. 18758Paris, Chez Plassan, Libraire, 1787. 10 volumes in-16, demi-veau glacé rouge, dos lisses ornés de motifs et encadrements dorés.
1879rif. 55489Paris: Librairie Hachette 1879. Grande in-folio cm. 49 pp. 4 viii 658. Frontespizio in rosso e nero moltissime incisioni nel testo e su tavole fuori testo. Solida legatura coeva in mezza pelle dorso a nervi con titoli in oro. Piatti e sguardie marmorizzate taglio di testa dorato. Qualche spellatura superficiale al dorso ma complessivamente esemplare genuino e ben conservato. Si tratta della rara tiratura di testa in 40 esemplari numerati su carta Whitman ns. esemplare n. 1. Librairie Hachette unknown
1879Grande in-folio (cm. 49), pp. (4) viii, 658. Frontespizio in rosso e nero, moltissime incisioni nel testo e su tavole fuori testo. Solida legatura coeva in mezza pelle, dorso a nervi con titoli in oro. Piatti e sguardie marmorizzate, taglio di testa dorato. Qualche spellatura superficiale al dorso, ma complessivamente esemplare genuino e ben conservato. Si tratta della rara tiratura di testa in 40 esemplari numerati su carta Whitman (ns. esemplare n. 1).
1603rif. 004548Venice: F. Valgrisi and N. Moretti 1603. Early Printing. Hardcover. Some of the impressions are weak but most are quite presentable. Trimmed at the top close to the text and plate lines affecting one line of text in the dedication; other margins quite adequate. Vellum soiled. Very Good or better. Large octavo 7" x 10" bound in early full vellum 16 654 32 pages. The complete and corrected ORLANDO FURIOSO with Ruscelli's dedication to the Duke of Ferrara dated 1556 and an account of the life of Ariosto by Battista Pigna. Illustrated with an engraved title page 51 full-page woodcuts ornamental headpieces and initial letters. The woodcuts within decorative borders are after the designs of Dossa Dossi the Ferrarese painter and are printed from the blocks of the first Valgrisi quarto editon of 1556. First published in 1516 this classic Italian romantic epic influenced many later works including Spenser's THE FAERIE QUEENE and Shakespeare's MUCH ADO ABOUT NOTHING. The action takes place against the background of the war between Charlemagne and his Christian paladins and the Saracen army which is attempting to invade Europe. However Ariosto has little concern for historical or geographical accuracy and the poem wanders at will from Japan to the Hebrides as well as including many fantastical and magical elements such as a trip to the moon and an array of fantastical creatures including a gigantic sea monster called the orc and the hippogriff. The poem grew in popularity as well in size after Ariosto's death increasing from 40 to 46 cantos in 1532 and finally to the finished form of 51 cantos. F. Valgrisi and N. Moretti hardcover
1535In-8°; seconda edizione, pp. (64), al frontespizio grande ritratto di ariosto di prfofilo inciso su legno. Legatura in piena pelle moderna. all’ultima pagina nota manoscritta e leggero timbro a inchiostro. AGNELLI-RAVEGNANI II,110
1795rif. RO80051947PLASSAN P.. 1795. In-8. Cartonné. Etat passable, Couv. défraîchie, Mors fendus, Intérieur acceptable. 360 + 452 + 448 + 452 pages. Nombreuses planches de gravures en noir et blanc, avec serpentes. Pièces de titre bordeaux. Papier à la Forme. Coins frottés. Coiffes légèrement frottées. Mors fendus sur le 2nd Tome.. . . . Classification Dewey : 470-Langues italiques. Latin
1551rif. 8514Vinegia (Venise) appresso Gabriel Giolito de Ferrari 1551 In-8 (15,5 X 23 cm) veau havane clair, triple filet doré encadrant les plats, enserrant un cadre constitué de deux filets et fleuron d'angle dorés, dos à nerfs, caissons ornés d'un double filet or en encadrement et petits fers dorés au centre, pièce de titre de veau noir, roulette dorée sur les chasses et à l'intérieur des plats, tranches dorées. (Reliure XIXe signée Lanne). 2 feuillets non chiffrées, titre illustré + 264 feuillets.
rif. 12608Venetia (Venice, Venise), Appresso Vincenzo Valgrisi, 1568. Fort in-8, (16)-654-(32) pp., reliure (XVIIe) plein veau brun, dos orné, tranches mouchetées (manques aux coiffes, bords frottés ; tache sur la page de titre, mouillures et rousseurs).
