[EHON - FAIRY TALES] BARBATOU, PBiblio.com
1879 risultati
1895rif. 830091895. EHON - FAIRY TALES BARBATOU P. FABLES CHOISES DE FLORIAN. The first volume only. Paris: Librairie Marpon & Flammarion; Tokyo: Shueisha Meiji 28 1895. Fukuro toji cord-bound in printed paper covers. This first volume is 26.6 X 19.8 cm with 14 full page color woodcuts by Kano Tomonobu and Kajita Hanko. #167 of 200 from a deluxe edition on Japanese hosho paper. Covers soiled and a bit edgeworn one cvorner chipped. The contents are very good and the impressions and colors are quite lovely. This work despite its French text may be seen as squarely in the tradition of the Japanese ehon and it shares many characteristics of the revival of picture book printing in mid to late Meiji demonstrated by other works: an emerging Nihonga style skilled printed increasingly restrained coloration etc. In that context the large scale of its illustrations renders it particularly interesting. The first volume only of two. unknown
1895rif. 830091895. EHON - FAIRY TALES BARBATOU P. FABLES CHOISES DE FLORIAN. The first volume only. Paris: Librairie Marpon & Flammarion; Tokyo: Shueisha Meiji 28 1895. Fukuro toji cord-bound in printed paper covers. This first volume is 26.6 X 19.8 cm with 14 full page color woodcuts by Kano Tomonobu and Kajita Hanko. #167 of 200 from a deluxe edition on Japanese hosho paper. Covers soiled and a bit edgeworn one cvorner chipped. The contents are very good and the impressions and colors are quite lovely. This work despite its French text may be seen as squarely in the tradition of the Japanese ehon and it shares many characteristics of the revival of picture book printing in mid to late Meiji demonstrated by other works: an emerging Nihonga style skilled printed increasingly restrained coloration etc. In that context the large scale of its illustrations renders it particularly interesting. The first volume only of two. unknown books
1952rif. 002334Paris Gérard Le Gris 1952
1762One volume (of two). pp. xiv, [2], 268, [2], 8 [Directions to the Binder often lacking] + Plus a remarkable group of (40) elegant engravings, including two duplicates and a portrait frontis. Lacks the plate at p. 87. Many fine vignettes. Most of the plates are after Charles-Dominique-Joseph Eisen (1720-1778). 12mo (in 8s). 185 mm. Some age stain, but generally clean. All edges gilt. Attractive contemporary French dark green morocco bindings, with only slight defects. Hardbound. Very Good. First Edition. The world famous tales and fables of Jean de La Fontaine (1621-1695), neatly printed in verse, are joined by the best work of the great illustrators & engravers Charles Eisen (1720-1778) and Pierre-Philippe Choffard (1730-1809). Justly considered one of the greatest examples of French rococo illustration. The Fermiers Generaux, an entrepreneurial financial association responsible for gathering and banking certain kinds of taxes, commissioned this edition of La Fontaine's zesty tales. Determined that the book should be the best of its kind, they allowed their agent, the Chevalier d'Agincourt, unlimited resources. It is still provocative to consider that patronage of the arts by this new plutocracy produced the greatest monument and triumph of this renowned age of illustration. See: Cohen-de Ricci 558-571; Ray. 'Art of the French Illustrated Book' p. 54-56; Holloway. 'French Rococo Book Illustration' pp. 21-24; & Etc. By offering this one volume we give you an addordable opportunity to acquire part of THE IMMORTAL FERMIERS GENERAL EDITION OF THE . TALES OF LA FONTAINE. Please check our other entries for the full set of this great work in fine condition. CHEST 2/1
1881rif. 24481881 Paris, G. Charpentier, 1881. 28,5 x 21 cm (R), in-4, 90 pp. - 2 ff. n. ch. (annonce et imprimeur) - 11 planches hors texte en noir sous serpentes légendées dont l'une en frontispice, cartonnage de l'éditeur, premier plat orné d'une large composition à froid et dorée, dernier plat reprenant la même composition, cette fois-ci entièrement en noir, dos orné portant le titre en long, tranches dorées.
