1 338 résultats
1580in-8, ff. 4 n.n., legatura d'amatore del XIX secolo in marocchino granata, fleuron impresso in oro al centro dei piatti. Edizione di mitica rarità (apparentemente non censita in nessuna Biblioteca pubblica italiana) di questo componimento eroicomico in due libri in complessive 64 ottave su due colonne. Al titolo magnifica xsilografia (mm 86x112) raffigurante probabilmente Carlo Magno in trono circondato dai suoi Paladini, il tutto entro bordura geometrica. Di questo componimento si conoscono almeno quattro ristampe nel XVI secolo, tutte rarissime ed edite a Firenze: la prima del 1568 senza note tipografiche, cui seguirono la presente, quella del 1582 del Pagolini e quella, di nuovo del Baleni, del 1597. La bellissima xilografia fu utilizzata e ricopiata con fedeltà in altre placchette cinquecentesche. Già a metà XVI secolo presentava una spaccatura verticale della matrice lignea. Nella prima edizione e in quelle successive si fa esplicito riferimento alla fonte ariostesca di questo anonimo componimento ''Con alcune stanze d'Orlando alla Birresca'', invece taciuta nella presente edizione. L'anonimo autore parafrasa infatti i più dolci tormenti d'amore dell'Orlando Furioso trasfigurandoli nelle sofferenze dei debitori perseguitati dagli sbirri (''...d'haver tanti suoi debiti à pagare/da quel martir, da quella frenesia/da quella gente detta Birreria''). Soltanto il verso dell'ultimo foglio riporta un titolo corrente in capitali "Furioso alla Birresca" che precede le parodie della prima e seconda ottava del Canto 31, la prima del Secondo e la quinta del trentesimo, nelle quali son modificati e aggiunti versi sul vivere e mangiare bene a dispetto degli Sbirri, della prigione e dell'onestà. ''Le edizioni di questo poemetto sono assai rare. Essendo le prime tre ottave del medesimo simili a quelle che si leggono in altro libretto citate dalla Crusca col titolo di Stanze del Poeta Sciarra (Pietro Strozzi) fu la prima operetta da taluno confusa con la seconda... si descrivono in essa con istile bernesco varie imprese di carlo Magno e de' suoi Paladini'' (Storia ed analisi degli antichi poemi di cavalleria, IV, pp. 222-223). Rarissima placchetta di satirico poemetto cavalleresco, ben conservata nonostante qualche lieve fioritura. Il Agnelli Ravegnani II, 1568. Sander 5389, note. Un esemplare risulta citato nel 1922 da un bollettino VIII di De Marinis, al n. 113. Storia ed analisi degli antichi poemi di cavalleria, IV, pp. 222-223. . Agnelli Ravegnani II, 1568. Sander 5389, note. Un esemplare risulta citato nel 1922 da un bollettino VIII di De Marinis, al n. 113. Storia ed analisi degli antichi poemi di cavalleria, IV, pp. 222-223. .
1772réf. 61032In Venezia: presso Antonio Zatta 1772-73. Quattro volumi di cm. 29 pp. 1.500 ca. complessive. Al primo volume è presente: antiporta illustrata il ritratto dell'Ariosto e 5 tavole a corredo della vita. Seguono le 51 tavole poste all'inizio di ogni canto. Il testo è inoltre impreziosito dai frontespizi figurati e da moltissime testate e cul-de-lamp. Solida ed elegante legatura d'epoca successiva in piena pergamena rigida dorsi a cinque nervi con titoli in oro su doppi tasselli. Una firma di possesso cancellata al frontespizio del primo volume. Esemplare che si distingue per freschezza e per l'impeccabile stato di conservazione. Opera che si pone come uno dei capolavori dell'editoria veneziana del '700. Cfr. l'ampia bibliografia in materia. presso Antonio Zatta unknown
1772Quattro volumi di cm. 29, pp. 1.500 ca. complessive. Al primo volume è presente: antiporta illustrata, il ritratto dell'Ariosto e 5 tavole a corredo della vita. Seguono le 51 tavole poste all'inizio di ogni canto. Il testo è inoltre impreziosito dai frontespizi figurati e da moltissime testate e cul-de-lamp. Solida ed elegante legatura d'epoca successiva in piena pergamena rigida, dorsi a cinque nervi con titoli in oro su doppi tasselli. Una firma di possesso cancellata al frontespizio del primo volume. Esemplare che si distingue per freschezza e per l'impeccabile stato di conservazione. Opera che si pone come uno dei capolavori dell'editoria veneziana del '700. Cfr. l'ampia bibliografia in materia.