1536In-8°; cc. XXXII, , al frontespizio grande ritratto di ariosto di prfofilo inciso su legno, ALL’ULTIMA PAGINA marca tipografica incisa su legno. Qualche foro di tarlo passante, piccola lacuna alla marca tipoografica, un angolo di una carta restaurato. Legatura in piena pergamena.
1556rif. 001310Lyons: Bastiano di Bartholomeo Honorati 1556. Full Calf. Very Good Plus. 511 40 pp. 8vo 17 by 11 cm 6.5 by 4 inches. With woodcut illustrations for each canto above the "Argomento". 52 woodcuts in text plus title illustration plus a few header/footers and ornamented letter at beginning of each canto. Also Exposition by Ludovico Dolce and useful table or index. Brunet I 433. Light dampstaining to early pages hardly distinguishable from general age toning which is moderate in this copy. Small inkstain on title page corner and some occasional minor spotting elsewhere. Some wear to calf boards with minor chipping along edges. Rebacked sympathetically. Attractive modern marbled endpapers. Tight copy. Bastiano di Bartholomeo Honorati unknown
1556rif. 001310Lyons: Bastiano di Bartholomeo Honorati 1556. Full Calf. Very Good Plus. 511 40 pp. 8vo 17 by 11 cm 6.5 by 4 inches. With woodcut illustrations for each canto above the "Argomento". 52 woodcuts in text plus title illustration plus a few header/footers and ornamented letter at beginning of each canto. Also Exposition by Ludovico Dolce and useful table or index. Brunet I 433. Light dampstaining to early pages hardly distinguishable from general age toning which is moderate in this copy. Small inkstain on title page corner and some occasional minor spotting elsewhere. Some wear to calf boards with minor chipping along edges. Rebacked sympathetically. Attractive modern marbled endpapers. Tight copy. Bastiano di Bartholomeo Honorati unknown books
1585In-quarto (cm. 24,5), pp. (16) 654, 57 (33). Frontespizio interamente figurato, molti capolettera, cornice xilografica a contornare gli argomenti di ciascun canto e molte belle incisioni in legno nel testo. Legatura d'inizio Settecento in piena pelle, dorso a nervi con ricchi fregi e titoli in oro. Filetto in oro ad inquadrare i piatti. Sguardie marmorizzate. Un paio di ex libris. Mancanze reintegrate alle cuffie, margine alto a tratti un po' rifilato, due carte dell'indice finale fuori posto ed un difetto di un paio di cm. (dall'origine?) a p. 375. Esemplare peraltro ben conservato. Celebre edizione illutrata a proposito della quale Agnelli-Ravegnani così si esprime: "Edizione in-4, veramente pregiata, e ignota al Brunet, Per la disposizione del contenuto, può dirsi simile alle ultime impressioni del Valgrisi".
1582rif. CLL-354Venezia, appresso Domenico & Giovanni Battista Guerra, 1582 In-8 de (336) ff., maroquin vert, triple filet doré en encadrement sur les plats, dos à nerfs orné de caissons de fleurons dorés, pièce de titre de maroquin rouge, coupes et bordures décorées, tranches dorées sur marbrure (reliure française du XVIIIe siècle).
1603rif. 247181603 En Vénétie, Appresso Felice Valgrisi, 1603, in-4 (25 x 18 x 4 cm.), vélin, pièce de titre en maroquin rouge sur le dos, tranches mouchetées.