1899rif. 2221708ORIGINAL 14 PARTS First edition in the original 14 parts. 11" x 8 1/2" circa 400 b/w illustrations by Lemercier and Helen Stratton who gets sole credit on the title page. Original stitched green pictorial wrappers. Part 14 with half title title page contents and list of illustrations 320 pages. No dust jacket. Very good minor rubbing; signs of handling and some light foxing. Scarce. Printed by Butler & Tanner The Selwood Printing Works. Some illustrations in first two parts are signed "Lemercier" in the plate. George Newnes paperback
1899rif. 2221708ORIGINAL 14 PARTS First edition in the original 14 parts. 11" x 8 1/2" circa 400 b/w illustrations by Lemercier and Helen Stratton who gets sole credit on the title page. Original stitched green pictorial wrappers. Part 14 with half title title page contents and list of illustrations 320 pages. No dust jacket. Very good minor rubbing; signs of handling and some light foxing. Scarce. Printed by Butler & Tanner The Selwood Printing Works. Some illustrations in first two parts are signed "Lemercier" in the plate. George Newnes paperback books
rif. 120902Odesa 'Ukrains'ka knyzhka' 1919. . First edition 16mo 17.7 x 11 cm; contemporary ink ownership inscription to p.3; original printed wrappers ink inscriptions to upper and lower wrappers stain to spine and guttersmore so to preliminary leaves a good copy. A scarce collection of seven Ukrainian folk tales published in independent Ukraine. The publisher 'Ukrains'ka Knyzhka' was based in Lviv and was active during 1917-1922. Founded by Antin Krushel'nyts'kyi 1878 - 1937 editor publisher teacher short-term minister of education and as many Ukrainian officials executed by Bolsheviks. They produced books in a number of cities printing literature and textbooks in Ukrainian for primary schools and children. There was a huge demand for learning material in Ukrainian after decades of prohibition and the number of books published in the native language far outweighed those in Russian in 1918. Not found in WorldCat. Odesa, 'Ukrains'ka knyzhka', 1919. unknown
1904rif. 010920Boston: Old Corner Book Store 1904 464 pgs. Beige cloth pictorially stamped in color on all panels mild surface rubbing light shelf wear overall a lovely clean copy. Originally published in this format in 1900 but this edition replaces the pictorial endpapers with plain all else is identical. Illustrated with a color frontis & title page the balance in b&w as full- and partial-page plus chapter heads and decorations. All iterations of Rackham's Grimm fairy tales are elusive. This one is made even more special by an autograph letter signed by Rackham addressed to Canadian author Howard Angus Kennedy declining an invite to a party held by the Candian Author's Association. Reprint. Pictorial Cloth. Very Good Plus/No Jacket. Illus. by Arthur Rackham. Thick 8vo. Old Corner Book Store hardcover
1904rif. 010920Boston: Old Corner Book Store 1904 464 pgs. Beige cloth pictorially stamped in color on all panels mild surface rubbing light shelf wear overall a lovely clean copy. Originally published in this format in 1900 but this edition replaces the pictorial endpapers with plain all else is identical. Illustrated with a color frontis & title page the balance in b&w as full- and partial-page plus chapter heads and decorations. All iterations of Rackham's Grimm fairy tales are elusive. This one is made even more special by an autograph letter signed by Rackham addressed to Canadian author Howard Angus Kennedy declining an invite to a party held by the Candian Author's Association. Reprint. Pictorial Cloth. Very Good Plus/No Jacket. Illus. by Arthur Rackham. Thick 8vo. Old Corner Book Store hardcover books
1927rif. 32053Indianapolis IN: Popular Fiction Publishing Company 1927. Mild tanning to text paper crease to lower edge slight edge wear and some edge trims a fine copy. 32053. Octavo single issue cover art by C. C. Senf. pictorial wrappers. Pulp Magazine. Includes stories by Seabury Quinn H. P. Lovecraft "The White Ship" Edmond Hamilton Eli Colter and others. Reference: Tymm and Ashley Science Fiction Fantasy and Weird Fiction Magazines pp. 727-736. Popular Fiction Publishing Company unknown