1543In-4°; cc. 243, (1), al frontespizio grande ritratto xilografico dell’Autore, al verso dell’ultima carta grande marca tipografica incisa su legno. Legatura in piena pelle con tassello e titolo in oro al dorso, tagli spruzzati. Precedono il testo due dediche a Francesco Gonzaga, una firmata dall’Autore, l’altra da Pietro Aretino. Edizione originale di questo singolare poema, continuazione del fortunato capolavoro di Ariosto, scritto in italiano ma con numerosi termini e espressioni in lingua dialettale umbra e dell’alta Italia. Sigismondo Paulucci detto Filogenio, nacque a Cerreto, vicino Spoleto intorno al 1501 (morto nel 1590); fu giureconsulto e segretario del duca di Camerino; frequentò l’ambiente degli umanisti di Mantova e Bologna; è l’autore del Le notte d’Aphrica, Messina 1535, e de I trionfi di Carlo V nell’Affrica e l’impresa di Tunisi fatta, Venezia, 1543. Sander 5464; Agnelli-Ravegnani II, 196-98 “raro”; Choix 4999. Sigismondo Paolucci detto Filogenio di Cerreto di Spoleto poeta del secolo XVI / Alunno, Aurelio, in: Bollettino della Deputazione di Storia Patria per l'Umbria, 29, 1932, 167-185. In-4 °; cc. 243, (1), on the frontispiece a large woodcut portrait of the Author, on the back of the last paper, a large printer’s woodcut mark. Full calf binding with label and gilt title on the spine, sprayed edges. The text is preceded by two dedications to Francesco Gonzaga, one signed by the author, the other by Pietro Aretino. Original edition of this singular poem, a continuation of Ariosto's successful masterpiece, written in Italian but with numerous terms and expressions in the Umbrian and northern Italian dialects. Sigismondo Paulucci known as Filogenio, was born in Cerreto, near Spoleto around 1501 (died in 1590); he was a jurist and secretary of the Duke of Camerino; he was part of the milieu of the humanists of Mantua and Bologna; he is the author of Le notti d’Aphrica, Messina 1535, and of I trionfi di Carlo V in Africa e l’impresa di Tunisi fatta, Venezia, 1543. Sander 5464; Agnelli-Ravegnani II, 196-98 “raro”; Choix 4999. Sigismondo Paolucci detto Filogenio di Cerreto di Spoleto poeta del secolo XVI / Alunno, Aurelio, in: Bollettino della Deputazione di Storia Patria per l'Umbria, 29, 1932, 167-185.
réf. 44800Paris chez Brunet 1775-1783 4 volumes in-8, veau rouge, plats orns d'un important dcor compos d'une grande plaque pousse froid dans un large encadrement de filets et roulettes dors, rappel du dcor sur les dos quatre larges nerfs, roulettes or sur les coupes; encadrements intrieurs orns d'une roulette dore, doublures et gardes de papier marbr, tranches dores, couvertures imprimes (Thouvenin).Cette seconde dition, parue la mme anne que l'dition originale dont elle diffre totalement, est illustre d'un portrait et de 93 figures gravs sur acier en preuve avant la lettre, savoir: le portrait-frontispice et les 46 figures de la suite dite Baskerville, dessins par Cipriani, Cochin, Eisen, Greuze, Monnet et Moreau, et la suite des 46 compositions dessines par Cochin et graves par De Launay, Linge et Ponce. Bel exemplaire superbement reli par Thouvenin, un des plus grands relieurs du XIXe sicle.