1730rif. 046661Venice: Tefano Orlandini 1730. Hardcover Vellum. Very Good Condition. Giuseppe Filosi and Giuliano Giampicoli. Full contemporary vellum worn through at corners tear to vellum at tail of spine soiled but sound. Scattered minor foxing and browning a few minor creases - mostly quite clean. Portrait of the author by Orsolini and 51 engraved plates. l 576; iv 400pp. The second book contains other works by Ariosto. Brunet I 437 An attractive and monumental edition with plates by Giuseppe Filosi and Giuliano Giampicoli Size: Folio. Illustrator: Giuseppe Filosi and Giuliano Giampicoli. Quantity Available: 1. Shipped Weight: 2-3 kilos. Inventory No: 046661. Tefano Orlandini hardcover
1556rif. c15-1-43ARIOSTO Lodovico. Orlando Furioso di M. Lodovico Ariosto tutto ricorretto et di nuove figure adornato. Al quale di nuovo sono aggiunte le Annotationi gli Avvertimenti & le Dichiarationi di Girolamo Ruscelli la Vita dell'Autore descritta dal Signor Giovambattista Pigna gli Scontri de' luoghi mutati dall'Autore doppo la sua prima impressione la Dichiaratione di tutte le favole il Vocabolario di tutte le parole oscure & altre cose utili & necessarie. In Venetia: Appresso Vincenzo Valgrisi nella bottega d'Erasmo 1556. Two parts in one volume quarto. First Valgrisi quarto edition and the first edition of Orlando Furioso to contain Girolamo Ruscelli's extensive editorial and interpretive apparatus. Valgrisi's 1556 edition represents an important development in the publication history of Ariosto's poem combining Ruscelli's revised text and explanatory material with a new and ambitious program of full-page illustration. Illustrations Complete with all 46 full-page woodcut illustrations one for each of Ariosto's 46 cantos. The large narrative woodcuts are surrounded by elaborate Renaissance borders incorporating figures putti grotesques armor trophies and ornamental motifs. Individual compositions employ perspective and simultaneous narrative to depict multiple episodes from a canto within a single image. The canto arguments argomenti appear within smaller decorative woodcut cartouches accompanied by historiated and ornamental initials. The 1556 Valgrisi edition introduced these full-page illustrations which proved influential and were reused in later Valgrisi editions. The attribution of the illustrations has varied. They have historically been associated with Dosso Dossi and Battista Dossi and have also been connected with Donato Bercelli; more recent scholarship cautions that they may instead represent the collaborative work of artists associated with Valgrisi's workshop. The elaborate main title page is enclosed within an architectural woodcut incorporating a portrait medallion of Ariosto allegorical and ornamental figures and Valgrisi's distinctive serpent-and-staff device with VIN CENT. The Valgrisi device appears again within the volume. Contents: In addition to Ariosto's poem the volume contains the extensive scholarly apparatus prepared by Girolamo Ruscelli who sought to clarify the complex narrative and language of Orlando Furioso. His contributions include explanatory and interpretive material annotations discussions of difficult passages and a vocabulary of less familiar or obscure words. Ruscelli also standardized aspects of Ariosto's spelling and grammar. The supplementary section has its own 1556 title page: Annotationi et Avvertimenti di Girolamo Ruscelli sopra i luoghi difficili et importanti del Furioso. Also present is the Vocabolario di tutte le parole che sono nel Furioso le quali potessero essere oscure together with other explanatory and critical material associated with the edition. The breadth of Ruscelli's apparatus—annotations explanations allegorical interpretations and glossary—was a distinctive feature of Valgrisi's new edition. Importantly this copy retains the concluding Tavola de' principii di tutte le stanze del Furioso raccolta da Meser Giovan Battista Rota Padovano an extensive alphabetical index to the opening lines of the stanzas. The Tavola continues through the alphabet to its final leaf which concludes "IL FINE." The separately issued final Tavola is sometimes absent from surviving copies of this edition. Condition: Early vellum