1924rif. 19001TYPED LETTER SIGNED dated March 28th 1924 on RURAL PUBLISHING CORP. stationery to author and famous member of the Lovecraftian Circle Frank Belknap Long about 375 words stating that Long's story THE DESERT LICH has unfortuantely been delayed as it was decided that one man namely Edust-wrapper in Baird could not possibly have the time to be editor for WEIRD TALES DETECTIVE TALES and their new venture GHOST STORIES and thus he "will assume the editorial helm of WEIRD TALES & GHOST STORIES" that he has "read several thousand manuscripts when he was a reader for Baird and that he knows the thrill that comes of discovering a distinctively written story" that he "wishes to use DESERT LICH Long's accepted tale in the combination summer issue for June July & August which we are making triple size and putting out to clear the deck for the issuance of GHOST STORIES" "that their rates are not yet as high he would like them to be and that by summer he hopes we can pay on a pay on acceptance basis" and that "Our rates at present are one cent a word". He finishes with these plaudits for Lovecraft: "Please thank Mr. Lovecraft for me for turning THE DESET LlICH our way. And I want to thank you also for telling me of other Lovecraft stories that I have not yet seen. I would as soon think of changing a line or a word or a title of Mr. Lovecrat's work as I would rewriting an Edgar Allen Poe story. He is to my way of thinking the supreme master of weird tales whose mastery is not accidental but the result of careful and directed thought. So far I have seen Mr. Lovecraft's works only in print for I have not had the thrill of reading them in manuscript. I have not even read HYPNOS but I am looking forward to reading the page proofs of the May Weird Tales which contains the story. But those that I have read in the magazine-----THE HOUND THE RATS IN THE WALL DAGON----are marvels of writercraft." Letters from Wright the acknowledged foremost editor of Weird Tales are notoriously scarce and I know of none earlier. They rarely surface on the market place. Indeed letters with a full strong signature of Wright are rarer still as he was virtually unable to sign anything due to Parkinsons disease by 1930. So here's your chance to snatch a piece of history from one major player in the Golden Age of Science Fiction and Weird Tales specifically to another. The earliest letter I have seen by Farnsworth Wright. N.p. unknown
1924rif. 19001TYPED LETTER SIGNED dated March 28th 1924 on RURAL PUBLISHING CORP. stationery to author and famous member of the Lovecraftian Circle Frank Belknap Long about 375 words stating that Long's story THE DESERT LICH has unfortuantely been delayed as it was decided that one man namely Edust-wrapper in Baird could not possibly have the time to be editor for WEIRD TALES DETECTIVE TALES and their new venture GHOST STORIES and thus he "will assume the editorial helm of WEIRD TALES & GHOST STORIES" that he has "read several thousand manuscripts when he was a reader for Baird and that he knows the thrill that comes of discovering a distinctively written story" that he "wishes to use DESERT LICH Long's accepted tale in the combination summer issue for June July & August which we are making triple size and putting out to clear the deck for the issuance of GHOST STORIES" "that their rates are not yet as high he would like them to be and that by summer he hopes we can pay on a pay on acceptance basis" and that "Our rates at present are one cent a word". He finishes with these plaudits for Lovecraft: "Please thank Mr. Lovecraft for me for turning THE DESET LlICH our way. And I want to thank you also for telling me of other Lovecraft stories that I have not yet seen. I would as soon think of changing a line or a word or a title of Mr. Lovecrat's work as I would rewriting an Edgar Allen Poe story. He is to my way of thinking the supreme master of weird tales whose mastery is not accidental but the result of careful and directed thought. So far I have seen Mr. Lovecraft's works only in print for I have not had the thrill of reading them in manuscript. I have not even read HYPNOS but I am looking forward to reading the page proofs of the May Weird Tales which contains the story. But those that I have read in the magazine-----THE HOUND THE RATS IN THE WALL DAGON----are marvels of writercraft." Letters from Wright the acknowledged foremost editor of Weird Tales are notoriously scarce and I know of none earlier. They rarely surface on the market place. Indeed letters with a full strong signature of Wright are rarer still as he was virtually unable to sign anything due to Parkinsons disease by 1930. So here's your chance to snatch a piece of history from one major player in the Golden Age of Science Fiction and Weird Tales specifically to another. The earliest letter I have seen by Farnsworth Wright. N.p. unknown books