1634réf. 001525London: Printed by G. Miller for J. Parker 1634 1634. THIRD EDITION AND THE FIRST ENGLISH LANGUAGE EDITION. 1 vol. folio 10-1/2" x 7-3/4" ix423pp.xxvii engraved title-page with vignette portraits of Ariosto and Harington and 46 full-page engraved illustrations complete a few leaves at beginning including 2 plates not affecting the image with fore-edge repair slight loss to side-notes of 3 leaves a couple of short tears minor worming to several pages Ownership inscription on front blank endpaper "Elizabeth Tyringham Her Booke Aprill ye 5 1668." bound in contemporary full calf over cords head and foot of spine renewed at some early date worming to rear cover hinges fine internally generally clean and bright no water staining overall a VERY GOOD copy STC 748 The plates were first used in the 1591 edition and derive from Girolamo Porro's illustrations of the 1584 Venetian edition. London: Printed by G. Miller for J. Parker, 1634 unknown
1634réf. 001525London: Printed by G. Miller for J. Parker 1634 1634. THIRD EDITION AND THE FIRST ENGLISH LANGUAGE EDITION. 1 vol. folio 10-1/2" x 7-3/4" ix423pp.xxvii engraved title-page with vignette portraits of Ariosto and Harington and 46 full-page engraved illustrations complete a few leaves at beginning including 2 plates not affecting the image with fore-edge repair slight loss to side-notes of 3 leaves a couple of short tears minor worming to several pages Ownership inscription on front blank endpaper "Elizabeth Tyringham Her Booke Aprill ye 5 1668." bound in contemporary full calf over cords head and foot of spine renewed at some early date worming to rear cover hinges fine internally generally clean and bright no water staining overall a VERY GOOD copy STC 748 The plates were first used in the 1591 edition and derive from Girolamo Porro's illustrations of the 1584 Venetian edition. London: Printed by G. Miller for J. Parker, 1634 unknown books
réf. alb0b5d837ed3cd2352Ariosto L. Furious Roland. 3t. In Russian (ask us if in doubt)/Ariosto L. Neistovyy Roland. 3t. Short description: In Russian (ask us if in doubt).Illustration by Gustava Dore. Moscow. Leather Mosaic Publishing House. 2013. 316 348 332p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb0b5d837ed3cd2352
1547réf. 48296appresso Gabriel Giolito de Ferrari | In Vinegia (Venise) 1547 | 10.50 x 16 cm | relié
réf. OrlandoFurioso1540An opportunity to acquire one of the earliest editions of Orlando Furioso printed in 1540 nearly a post-incunabulum! Orlanda Furisoso was and remains one of the most popular pieces of secular literature produced during the Renaissance i.e. the 16th century. A scarce edition as I could only find one copy in the British Library via Worldcat. First complete edition 1532. A 1533 second edition sold at auction in 2008 at Christie's for a staggering 21500 pounds-sterling about 36000 pounds in today's money or $50000! Orlando Furioso di Messer Ludovico Ariosto con La Giunta Noviss-Mamente Stampato e Corretto. Apresse Mapheo Pasini MDXXX. Loosely translates: The Frenzy or Madness of Roland by Mr. Ludovico Ariosto originally printed by La Giunta and newly printed and corrected. Printed by Mapheo Pasini 1540. Size Binding: Small octavo measuring 6 1/4 x 4 1/2 x 2" about 16 x 11 1/2 x 2 1/2 cm in dark brown leather with a lighter brown spine. Probably bound circa 1750 to 1850 with a later spine end-papers are probably circa the same period. The main text is complete with some post-text material incomplete. See collation. Collation: marble end-paper blank; Title Page with inset woodcut; Dedication to Ludovico Dolce probably a patron of the original edition; Main Text beginning with Canto Primo paginated by leaf 1-244 588 pages in the modern sense; Pages 9-16 miss-bound after page 24; page 96 miss-numbered as 69. Essentially complete; Second Dedication to Dolce; Appologia; four pages of annotations or errati; One page of contents but only one page of such beginning with "A" and one page of an Index beginning with "A" and ending with "D". The first leaf of a contents and the first of the index appear on the recto and verso of the same leaf so it appears they were never printed properly for this copy so the addendum text was never complete; Colophon with woodcut of an angel holding the hand of a child; Portrait of Ariosto. Condition: Generally in very good condition. The binding is holding fairly well Boards are intact and not too worn. Typical age-toning and some staining to the lower portion of the title page and verso but the rest of the pages are quite clean. NO chips or tears that I can see Possibly a faint stamp on the title page. NOTE: Orlando Furioso is a chivalric romance epic fantasy poem written by Ludovico Ariosto at the beginning of the 16th century