Ariosto LodovicoMareMagnum
1.574 Ergebnisse
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
Best.-Nr. 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.
Best.-Nr. 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
1834Best.-Nr. 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
1591Best.-Nr. 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
1772Best.-Nr. 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.
1538Best.-Nr. 33452(Vinegia), 1538. Colophon: In Vinegia Nicolo d'Aristotile detto Zoppino M.D.XXXVIII. Small8vo. Fine full vellum with handwritten title on back (ca. 1850). Woodcut portrait of Ariosto on title copied after the woodcut to the edition of ""Orlando Furioso"" from 1532, which was done after Tizian by F. de Nanto. Ff. 32 (=64 pp.). Good margins, fine and clean.
1538Best.-Nr. 33452Vinegia 1538. Colophon: In Vinegia Nicolo d'Aristotile detto Zoppino M.D.XXXVIII. Small8vo. Fine full vellum with handwritten title on back ca. 1850. Woodcut portrait of Ariosto on title copied after the woodcut to the edition of "Orlando Furioso" from 1532 which was done after Tizian by F. de Nanto. Ff. 32 =64 pp. Good margins fine and clean. Extremely scarce early edition first published 1532 of the Seven Satires modeled after the Sermons satires of Horats by the "Divino Lodovico". - Not in Adams the earliest edition here is from 1545 . hardcover
Best.-Nr. alb81ff12cbc8715628Ariosto Ludovico. Furious Roland (in 3 books). In Russian (ask us if in doubt)/Ariosto Ludoviko. Neistovyy Roland (v 3-kh knigakh). Short description: In Russian (ask us if in doubt).Series: Family Library. Front Hall. St. Petersburg Vita Nova 2009. 624s. 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. SKUalb81ff12cbc8715628
1574"In-4°, (12pp), 330, (29cc), legatura in piena pergamena coeva con titolo manoscritto al dorso. Ariosto usava l'allegoria con l'esplicito scopo di dare varietà alla sua opera, così come usava i miti classici, le narrazioni medievali, le storie pie o piccanti, e molto altro ancora. La prova di questa predilezione si trova nelle Bellezze del Furioso di Orazio Toscanella, pubblicate nel 1574. In questo commento canto per canto ai punti salienti stilistici del poema, Toscanella propone che uno dei notevoli attributi artistici di Ariosto fosse quello di ""molto variare"". La capacità del poeta di variare lo stesso argomento o situazione è ben illustrata nelle descrizioni dei duelli e, in diverse occasioni, analizza le tecniche di variazione che Ariosto usa nel raccontare questi incontri. La dilatazione e l'abbreviazione, vengono esaminati per primi. Ma ancor più impressionante, secondo Toscanella, è la capacità del poeta di variare gli elementi che costituiscono la descrizione di un combattimento cavalleresco per evitare la noia che potrebbe produrre la ripetizione di tali combattimenti. L'analisi di Toscanella è piuttosto specifica. Ad esempio, mentre commenta i colpi che Marfisa, Bradamante e Ruggiero infliggono agli uomini di Marganorre nel canto 37, Toscanella classifica i mezzi per realizzare tale diversificazione: distinguendo le cavalcature, le armature, le armi o gli usi delle armi; differenziando i tipi di colpi, ferite, cadute o morti subite; concentrandosi sui diversi arti colpiti dai colpi. E Toscanella illustra come l'Ariosto modifichi questi particolari. La sua attenta analisi rende consapevoli di quanto i lettori moderni siano diventati disattenti a queste sottili alterazioni. I loro occhi tendono ad appannarsi quando incontrano questo tipo di ripetizione, nonostante le notevoli variazioni individuate da Toscanella. Eppure la capacità illimitata di Ariosto di scoprire mezzi per alterare le componenti di azioni o eventi ricorrenti potrebbe essere stata il segno distintivo della sua arte per i suoi primi lettori. A parte i duelli, tali azioni ed eventi includevano giostre formali, combattimenti su larga scala, assedi, morti, funerali e gli altri avvenimenti che segnarono la vita dei cavalieri erranti: prove di abilità, salvataggi di sfortunate vittime, viaggi, prigioni. Si ripetono, inoltre, situazioni e motivi relativi alle 'donne e amori': descrizioni di bellezze femminili, di corteggiamenti, di amanti traditi; i lamenti degli innamorati abbandonati; e così via. Daniel Javitch, The poetics of Variatio in Orlando Furioso; Francesco Sberlati, Il genere e la disputa. La poetica tra Ariosto e Tasso. In-4°, (12pp), 330, (29cc), contemporary vellum binding, with manuscript title at the spine. Ariosto used allegory with the explicit aim of giving variety to his