binding with exposed lacing at the spine. Vellum shows considerable age-related wear including staining and soiling small holes and marks and worn and bumped corners and edges. Text-block edges stained blue. Internally scattered age toning foxing staining occasional fingerprints/handling marks and marginal wear. Several leaves have old or professional paper restoration and reinforcement primarily along the outer margins and edges; in places the repair extends to the border of a woodcut. The illustrated portions remain substantially intact and the complete suite of all 46 full-page canto woodcuts is present generally with strong and detailed impressions. The main 1556 title page has undergone extensive restoration and has been backed/laid down onto a supporting sheet the restoration being clearly visible from the verso. A later tissue guard has been inserted between the later portrait of Ariosto and the original title page. Additional professional paper repairs are present on some leaf edges and margins. An early handwritten bibliographical annotation in Italian appears on a preliminary leaf. Despite the restoration and age-related defects the volume retains the features of greatest importance to this edition: all 46 full-page canto woodcuts; the separate 1556 Ruscelli Annotationi et Avvertimenti section; the vocabulary and supplementary material; and Rota's concluding Tavola through the final "IL FINE" leaf. Vincenzo Valgrisi hardcover
1568[Figurato Ariostea] (cm. 25) Bella solida pergamena XVII secolo.-- cc. 4 nn., cc. 256, cc. 4 nn., cc. 28. Bellissimo frontis architettonico figurato e 46 grandi silografie ai canti con figura entro ricca bordura. Seguono i cinque canti con gli argomenti dell' Anguillara con altrettante illustrazioni. Edizione poco comune e diversa da quella del 1566, con il discorso del Dolce sul furioso e l' esplicit in fine che manca nella edizione del 1566. Le belle illustrazioni sono a piena pagina diversamente da quelle della precedente edizione(Agnelli-Ravegnani). Vecchio rinforzo alla cerniera delle prime 3 carte con aloni e alcune ombreggiature, frontis foderato, in antico, con margine alto corto che intacca la xilografia. esclusi questi lievi difetti alle prime carte esemplare bello e fresco con xilografie in ottima tiratura. * Guidi p.76; * Agnelli-Ravegnani I 135/136; * Melzi 162 n°293; * Melzi-Tosi 65; * Mazzucchelli I 1072; * Graesse I 199; * Bm. Stc. 40; * manca a Brunet, Mortimer e Adams.[f68] Libro
rif. 7584In Parigi: P. Lassan, 1795. Complet en 4 vol. grand in-8: 15 x 23.5 cm. I/ 1 front., lxxix pp. de titre, Vita di Lodovico ariosto par Giovanni Andrea Barotti et des Avvertimenti di Geronimo Ruscelli, 360 pp. de texte des Chants I à XII + 24 pl. grav. II/ 452 pp. de titre et texte des Chants XIII à XXIII + 22 pl. Grav.; III/ 448 pp. de titre et texte des Chants XXIV à XXXV + 24 pl. Grav. IV/ 452 pp. de titre, titre des Chants XXXVI à XLVI et Tables de noms + 22 pl. grav. Belle édition parisienne de ce Roland furieux en italien richement illustrée dun portrait de lArioste par Titien gravé en frontispice par Fiquet daprès Eisen et de 92 figures hors-texte par Cipriani, Cochin, Greuze, Eisen, Monnet, Moreau le Jeune et gravées par Ponce, Bartolozzi, Choffard, de Launay, A. J. Duclos, Lingée, De Ghendt, Martini, J. B. Moreau, Prevost et Henriquez. Il sagit dune nouvelle édition de lOrlando Furioso édité par Baskerville (1773) comprenant le portrait par Eisen ainsi que les 46 figures prévues pour cette édition à laquelle on a ajouté la suite de 46 figures de Charles-Nicolas Cochin gravées par De Launay, Lingé et Ponce pour lédition parisienne chez Brunet (1775-1783). (Cohen, 95-98).Très belles reliures de lépoque en basane mouchetée. Dos lisses avec pièces de titre en maroquin rouge et pièces de tomaison, également en maroquin rouge, en forme de losange, caissons ornés de filets, dentelles et fleurons dorés. Discrètes dentelles en encadrement des plats. Gardes et tranches marbrées. Ex-libris: «M. De Charnières / Officier de Marine» (Charles de Charnières, officier de marine, démissionnaire en 1792, maire deSaumuren 1828). Ex-libris: André Gutzwiller. Rares rousseurs. Bel ensemble. Décoratif et désirable pour sa double suite de gravures.