rif. AQ32533s.i.: s.n. s.d. 8pp. With numerous woodcut illustrations in the text. Bound with: Drop-head title: The waggon load of gold. Part II. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head title: The house that jack built. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: Jack jingle. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: The child's new year's gift. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: Little red riding hood. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: Nursery rhymes. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: The history of the children in the wood. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: History of jumping joan. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: Death & burial of cock robin. s.i. s.n. s.d. 7pp 1. With numerous woodcut illustrations in the text. And: Drop-head tile: Tom tucker. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: Cinderella s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: The history of simple simon. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: The history of Mother Goose. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: London cries. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. And: Drop-head tile: The history of old Mother Hubbard. s.i. s.n. s.d. 8pp. With numerous woodcut illustrations in the text. 16mo. Contemporary red morocco richly tooled in gilt and blind lettered in gilt 'Tales and stories' to upper board A.E.G. A trifle rubbed and marked. Internally clean and crisp. An attractively bound sammelband of sixteen diminutive chapbooks intended for a juvenile readership. The titles within all illustrated with crude yet charming wood-engravings include staples of the Victorian street literature market; compendious retellings of perennially popular nursery rhymes such as Cinderella Little Red Riding Hood and the Children in the Wood. An exception is a remarkably rare version of a recherché didactic verse curiosity The Waggon Load of Gold. Issued in two seemingly separately published parts; the work is comprised of a total of sixteen unassociated stanzas calculated to amuse the young reader and each - unusually for chapbook fare of the era - accompanied by illustrations which actually relate to the text; for example the opening couplets of the second part a celebration of the library is partnered with a depiction of a bookcase: 'The chief prize of the whole Here you now may behold 'Tis a library of choice books From the Waggon Load of Gold.' OCLC records a single copy of The Waggon Load of Gold. Part II. at Richmond Public Library Virginia Part I. is apparently unrecorded. The copy retains the original publisher's wrappers bearing the imprint 'London: Printed and published at 60 St. Martin's Lane' with the date recorded as '1820'. This would suggest that the other titles contained within this sammelband - all printed on similar paper stock and some reusing woodcut ornaments - where issued contemporaneously from the same location. . [s.n.], [s.d.] unknown
Small 4to (218 x 155 mm), [xxiv], 518, [1, blank]pp., from the Beckford library, initials 'F.H.G.' stamped in ink to front endpaper, with a pencil note signed by the same relating to the engravings within, engraved printer's device on title page of a cat with a rat in its mouth, copiously illustrated with half-page woodcut vignettes at chapter headings, woodcut initials, woodcut head and tail-pieces, bound in full nineteenth-century Russia leather, covers tooled in gilt and blind as is the spine, green binder's ticket of C. Kaltthoeber to front endpaper, joints a little rubbed, all edges gilt, a very nice copy. First edition of a collection of tales of virtues and vices exemplified by miscellaneous historical figures. Provenance: Hamilton Palace Libraries, Sotheby, Wilkinson & Hodge, 29th November 1883, lot 717, sold to Rev. F. Gall for ?1 10s; the library of Lord Gretton, Stapleford Park, Leicestershire.
1936rif. 32955New York: The Carwood Publishing Co. 1936. Some darkening to text paper slight edge wear a nearly fine set. 32955. Large octavo two issues illustrated by Elmer Stoner pictorial wrappers side stapled. Pulp magazine. All published. Inspired by a radio program started in May 1931 with the same title. Several original stories were adapted from the radio program. Many of the stories were reprints from much earlier magazine publications. Reference: Parnell and Ashley Monthly Terrors pp. 296. Tymn and Ashley eds Science Fiction Fantasy and Weird Fiction Magazines pp. 742-3. The Carwood Publishing Co. unknown
1581In-8°, (2), 172 i.e.173cc, buone condizioni tranne le prime carte restaurate all’angolo superiore con parziale mancanza di testo, legatura in pergamena. Passano I, 164 “collezione curiosa di novelle, moltissime delle quali assai licenziose. Il Libri, che così lo qualifica (Catal. del 1859, n.464), aggiunge che è libro estremamente raro”. Brunet I, 193. Conforme a Edit 16 id.CNCE 7834 Il volume contiene anche L’isola di Narsida (1572) vero e proprio romanzo utopistico, antesignano dei primi romanzi di fantascienza. In-8 °, (2), 172 i.e.173cc, good condition although the first leaves have been restored at the upper corner (the text is partially missing), vellum binding. Passano I,164 “curious collection of short stories, many of which are very licentious. Libri, which qualifies it this way (Catal. of 1859, n.464), adds that it is an extremely rare book ". Brunet I, 193. In accordance with Edit 16 id. CNCE 7834 The volume also contains The Island of Narsida (1572) a true utopian novel, a forerunner of the first science fiction novels.