work, much in the same way as he used classical myths, medieval narrations, pious or spicy stories, and so much more. Evidence of this predilection is found in Orazio Toscanella’s Bellezze del Furioso, published in 1574. In this canto-by-canto commentary on the poem’s stylistic highlights, Toscanella proposes that one of Ariosto’s notable artistic attributes were to ‘far variare’. He finds that the poet’s capacity to vary the same subject or situation is well illustrated in the descriptions of duels, and on several occasion, he analyzes the techniques of variation that Ariosto uses when recounting these encounters. Dilation and abbreviation, other standard school exercises, are brought up first. But even more impressive, according to Toscanella, is the poet’s ability to vary the elements that constitute the description of a knightly combat so as to avoid the boredom that the repetition of such combats could produce. Toscanella’s analysis is quite specific. For example, while commenting on the blows that Marfisa, Bradamante, and Ruggiero inflict on Marganorre’s men in canto 37, Toscanella categorizes the means to achieve such diversification: by distinguishing the mounts, armors, weapons, or uses of the weapons; by differentiating the types of blows, wounds, falls, or deaths suffered; by focusing on the different limbs struck with blows. And Toscanella illustrates how Ariosto alters these particulars. His close analysis makes one aware how inattentive modern reader have become to these subtle alterations. Their eyes tend to glaze over when they encounter this kind of repetition, despite the remarkable variations Toscanella singles out. Yet Ariosto’s limitless ability to discover means of altering the components of recurring actions or events may well have been the hallmark of his artistry for his early readers. Aside from duels, such actions and events included formal jousts, large-scale combats, sieges, deaths, funerals, and the other happenings that marked the lives of knights errant: tests of prowess, rescues of hapless victims, voyages, imprisonments. Moreover, there were repeated situations and motifs relating to ‘donne e amori’: descriptions of feminine beauty, of courtships, of lovers betrayed; the laments of abandoned lovers; and so on. Daniel Javitch, The poetics of Variatio in Orlando Furioso; Francesco Sberlati, Il genere e la disputa. La poetica tra Ariosto e Tasso. "
1532In-8°; cc. (40) grande ritratto dell’autore inciso su legno al frontespizio. Legatura in cartonato moderno. Agnelli 2, pp. 119-120
1532In-8°; cc. (32), grande ritratto dell’autore inciso su legno al frontespizio. Legatura in cartonato moderno. Edizione originale. Agnelli 2, pp. 109-110.
Best.-Nr. 16605Paris, chez Brunet, 1775 - 1783. 4 volumes in-8 de [6]-321; [2]-391; [2]-407; 410 pages, plein maroquin rouge grenat, dos lisse orné de fleurons et dentelle dorée, plats au triple encadrement stylisé de roulettes dorées, roulettes dorées aux coupes et aux chasses, tranches dorées.
1772Best.-Nr. b9006Venice: Antonio Zatta 1772 vols. 1-3 1773 vol. 4 1772. First printing of this edition . Hardcover. Near Fine. Zuliani Daniotto Baratta Leonardis Novelli engravings. Four volumes. Large 4to. Volume one: a-b xxiv LX 324; volume two: 456; volume three: 446; volume four: 520. Four engraved title-pages 58 full-page engravings within decorative ornate borders 36 smaller engravings and 51 engraved "argomenti" . Uniformly bound in sheepskin with gilt devices on the boards dark red leather spine labels and marbled endpapers. Four ribbon markers in place. All edges are stained in a coated red. Boards are somewhat soiled two small nicks on the volume-four foredge and one small nick on the volume-three foredge. Edges are somewhat mottled. Small nineteenth-century bookplates. Interiors are generally fine with occasional widely scattered foxing. Among the full-page engravings are a portrait of Ariosto the floorplan of his house and a facsimile of a holograph passage. A handsome and desirable set. Uncommon. Antonio Zatta, 1772 (vols. 1-3), 1773 (vol. 4) hardcover
1787Best.-Nr. CLL-197Paris, Plassan, 1787 10 volumes petit in-12 de XII, 52pp., (2) ff., 401pp. - (4) ff., 475pp., (10)ff. - (4) ff., 503pp. - (4)ff., 527pp. - (4) ff., 452pp. - (2) ff., 34 pp., (1) f., 493 pp. - (4)ff., 493pp. - (4)ff., 507pp. - (4)ff., 465pp. - (4)ff., 595pp., maroquin vert, triple filet doré et dentelle dorée d'encadrement sur les plats, dos à nerfs ornés de caissons de fleurons dorés, coupes et bordures décorées, tranches dorées (Petit succ-r de Simier).