rif. 51-1794Birmingham: Datorchi di G. Baskerville per P. Molini e G. Molini 1773. 4 vols. 8vo. Original Tree calf and Morocco with raised bands and gold leaf on spine and covers as well as all edges. Binding restored by Sasha Mosalov with imperfections showing. Pages clean. This copy with 48 engravings 2 of which are first states before lettering. 362 28 with 5 lines of errata; 450; 446; 446 pp. Provenance: from the collection of Charles Walker Andrews 1861-1946 an attorney in Syracuse whose father Charles Andrews 1827-1918 was the Chief Judge of the New York State Court of Appeals.Henry Cohen p. 31; Brunet I p. 488; Lowndes I p. 63Description from the Princeton Univ. Library: Late in his career John Baskerville printed an edition of Orlando Furioso for the Molini brothers an Italian printing firm based in Paris. This beautiful four-volume set of Ariosto’s 50000 line poem is illustrated with forty-six engraving plus a frontispiece designed by some of the most celebrated artists of that time. A new engraving begins each new episode of the author’s work and the artists appear to have been given much freedom in their designs. The twenty-one artists don’t often get credit and so here’s the complete list. Frontispiece portrait is after a painting by Titian ca. 1485/90-1576 drawn by Charles Dominique Joseph Eisen 1720-1778 and engraved by Etienne Ficquet 1719-1794.The plates were designed by Giovanni Battista Cipriani 1727-1785; Charles Nicolas Cochin II 1715-1790; Charles Dominique Joseph Eisen 1720-1778; Jean-Baptiste Greuze 1725-1805; Charles Monnet 1732-after 1808; Jean-Michel Moreau the Younger 1741-1814.The engravings were cut by Francesco Bartolozzi 1728-1815; Pierre Philippe Choffard 1730-1809; Antoine Jean Duclos 1742-1795; Emmanuel Jean de Ghendt 1738-1815; Isidore Stanislas Henri Helman 1743-1806/9; Benott Louis Henriquez 1732-1806; Nicolas de Launay 1739-1792; Joseph de Longueil 1730-1792; Pietro Antonio Martini 1738-1797; Jean Massard 1740-1822; Jean-Michel Moreau the Younger 1741-1814; Nicolas Ponce 1746-1831; Benoit Louis Prevost 1747-ca. 1804; and Jean-Baptiste-Blaise Simonet 1742-after 1813. Birmingham: Datorchi di G. Baskerville, per P. Molini e G. Molini, 1773 hardcover
1587[Figurato Ariosto-Copia Unica] (cm.26) bella piena pergamena XVIII sec., titolo in oro al dorso. -- cc. 8 nn., pp. 654, cc. 16 nn. + ultima bianca non oroginale. frontis figurato e 51 magnifiche tavole xilografiche a piena pagina. Testatine, fregi vari e argomenti dei canti inquadrati da ricche cornici. Questa nostra edizione contiene, con frontis proprio, i 5 canti aggiunti che non erano presenti nell'edizione originale del 1556, ed è considerata una delle più belle per le incisioni di Gir. Porro da disegni di Dosso Dossi. Esemplare particolare con 2 carte aggiunte dopo il frontis, della fine del '500(?). Una con una tavola incisa in rame che rappresenta il "Deposito" di Ludovico Ariosto nella chiesa dei benedettini di Ferrara, l'altra contiene manoscritte notizie storiche e al verso la trascrizione dell'epigrafe. Copia appartenuta a Francesco Amici, il cui nome è manoscritto al frontis; per notizie di questo antico possessore vedi: Vecchietti "Biblioteca Picena" 1790-6 vol. I pag.105. Antico restauro a carta 49 con parziale rifacimento del testo e della bordura. Alcune macchiline e lievi aloni per lo più alle prime carte, qualche vecchio strappo restaurato altrimenti bell'esemplare con xilografie in ottima tiratura, fresco e nitido. *Agnelli-Ravegnani I 161; *Guidi 89; *Melzi p. 168 n°329; *Melzi-Tosi 67; *Bm.Stc. 40; *Index Aureliensis 107.570. Manca all'Adams e al Ferrazzi "Bibliografia Ariostesca". [f81] Libro