rif. 71149Paris: Adrien Maeght Editeur printed on the presses of Ateliers Arte Paris 1982. Multi-lingual editions the key to La Fable du Hasard is only in French. Very Good. Six accordion-folding artist's books composed of cloth boards with color paper cover label and folding color lithographic interior each in the publisher's lucite slipcase with blemishes to the spines of five of the volumes at the center. Top and bottom panels sit slightly off-center. All housed in the illustrated paper covered slipcase 16.5 cm x 18 cm with moderate wear and a bit of abrasion to the bottom edge. The books have been well preserved in their slipcases lending them a fresh and bright appearance. Each book has a legend in multiple languages which occasionally vary. The languages include but are not strictly limited to the following: French English German and Spanish. La Fable du Hasard is in illustrated paper over boards. Le Petit Poucet Tom Thumb 1979; Blanche Neige Snow White 1974; Le Petit Chaperon Rouge Little Red Riding Hood 1965; La Fable du Hasard The Fable of Hazard 1968; La Belle au Bois dormant Sleeping Beauty 1982; Cendrillon Cinderella 1976. Swiss-born Warja Lavater moved to New York City in 1958 where she began designing scientific illustrations for Dell Publishing Visual series. It was at this time that Honegger-Lavater came under the influence of American street advertising and began using pictograms as graphic representations of linguistic elements in her works. Her books often contain a legend listing the meanings of the various symbols. They then proceed chronologically with the book unfolding and the story being told entirely by using the symbols and no words. Bright and colorful visual symbolic reinterpretations of these classic fairy tales by the noted Swiss artist. Adrien Maeght Editeur [printed on the presses of Ateliers Arte Paris] unknown
rif. 71149Paris: Adrien Maeght Editeur printed on the presses of Ateliers Arte Paris 1982. Multi-lingual editions the key to La Fable du Hasard is only in French. Very Good. Six accordion-folding artist's books composed of cloth boards with color paper cover label and folding color lithographic interior each in the publisher's lucite slipcase with blemishes to the spines of five of the volumes at the center. Top and bottom panels sit slightly off-center. All housed in the illustrated paper covered slipcase 16.5 cm x 18 cm with moderate wear and a bit of abrasion to the bottom edge. The books have been well preserved in their slipcases lending them a fresh and bright appearance. Each book has a legend in multiple languages which occasionally vary. The languages include but are not strictly limited to the following: French English German and Spanish. La Fable du Hasard is in illustrated paper over boards. Le Petit Poucet Tom Thumb 1979; Blanche Neige Snow White 1974; Le Petit Chaperon Rouge Little Red Riding Hood 1965; La Fable du Hasard The Fable of Hazard 1968; La Belle au Bois dormant Sleeping Beauty 1982; Cendrillon Cinderella 1976. Swiss-born Warja Lavater moved to New York City in 1958 where she began designing scientific illustrations for Dell Publishing Visual series. It was at this time that Honegger-Lavater came under the influence of American street advertising and began using pictograms as graphic representations of linguistic elements in her works. Her books often contain a legend listing the meanings of the various symbols. They then proceed chronologically with the book unfolding and the story being told entirely by using the symbols and no words. Bright and colorful visual symbolic reinterpretations of these classic fairy tales by the noted Swiss artist. Adrien Maeght Editeur [printed on the presses of Ateliers Arte Paris] unknown books
1925rif. 010664New York: George H Doran 1925 310 pgs. Red cloth with pictorial pastedown in metallic gold black & red a few spots to edge of text block else a fine copy housed in the original pictorial box which is worn and soiled with a couple of breaks but complete. A gorgeous copy of Kay Nielsen's magnificent illustrated edition of Grimm's fairy tales featuring 12 tipped-in color plates and 10 full page b&w plates and decorative initials. This was the last of Nielsen's lavish gift books and no British trade edition was issued. . First Trade Edition. Pictorial Cover. Near Fine/No Jacket. Illus. by Kay Nielsen. Large Thick 4to. George H Doran hardcover