1634Best.-Nr. V64647London: Miller for Parker 1634. Very Good/None. copperplates 46 full-page said to be engraved under direction of Harrington & exalting legendary Roger d'Este. Sm.4to 278x185mm contemporary ruled calf with contrasting gilt lettered label and 5 raised bands compartment nicely gilt. Blindstamp initials H.H.to covers tips worn/ some splitting to foot of spine/some scuffed and scored and some leather surface laminating. All edges speckled red. 9423pgs9 Titlepage for Epigrams dated 1633 43pp SIGNATURES of Robert Kirk 1705 to margin of Titlepage & another very fancy but faint to foot of Titlepage in the margin. Third edition of Harington's 1591 translation. The engraved title with architectural border includes portraits of Ariosto and Harrington as well as a portrait of Harington's dog Bungy in the lower left corner. Strange EPS made of sheets from a bible with bookplate of James Marquis of Carnarvon and another coat of arms bookplate to rear EP. A fine wide margined copy with well printed well inked plates and unusually thick strong paper. Crisp and clean. Referenced by: STC 2nd ed. 748 and ESTC S106834. Miller for Parker hardcover
1617Best.-Nr. 1807030002In Genoua : Appresso Giuseppe Pauoni 1617. Hardcover. Good. 3 parts in one volume. Folio 31 cm. Bound in 18th century mottled calf. Gilt ruled gilt fleurons spines engraved in gilt. Front hinge cracked with chipping to joint. Internally clean and unmarked. 20 full-page engraved plates by Camillo Cungio after Bernardo Castello. Text printed in double columns. Woodcut head- and tail-pieces initials. Two portraits of Tasso and Carlo Emanuele I Duke of Savoy. Historiated initials. 16 255 1 71 1 36 4 p. The "third and grandest Tasso series". See Unglaub Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso p. 235. The illustrations differ significantly from Castello's in the Pavoni editions of 1590 and 1604. Brunet V.666; ABPC 1977; Cicognara 1:1113 In Genoua : Appresso Giuseppe Pauoni hardcover
Best.-Nr. 16-6460Venetia: Appresso gli Heredi di Vincenzo Valgrisi 1580. Quarto 17.5 x 25.5 cm; bound in blond calfskin with a gilt-decorated ribbed spine 18th century; rubbed and worn. An edition of Ariosto’s epic poem printed in italics in a two-column layout. It is illustrated with 51 full-page woodcuts—each set within a handsome decorative border—and a frontispiece plate featuring a portrait of Ariosto. At the head of each canto the verse summary is enclosed within a wood-engraved frame. Foxing staining.OCLC Number / Unique Identifier:896165021: 16 654 34 pages : illustrations woodcuts ; 25 cm 4to.Con privilegio."Title within elaborate ornamental border with printer's device; printer's device also appears as title vignette on page 533 special title page to "I cinque canti""I cinque canti" has separate title page; pagination and register are continuousThe designs for the illustrations have been attributed probably falsely to Dosso DossiEach canto is preceded by a full-page woodcutSignatures: ⸠A-2V⸠2R4 signed '2S4'; 2V8 blank.Provenance: The Marquis de Saporta was an 18th-century French noble known for his personal bookplate which frequently appears as a mark of provenance in rare antiquarian and classical texts.Second provenance:.Fitzroy Fitzcharles and Fitzjames were the names bestowed by the two sons of King Charles I of England upon their illegitimate offspring. This tradition of using the prefix Fitz—which translates as "son of"—for English royal bastards continued under the Hanoverian dynasty: William IV uncle to Queen Victoria was himself the progenitor of numerous Fitzclarences.James Fitzjames 1670–1734 the fruit of the union between James II Stuart and Arabella Churchill was created Duke of Berwick by his father in 1687. Appointed a Marshal of France in 1706 he was also granted the title of Duke of Fitz-James within the French peerage by Louis XIV in 1710. His eldest son founded the Spanish branch of the Dukes of Berwick—a line that under the name Fitz-James Stuart today holds several Grandeeships of Spain including that of Duke of Alba. His younger son founded the French branch of the Dukes of Fitz-James a line that distinguished itself over seven generations until its extinction in the mid-20th century.Fitzroy Fitzcharles et Fitzjames furent les noms donnés par les deux fils du roi Charles Ier d’Angleterre à leur descendance illégitime. Cette tradition du préfixe Fitz pour les bâtards royaux anglais qui se traduit par « fils de» se poursuivra sous la dynastie des Hanovre : Guillaume IV oncle de la reine Victoria fut en son temps l’auteur de nombreux Fitzclarence …James Fitzjames 1670-1734 fruit des amours de Jacques II Stuart et d’Arabella Churchill fut titré par son père duc de Berwick en 1687. Maréchal de France en 1706 il reçut également de Louis XIV le titre de duc de Fitz-James dans la pairie française en 1710. Son fils ainé est l’auteur de la branche espagnole des ducs de Berwick qui sous le nom de Fitz-James Stuart cumule aujourd’hui plusieurs grandesses d’Espagne dont celle de duc d’Albe. Son fils cadet est l’auteur de la branche française des ducs de Fitz-James qui s’illustra pendant sept générations jusqu’à son extinction au milieu du XXe siècle. Venetia: Appresso gli Heredi di Vincenzo Valgrisi, 1580 unknown
1556Best.-Nr. 19212In Lione, Apresso Bastiano di Bartholomeo Honorati, 1556. Grand in-8 de 508-[42] pages, plein veau brun, dos à nerfs orné de filets et fleurons dorés.