1834rif. elala1621London: William Pickering 1834. 1834. 4 Volumes. 8vo. 1 p.l. vii-viii clxxvi 198 79; 2 p.l. 436; 2 p.l. 424; 2 p.l. 330. woodcut frontis. portrait. woodcut printers device on title. very handsome contemporary binding of full vellum over bds. by Hayday gilt tooled spines gilt inside dentelles all edges gilt covers bowed. First Panizzi Edition. Usually found with Panizzis edition of Bioardos Orlando Innamorato published by Pickering in 1830 in five volumes. Keynes p. 90. 1st Edition. Hardcover. London: William Pickering, 1834. Hardcover
1591rif. H10BROWN709London: Richard Field 1591. Hardback 18th century calf spine rebacked. New end-papers. 26.5cm x 19.5cm. Pp. 14 1-185 3 193-423 9. Partial remains of the title page laid onto card with rather skilful penmanship filling in the rest of the titlepage. With all 46 engraved plates as called for. The dedication leaf page ii mounted with extensive paper restoration. Lacking a8 of the prelims. The 20th plate torn and repaired to the lower margin. The last 4 leaves table/errata with just remnants retained backed onto modern paper. These leaves supplied loose in modern photocopy facsimile. Some occasional water-staining toning and soiling. With a few marginal annotations. Some losses and repairs to first few and last pages. Small perforation towards inner hinges from page 413 to final page. This is the first English edition of Ariosto's epic poem with the dramatic engravings copied from Giralomo Porro's originals made for the 1584 Venice edition. Very rare. h10. Hard Cover. Good. Richard Field Hardcover
1772rif. 44472Venice Presso Antonio Zatta 1772. Hardcover. The four volumes contain 56 full page copper engravings by Giuliano Zuliani Tommaso Baratti Ferdinando Fambrini Giacomo Malosso Giacomo Leonardis Pietro Antonio Novelli and an engraved frontispiece of Ariosto by Giuseppi Daniotto. The notes for the binder call for another copper engraving to precede that frontispiece but it is not present in this copy. Marbled endpapers and edges. Each volume contain a cloth marker ribbon. A large copy 289 x 204 cm with wide margins. Bound in full calf. Binder's label of "C. Meyer Bookseller and Bookbinder to the Queen and Princesses 2 Hemmings Row St. Martins Lane" - ie Charles Meyer a German emigre who was bookbinder to Britain's Queen Charlotte. Meyer was active in London from 1797 until his death in 1809 though the firm apparently continued until 1811 so the volumes were presumably bound during that 14 year period. The volumes were later rebacked see photos. Each volume contains on the verso of the front free endpaper an ink notation "L/ 4 E 3"; "L/4 E 4"; "L/4 E 5"; "L/4 E 6" - presumably the location marks for a substantial private library but the volumes contain no other indication of which of the several aristocratic collectors for whom Meyer worked was the original owner of these volumes. In parts of volumes three and four the upper and/or lower corners of the pages are very faintly dampstained not affecting the text and in fact barely visible. With that exception this is a very nice copy clean crisp and with wide margins of a very handsome and finely illustrated edition of one of the monuments of classic Italian literature. . Four volumes. The 46 cantos are followed by the 5 additional cantos and then by about 136 unnumbered pages of bibliographies summaries and indices. Venice, Presso Antonio Zatta hardcover
1535In-8°; molto raro; pp. (64), al frontespizio grande ritratto di ariosto di prfofilo inciso su legno. Sette satire.Legatura in piena pelle moderna.