1925rif. 010664New York: George H Doran 1925 310 pgs. Red cloth with pictorial pastedown in metallic gold black & red a few spots to edge of text block else a fine copy housed in the original pictorial box which is worn and soiled with a couple of breaks but complete. A gorgeous copy of Kay Nielsen's magnificent illustrated edition of Grimm's fairy tales featuring 12 tipped-in color plates and 10 full page b&w plates and decorative initials. This was the last of Nielsen's lavish gift books and no British trade edition was issued. . First Trade Edition. Pictorial Cover. Near Fine/No Jacket. Illus. by Kay Nielsen. Large Thick 4to. George H Doran hardcover books
1762Two Volumes. pp. xiv, [2], 268, [2], 8; [2], viii, [2], 306, [4], [9]-16 + Plus a remarkable group of elegant engravings, including: Two frontispieces by Fiquet, after Rigault and Vispre; over fifty vignettes and culs-de-lamp by Choffard; and 80 full-page plates after Eisen by - Aliamet, Baquoy, Choffard, Delafosse, de Longueil, Flipart, Le Mire, Lempereur. Leveau, Ourvrier, et. al. One plate is apparently from a different copy. Some slight age foxing. ALSO: Two plates that are often censored - Cas de Conscience & Diable de Papefiguiere - do not seem to appear at all in my examples. 12mo (in 8s). 185 mm. Attractive contemporary French red morocco gilt bindings, with only very slight defects. First Edition. Provenance: The set belonged to Edwin Wolf II (1911 1991) - famous as the Librarian of the Library Company of Philadelphia, and as a collector, and an employee of the renowned Rosenbach Co. from 1930 to 1952. The Family Album purchased a large part of his collection of early books in 1992. About this work : The world famous tales and fables of Jean de La Fontaine (1621-1695), neatly printed in verse, are joined by a 'Dissertation sur la Joconde' by Nicolas Boileau Despreaux (1636-1711); and the best work of the great illustrators & engravers Charles Eisen (1720-1778) and Pierre-Philippe Choffard (1730-1809). Justly considered one of the greatest examples of French rococo illustration. The Fermiers Generaux, an entrepreneurial financial association responsible for gathering and banking certain kinds of taxes, commissioned this edition of La Fontaine's zesty tales. Determined that the book should be the best of its kind, they allowed their agent, the Chevalier d'Agincourt, unlimited resources. It is still provocative to consider that patronage of the arts by this new plutocracy produced the greatest monument and triumph of this renowned age of illustration. See: Cohen-de Ricci 558-571; Ray. 'Art of the French Illustrated Book' p. 54-56; Holloway. 'French Rococo Book Illustration' pp. 21-24; & Etc. THE IMMORTAL FERMIERS GENERAL EDITION OF THE TALES OF LA FONTAINE. **PRICE JUST REDUCED! SAFE ADD 1
BASILE Giovan Battista. Il Pentamerone overo Lo Cunto de li Cunte trattenimento de li Peccerille. In Napoli, ad istanza di Antonio Bulifon libraro all'Insegna della Sirena, 1674. In 16mo; pp.12n.nn., 633, 3n.nn. Pergamena coeva, titolo calligrafato al dorso. Ex libris. Rara e celebre raccolta di fiabe in dialetto napoletano, la più antica opera di racconti fiabeschi e tradizioni popolari della storia europea. In questa edizione compare per la prima volta il titolo "Pentamerone". Lo Cunto de li Cunte ebbe grande influenza in tutta Europa su scrittori come C. Brentano, i fratelli Grimm, Perrault, Carlo Gozzi, Wieland. Dall'introduzione di Benedetto Croce all'edizione del 1891: "Il Cunto de li Cunti è un libro di fiabe. E le fiabe, non occorre quasi il dirlo, sono racconti popolari tradizionali di avventure, alle quali pigliano parte esseri umani, ed esseri sovraumani od estraumani della mitologia popolare, come fate, orchi, animali parlanti, ecc. Questo complesso di racconti tradizionali, la cui origine è incerta e discussa e risale senza dubbio a una remota antichità, viene ora considerato dalla moderna filologia come un gruppo di documenti importanti per la storia del genere umano e per la psicologia popolare. Ma, per molti secoli, essi non furono se non un oggetto di diletto e di trattenimento pel popolo ingenuo e pei fanciulli, che avidamente li ascoltavano: lo scienziato disdegnava d'appressarvisi, e solo, di rado, vi si appressò l'artista. E uno dei primi artisti, anzi il primo, che vi si appressasse, fu appunto il nostro Giambattista Basile... Nel 1674 l'editore Antonio Bulifon, un francese stabilito a Napoli, «vedendo, com’egli stesso dice, che veniva sommamente desiderato questo, altrettanto arguto quanto