1634Best.-Nr. 69070London: Printed by G. Miller for J. Parker 1634. HARRINGTON John. . Orlando Furioso. in English Heroical Verse by Sir John Harrington of Bath Knight. Now thirdly revised and amended with the Addition of the Author's Epigrams. London: Printed by G. Miller for J. Parker 1634. Full Description: ARIOSTO Lodovico. HARRINGTON John translator. Orlando Furioso in English Heroical Verse by Sir John Harrington of Bath Knight. Now thirdly revised and amended with the Addition of the Author's Epigrams. London: Printed by G. Miller for J. Parker 1634. Third edition of Harrington's 1591 translation which was the first English edition and remained the only English translation of many years. This third edition is further expanded by the addition of the "Author's Epigrams." Two works in one small folio in sixes 10 5/8 x 7 1/4 inches; 270 x 185 mm. 16 1 Ads 1 plate 423 9 table 1 Title 1 blank 43 1 blank pp. With engraved title-page for the first work and 46 full-page engravings included in the pagination accompanying each Canto. Separate title-page for "Epigrams" with an engraved vignette. Epigrams have a separate title but continuous register. Elaborate engraved head and tail pieces and initials. Contemporary full calf rebacked to style. Spine with red morocco spine label lettered in gilt. Spine stamped in gilt. All edges speckled red. Newer endpapers Fore-edge margins are trimmed close a few times just touching printed marginal notes. Closed tear to bottom margin of S1 barley touching a few letters. T6 with a tear to fore-edge margin with a bit of loss to marginal note. Some various dampstains and other soiling throughout. Some minor occasional offsetting from plates. Overall a very good copy. "Lodovico Ariosto represented the sentiments the passions and the vices and virtues of 16th-century Italians in his epic poem L'Orlando Furioso The Crazy Orlando. This Renaissance classic based on romances popular at the time furnished the framework for the chivalric narrative in Edmund Spenser's The Faerie Queene. Orlando Furioso is a tale of knights dames and courtesies when the Moors invaded France to avenge the death of their king's father. In the story Orlando Roland Charlemagne's nephew and most famous knight falls madly in love with Angelica who is also pursued by many other Christian and Moorish knights. She flees these attentions only to bestow her love in the end on a poor man without rank. Ariosto's view of life reflected throughout the poem is one of ironic disillusionment-love is madness. John Harington 1561-1612 was a witty courtier and godson of Queen Elizabeth. He is also the acknowledged inventor of the flush toilet. According to lore Harington first translated the racy tale of Jocundo from Canto XXVIII and circulated it among the ladies of the Court. The Queen feigned to be shocked by some passages and reprimanded her godson for endangering the morals of her maids of honor. Elizabeth sentenced Harington to stay away from the Court until he had translated the whole of Ariosto's poem. Harington completed the translation by 1591. Harington's Orlando Furioso is one of the major translations of the age freely executed but faithful to the spirit and style of the original. At 33000 lines in length and nearly 6000 lines shorter than the original the translation is seldom exactly what Ariosto wrote shorter in places and expanded elsewhere-with moral truisms added. Each of the forty-six cantos of the poem is preceded by a full-page illustration including the especially risqué one for Canto XXVIII. All are copied strictly or with slight variation from the plates used by Girolamo Porro in a Venice edition printed in 1584. The engravings are unsigned purportedly the work of several engravers including possibly Jodocus Hondius. Clark Library UCLA Chrzanowski 1607a : Regarding the 1607 Second edition. STC 748. Pforzheimer 447. HBS 69070. $3000. Printed by G. Miller for J. Parker unknown