and completed circa 1520. Portions were printed subsequently but the first complete edition appeared in 1532. It became one of the most popular secular texts of the 16th century going through many editions up until 1600. An English translation was completed by Sir John Harington in 1591 and went through two more editions in 1603 and then in 1634. The English translation has a funny story. Harington who knew Italian had translated a couple of the cantos regarded as rather risque for the time. Hand-written copies were circulated among the English nobility until Queen Elizabeth herself acquired copies. She summoned Harington and scolded him for possibly compromising her ladies-in-waiting with such racy stuff. Then she said "Where's the rest of it" Harington replied he really didn't intend to translate the entire epic poem. Nonsense! She banished him from court until he completed the entire English translation which was printed in 1590-1 and dedicated to the queen herself. NOTE: The pictures are of the actual item for sale. The picture are NOT stock photos. IMPORTANT NOTE: All sales are generally FINAL. I do NOT accept returns because of buyer's remorse "it was a gift but the recipient already had it" or "I found the same books at a better price". I am not selling new items to compete with other retailers. Returns are only accepted because of significant discrepancies regarding edition and/or condition of which I try to be very thorough in researching the edition/printing as well as describing ALL condition issues. So make sure you're 100% positive you desire one of my items before making a purchase. Shipping: Free domestic US shipping in large flat-rate box. $110 UK and international. NOTE on FEEDBACK: If you have problem with an order for any reason please contact me before leaving feedback! 99% of the time we can resolve the problem. It is much more difficult to change feedback once left. hardcover
1547réf. 48296In Vinegia Venice Venise Venice: appresso Gabriel Giolito de Ferrari 1547. Fine. appresso Gabriel Giolito de Ferrari In Vinegia Venice Venise Venice 1547 10.50 x 16 cm relié A handsome illustrated edition and one of the first printed by Gabriele Giolito de Ferrari dedicated to the Dauphin of France. It has a superb engraved title with Giolito's printer's device a phoenix being reborn from its ashes on a globe marked with the printer's initials 56 attractive woodcuts and numerous large ornate capitals as well as a portrait of Ariosto after Titian in a medallion at the end of the poem and two states of the printer's device. The end of the work is made up of a vocabulary of obscure words and an explanation of the difficult passages in the work compiled by Lodovico Dolce with a separate title and not included in the pagination. Giolito published more than twenty books in thirteen years of printing this is the third edition of this work the first appearing in 1542 and the second in 1543. Printed in round Roman type double column. Late 17th or early 18th century red morocco spine richly gilt in six compartments one compartment marked with lettres rondes round Roman type. Covers with a frame of triple gilt fillets gilt roulette frame to insides of covers all edges gilt. Binding a little rubbed faint dampstaining to end of volume. A handsome copy in a lovely red morocco binding. appresso Gabriel Giolito de Ferrari unknown
1768réf. 32081-81Paris M. Prault 1768. With frontispiece portrait of Ariost engr. by Littret 1767 4 engr. pictorial titles by Godefroy after J. M. Moreau 1768 and 1 engr. plate by Aveline after Cochin. 12mo. Contemp. red morocco flat spines richly gilt with two labels gilt arms of King Gustav III of Sweden on upper and lower covers gilt outer and inner dentelles edges gilt. Engr. exlibris Robert Foot and ms. inscr. Caroline and Catherine Foot on flyleaves. Paris M. Prault 1768. Beautiful set of Ariost's poem in the Italian original printed in Paris bound in a fine binding for King Gustav III of Sweden 1746-1792. His reign was a cultural and economic high point in Swedish history. - Brunet I 438 Paris Prault 1746 and 1768. GENEALOGY - HERALDRY ; BINDINGS ; Paris, M. Prault unknown