giocoso, Pentamerone del vivace e bizzarro ingegno del Cavalier Giovan Battista Basile», fece sì che, «ridotto alla vera lettione, per mezzo delle stampe ei rinascesse». Chi lo ridusse alla «vera lettione» fu un abate pugliese, Pompeo Sarnelli, poi vescovo di Bisceglie, appassionato cultore del dialetto napoletano, che allora serviva, a quanto sembra, da correttore nella stamperia del Bulifon. Il Cunto de li Cunti fu, in quest'edizione, intitolato, per la prima volta, sul frontespizio: Il Pentamerone: titolo più breve, che ricorda illustri precedenti, e che perciò prevalse. Ed, anche sul frontespizio, è detto «co tutte le zeremonie corrietto»; e, certo, il Sarnelli vi spese intorno molte cure". Le cinquanta fiabe delle cinque giornate sono tutte collegate tra loro, e racchiuse in una cornice generale, che ravvicina questo libro di fiabe ai più classici libri italiani di novelle, ai Decameron, alle Cene, ai Diporti, alle Piacevoli Notti, ecc. Pironti, Editori francesi in Napoli, pag.87.
1554rif. 3630Nuremberg: Gedrückt zu Nürnberg durch Friderich Gutknecht 1554. FIRST COLLECTED EDITION. The first work was first printed in 1535 as "Eyn new gedichte von den Schmeichlern" VD16 S 478. The third fable appeared as a broadside ca. 1540 Weller 82 not in VD16. I have been unable to trace an earlier ed. of the second fable. Hardcover. Fine. Bound in modern vellum over boards soiled slightly bowed. The text is in very good condition with a little light dust-soiling a few small spots on the final two leaves and soiling to the verso of the final leaf. With two woodcut illustrations and a fine woodcut ornament on the final leaf. No copies traced in North America. Hans Sachs' reworkings of three traditional fables two by Aesop "The shepherd flatters the wolf" and "The hares and the frogs" and one "the envious man and the miser" by the Latin fabulist Avianus. The first woodcut shows the devious wolf hiding in his cave. The second shows the miser and envious man having their eyes gouged out. The poet and playwright Hans Sachs a shoemaker and guild master by trade was an accomplished Meistersinger of the Nuremberg School Sachs is the title character of Wagner's "Meistersinger". Sachs' songs plays and dialogues address the social concerns of his day and the effects of the Reformation on the established social order. The Fables: 1. Ein yder sehe für sich und verberg sich hinder keinen Schmeichler. Ein jeder sehe für sich und verbarg sich hinter keinen Schmeichler. The shepherd tries to deceive the wolf: A wolf stalked by a hunter comes upon a shepherd and begs him to hide him from the hunter promising a rich reward. The shepherd agrees to help and the wolf hides in a cave. The hunter coming upon the spot but not seeing the wolf asks the shepherd if he has seen his quarry. The shepherd knowing that the wolf is watching them indicates with his hands that the wolf has gone off in a certain direction. Yet while he does so he tries by means of his eyes to let the hunter know that the wolf is in fact hiding in the cave. The hunter fails to see this and heads off. The shepherd then addresses the wolf telling him that he should be grateful that he has saved his life. The wolf thanks him but -being fully aware of the shepherd's deceit damns the shepherd's eyes. 2. Ein schöne Histori von dem Neidigen und dem Geitzigen Schöne Historie von dem Neidigen und dem Geizigen The Envious man and the Miser: "In this fable Jupiter sent Phoebus to earth where he stumbled upon an envious and a miserly person. He offered the miser a wish adding that whatever he wished for should be given double to his companion. The miser determined to wish for nothing knowing he would get only half what the other received and left it to his companion to make the wish. Thereupon the envious man took revenge by wishing that one of his own eyes be gouged out so that his companion would be made blind. Sachs concludes that envy makes envious persons suffer. They delight in the misery of others even if they are about to suffer the same fate themselves and their hearts are full of poison."Roper The Witch in the Western Imagination 3. "Ein yder trag sein joch dise Zeit" Ein jeder trage sein Joch diese Zeit und überwind sein Übel mit Geduld The hares and the frogs: Enduring and overcoming evil with patience: Once upon a time some hares driven desperate by the many enemies foxes wolves falcons hunters that threatened them from every direction came to the sad resolution that there was nothing left for them to do but kill themselves. They scurried to a nearby lake determined to drown themselves the most miserable of creatures. A group of frogs seated upon the bank frightened at the approach of the hares leaped in great alarm and confusion into the water. 'Nay then my friends' said the leader of the hares 'our case is not so desperate yet for here are other poor creatures more faint-hearted than ourselves.'. Gedrückt zu Nürnberg durch Friderich Gutknecht hardcover