1634Best.-Nr. 69070London: Printed by G. Miller for J. Parker 1634. HARRINGTON John. . Orlando Furioso. in English Heroical Verse by Sir John Harrington of Bath Knight. Now thirdly revised and amended with the Addition of the Author's Epigrams. London: Printed by G. Miller for J. Parker 1634. Full Description: ARIOSTO Lodovico. HARRINGTON John translator. Orlando Furioso in English Heroical Verse by Sir John Harrington of Bath Knight. Now thirdly revised and amended with the Addition of the Author's Epigrams. London: Printed by G. Miller for J. Parker 1634. Third edition of Harrington's 1591 translation which was the first English edition and remained the only English translation of many years. This third edition is further expanded by the addition of the "Author's Epigrams." Two works in one small folio in sixes 10 5/8 x 7 1/4 inches; 270 x 185 mm. 16 1 Ads 1 plate 423 9 table 1 Title 1 blank 43 1 blank pp. With engraved title-page for the first work and 46 full-page engravings included in the pagination accompanying each Canto. Separate title-page for "Epigrams" with an engraved vignette. Epigrams have a separate title but continuous register. Elaborate engraved head and tail pieces and initials. Contemporary full calf rebacked to style. Spine with red morocco spine label lettered in gilt. Spine stamped in gilt. All edges speckled red. Newer endpapers Fore-edge margins are trimmed close a few times just touching printed marginal notes. Closed tear to bottom margin of S1 barley touching a few letters. T6 with a tear to fore-edge margin with a bit of loss to marginal note. Some various dampstains and other soiling throughout. Some minor occasional offsetting from plates. Overall a very good copy. "Lodovico Ariosto represented the sentiments the passions and the vices and virtues of 16th-century Italians in his epic poem L'Orlando Furioso The Crazy Orlando. This Renaissance classic based on romances popular at the time furnished the framework for the chivalric narrative in Edmund Spenser's The Faerie Queene. Orlando Furioso is a tale of knights dames and courtesies when the Moors invaded France to avenge the death of their king's father. In the story Orlando Roland Charlemagne's nephew and most famous knight falls madly in love with Angelica who is also pursued by many other Christian and Moorish knights. She flees these attentions only to bestow her love in the end on a poor man without rank. Ariosto's view of life reflected throughout the poem is one of ironic disillusionment-love is madness. John Harington 1561-1612 was a witty courtier and godson of Queen Elizabeth. He is also the acknowledged inventor of the flush toilet. According to lore Harington first translated the racy tale of Jocundo from Canto XXVIII and circulated it among the ladies of the Court. The Queen feigned to be shocked by some passages and reprimanded her godson for endangering the morals of her maids of honor. Elizabeth sentenced Harington to stay away from the Court until he had translated the whole of Ariosto's poem. Harington completed the translation by 1591. Harington's Orlando Furioso is one of the major translations of the age freely executed but faithful to the spirit and style of the original. At 33000 lines in length and nearly 6000 lines shorter than the original the translation is seldom exactly what Ariosto wrote shorter in places and expanded elsewhere-with moral truisms added. Each of the forty-six cantos of the poem is preceded by a full-page illustration including the especially risqué one for Canto XXVIII. All are copied strictly or with slight variation from the plates used by Girolamo Porro in a Venice edition printed in 1584. The engravings are unsigned purportedly the work of several engravers including possibly Jodocus Hondius. Clark Library UCLA Chrzanowski 1607a : Regarding the 1607 Second edition. STC 748. Pforzheimer 447. HBS 69070. $3000. Printed by G. Miller for J. Parker unknown books
Best.-Nr. 55160Pisa: Dalla Tipografia della Societa Letteraria 1809. 5 vols. Folio. 39 x 24 cm. Full contemporary russia double gilt fillet and blind-stamped borders spines with raised bands decorated in gilt and blind stamped panels marbled edges and endpapers armorial gilt stamp to upper covers. Engraved portrait frontispiece by R. Morghen. Ex libris Merthyr Guest with his sepia printed armorial bookplate and with the circular gilt stamp of Richard Grosvenor Richard 2nd Marquess of Westminster 1795 - 1869 "Ricardus Comes Grosvenor - 1833" to upper covers. Some light foxing to end-leaves trivial old wormhole to foot of upper joint of vol. 4 minor abrasion to lower board of vol III generally very fresh and clean in a handsome binding. Edition of 250 copies this being no 195 for the Florence publisher Guglielmo Piatti printed using the typefaces of the Amoretti Brothers followers of Giambattista Bodoni. Pisa: Dalla Tipografia della Societa Letteraria, 1809. hardcover