1773réf. 21246051773. Birmingham: John Baskerville for Pietro and Giovanni Claudio Molini. 1773. Four vols 4to. Contemporary red straight-grained morocco boards filleted in gilt spine gilt-ruled in compartments and lettered directly in gilt raised bands edges gilt board-edges with a single gilt fillet turn-ins roll-tooled in gilt marbled endpapers green silk place-markers; I: pp. vi lviii 362 with copper-engraved portrait frontispiece by Etienne Fiquet after Charles Eisen and a further 12 copper-engraved plates; II: pp. ii 450 with 11 copper-engraved plates; III: pp. ii 446 with 12 copper-engraved plates; IV: pp. ii 446 26 list of subscribers with 11 copper-engraved plates issued without errata leaf 52 as usual; light variable foxing and browning slight offset from plates vol. II with marginal paperflaw to H2; generally a very good crisp set in a well-preserved and unrestored binding with all the cancels called for by Gaskell; nineteenth-century ink inscriptions to vol. I frontispiece verso in two hands 'coll: perf: H. Drury. Harrow.' and 'LARGE PAPER. C. 153.3. from Queen Charlotte's Collection where it was bought 1819. bound by Roger Payne' see below; recent bookseller's tickets to front pastedowns.The dedication copy of John Baskerville's Orlando furioso a handsomely bound large-paper copy from the library of Queen Charlotte later in the possession of Lord Byron's tutor and friend Henry Drury with an uncensored plate defaced by the disgruntled engraver.Among the most accomplished productions of the Baskerville Press this edition of Ariosto's epic poem was commissioned by the brothers Giovanni Claudio c. 1724-c. 1812 and Pietro Molini c. 1730-1806 members of a prominent Florentine family of publishers and booksellers active in Italy France and England. Pietro who styled himself 'Librajo dell'Accademia Reale' at Haymarket is documented in London from at least 1769 - when he acted as the London representative for the Livorno edition of the Encyclopedie 1770-79 - to 1795. In his preface Pietro Molini emphasises the correctness of the text partly based on Francesco de Franceschi's 1584 Venetian edition the diligence of its printer the 'notissimo Giovanni Baskerville' and the collaboration of 'the most celebrated artists of London and Paris' trans. This is followed by a detailed life of Ariosto by Giovanni Andrea Barotti 1701-1772 a scholar from Ferrara whose edition of the complete works of the poet first published in 1741 was among the first to draw on the poet's autograph manuscript rather than relying solely on printed sources. Baskerville appears to have printed the letterpress in 1770 while the copperplates were completed by 1774. Each of the forty-six cantos opens with a facing engraving the illustrations signed by twenty-one artists and engravers active in London and Paris. The designers include Giovanni Battista Cipriani Jean-Michel Moreau le Jeune Charles-Nicolas Cochin Charles Monnet and Jean-Baptiste Greuze. The result was widely admired. Dibdin described it as the finest edition of Ariosto known to him: 'Paper printing drawing plates - all delight the eye and gratify the heart of the thorough-bred bibliomaniacal virtuoso. This edition has hardly its equal and certainly not its superior in any publication with which I am acquainted' pp. 758-59. This copy features an early uncensored state of the plate to Canto XLIII engraved by Francesco Bartolozzi 1727-1815 after Giovanni Battista Cipriani. Apparently exasperated by delays and insults from Molini - who 'one day in a passion called him an ass a poltroon an animal' Benton p. 42. Bartolozzi defaced his own work incising on the tomb of the Saracen knight Brandimarte the words 'd'asino de poltrone d'animale' removed in subsequent states cf. the Princeton copy.Ariosto dedicated his Orlando furioso to Cardinal Ippolito d'Este 1479-1520 son of Ercole I d'Este Duke of Ferrara. While centred on the paladin Orlando and his unrequited love for the pagan princess Angelica - which drives him mad - the poem interweaves multiple narrative strands within a famously complex episodic structure. Among these are the trials leading to the union of Ruggiero - a pagan knight descended from Hector - and the Christian knight heroine Bradamante culminating in Ruggiero's conversion and their marriage. From this union Ariosto mythically derives the House of Este. In his dedication to Queen Charlotte Molini explicitly draws on this genealogy invoking the 'heroes of the most glorious House of Este from which the august progenitors of your royal consort trace their origin who did not have to envy Achilles Homer nor Augustus Virgil' trans. This alludes to the eleventh-century union of Alberto Azzo II founder of the House of Este and Kunigunde of Altdorf whose son Welf I founded the younger House of Welf ancestors of the dukes of Brunswick and the Hanoverian monarchs of Britain. This dynastic connection had long played a role in the political and genealogical self-fashioning of the House of Hanover. In 1676 Sophia of Hanover mother of George I commissioned genealogical research to substantiate the traditional claim that her house descended from the Este through the Welf line. These investigations established that the House of Hanover could also claim English royal descent through Mathilda of England daughter of Henry II. Molini thus constructs a