1554rif. 3630Nuremberg: Gedrückt zu Nürnberg durch Friderich Gutknecht 1554. FIRST COLLECTED EDITION. The first work was first printed in 1535 as "Eyn new gedichte von den Schmeichlern" VD16 S 478. The third fable appeared as a broadside ca. 1540 Weller 82 not in VD16. I have been unable to trace an earlier ed. of the second fable. Hardcover. Fine. Bound in modern vellum over boards soiled slightly bowed. The text is in very good condition with a little light dust-soiling a few small spots on the final two leaves and soiling to the verso of the final leaf. With two woodcut illustrations and a fine woodcut ornament on the final leaf. No copies traced in North America. Hans Sachs' reworkings of three traditional fables two by Aesop "The shepherd flatters the wolf" and "The hares and the frogs" and one "the envious man and the miser" by the Latin fabulist Avianus. The first woodcut shows the devious wolf hiding in his cave. The second shows the miser and envious man having their eyes gouged out. The poet and playwright Hans Sachs a shoemaker and guild master by trade was an accomplished Meistersinger of the Nuremberg School Sachs is the title character of Wagner's "Meistersinger". Sachs' songs plays and dialogues address the social concerns of his day and the effects of the Reformation on the established social order. The Fables: 1. Ein yder sehe für sich und verberg sich hinder keinen Schmeichler. Ein jeder sehe für sich und verbarg sich hinter keinen Schmeichler. The shepherd tries to deceive the wolf: A wolf stalked by a hunter comes upon a shepherd and begs him to hide him from the hunter promising a rich reward. The shepherd agrees to help and the wolf hides in a cave. The hunter coming upon the spot but not seeing the wolf asks the shepherd if he has seen his quarry. The shepherd knowing that the wolf is watching them indicates with his hands that the wolf has gone off in a certain direction. Yet while he does so he tries by means of his eyes to let the hunter know that the wolf is in fact hiding in the cave. The hunter fails to see this and heads off. The shepherd then addresses the wolf telling him that he should be grateful that he has saved his life. The wolf thanks him but -being fully aware of the shepherd's deceit damns the shepherd's eyes. 2. Ein schöne Histori von dem Neidigen und dem Geitzigen Schöne Historie von dem Neidigen und dem Geizigen The Envious man and the Miser: "In this fable Jupiter sent Phoebus to earth where he stumbled upon an envious and a miserly person. He offered the miser a wish adding that whatever he wished for should be given double to his companion. The miser determined to wish for nothing knowing he would get only half what the other received and left it to his companion to make the wish. Thereupon the envious man took revenge by wishing that one of his own eyes be gouged out so that his companion would be made blind. Sachs concludes that envy makes envious persons suffer. They delight in the misery of others even if they are about to suffer the same fate themselves and their hearts are full of poison."Roper The Witch in the Western Imagination 3. "Ein yder trag sein joch dise Zeit" Ein jeder trage sein Joch diese Zeit und überwind sein Übel mit Geduld The hares and the frogs: Enduring and overcoming evil with patience: Once upon a time some hares driven desperate by the many enemies foxes wolves falcons hunters that threatened them from every direction came to the sad resolution that there was nothing left for them to do but kill themselves. They scurried to a nearby lake determined to drown themselves the most miserable of creatures. A group of frogs seated upon the bank frightened at the approach of the hares leaped in great alarm and confusion into the water. 'Nay then my friends' said the leader of the hares 'our case is not so desperate yet for here are other poor creatures more faint-hearted than ourselves.'. Gedrückt zu Nürnberg durch Friderich Gutknecht hardcover books