deliberate bridge between Ariosto's original Este dedication and the British royal family linking the poem's chivalric mythology to the lineage of George III and his consort.An avid reader from an early age Queen Charlotte began to form a substantial personal library after her marriage to George III in 1761. Initially housed in London her collection was later moved to Windsor Castle increasingly used as a royal residence from the mid-1770s and partly to Frogmore House which was expanded to accommodate the growing collection. In 1803 the Queen appointed Edward Harding 1755-1840 as her personal librarian at Frogmore a position he held until her death. The 1819 Christie's sale catalogue records over 4500 titles in German French Italian and English mostly recent publications.The King and Queen head the long list of subscribers to the Baskerville Orlando George III's copy is now in the King's Library at the British Library; see Bibliothecae regiae catalogus vol. I p. 123. This list forms a veritable 'who's who' of eighteenth-century Britain including aristocrats artists writers and booksellers. Among the most notable subscribers are Johann Christian Bach 1735-1782 Edmund Burke 1729-1797 David Garrick 1716-1779 and Joshua Reynolds 1723-1792. Several women are also included among them Society hostess Margaret Clive Baroness Clive nee Maskelyne 1735-1817 sculptor Anne Seymour Damer nee Conway 1748-1828 and Susanna Leveson-Gower Marchioness of Stafford nee Stewart 1742-1805 one of the most influential women in eighteenth-century British politics. The list extends internationally including subscribers from France Spain the Netherlands Russia Germany and Italy. In Naples appear Sir William Hamilton 1730-1803 British envoy and antiquarian and the architect Luigi Vanvitelli 1700-1773. The subscription price was four guineas or louis d'or with the plates.Following Queen Charlotte's death her Baskerville Orlando furioso was sold at auction with the rest of her books and personal effects an event that gave rise to a national scandal; after passing through the London trade this copy was acquired by Henry Drury classical scholar and assistant master at Harrow School from 1801 until his death serving as master of the lower school from 1833 to 1841. He was also a member of the Roxburghe Club and Fellow of the Royal Society. Among his many friends were Dibdin Drury appears in his Bibliographical Decameron and Lord Byron who stayed in his house at Harrow and later corresponded with him 'in affectionate terms and without much regard to the propriety later thought usual to preserve in a correspondence with a clergyman' ODNB. Drury's vast library including numerous Greek and Latin classics was dispersed in 4729 lots by Robert Harding Evans in a sale lasting twenty-three days in 1827 and a second by Christie & Manson in 1841 after his death. Although the binding has been attributed to Roger Payne he is not known to have bound for the Royal family; however 'he strongly influenced many who did more particularly Christian Samuel Kalthoeber who bound many of the books in the King's Library at the British Museum' Davenport p. 91. Provenance:1. Charlotte of Mecklenburg-Strelitz Queen Consort of Great Britain and Ireland r. 1761-1818; her sale Christie's 9 June-16 July 1819 lot 1766 '4 vol. 4to. Cuojo turch. Birm. 1773'. 2. Evidently bought at Queen Charlotte's sale by the bookseller and publisher Robert Triphook 1781/2-1868 active on St James's Street c. 1809 and on Old Bond Street from 1815 to 1825 no. 2648 'Ariosto . large paper fine impressions of plates red morocco gilt leaves . The Queen's Copy' listed for PS12 in the supplement to his Catalogue for 1819 of Rare Books in Various Languages.3. Henry Joseph Thomas 'Harry' Drury 1778-1841 bibliophile Harrow master and friend and correspondent of Lord Byron; his sale R. H. Evans 19 February-23 March 1827 lot 339 'Ariosto L. Orlando Furioso 4 vol. LARGE PAPER. Plates by Bartolozzi &c. red morocco gilt leaves Queen Charlotte's copy Birmingham Baskerville 1773' sold for PS10 10s see The Classical Journal vol. xxxvi Sept.-Dec. 1827 p. 145.4. The booksellers Dulau and Co. at 37 Soho Square 'Valuable and Choice Works' in Bent's Literary Adviser September 1842 'ARIOSTO . large paper . red morocco by Roger Payne . From the Collection of Queen Charlotte' listed for PS11 11s.Brunet I col. 438 'belle edition' Cohen-de Ricci 95 'Tres belle edition' Gaskell 48b; Graesse I p. 199 this copy 'Drury' mentioned in note; ESTC T133620; Lowndes I p. 61 this copy 'Drury' mentioned in note; Ray French 64. See Benton John Baskerville 1914; Davenport Royal English Bookbindings 1896; Dibdin The Library Companion 1824; Schellenberg Book Illustration in the Long Eighteenth Century 2015. hardcover