Ariosto, LodovicoBiblio.com
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1011612569.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
101101842X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1011412691.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1017074844.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1104500965.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1019304162.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1019309288.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
114193342X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1163638552.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
116581546X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1246132095.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1371764085.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
137233274X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1374217972.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1823154750London: John Murray 1823. Original. Hardcover. Contents all VG- a hint of general age wear but ALL UNREAD; page tops uncut; covers mostly faded to brown; spines brittle and with some wear; both covers to Vol. I are detached but present. Bindings however are tight. Maroon/brown embossed cloth/boards. Gilt lettering on spines. Each volume numbered individually around 260-275 each; Vols. III and V have slightly over 300 pages each and none include any illustrations. A complete set of this classic epic poem which is a parody of the legends of chivalry of Charlemagne and the Saracen invasion of France. A very scarce edition. With helpful notes by William Stewart Rose prominent British poet and translator. Last 8th volume includes a Dramatis Personae and general index. Notes follow each canto in every volume. John Murray hardcover
2007DADAX0548310610Kessinger Publishing 2007-06-25. paperback. New. 6.00x1.24x9.00. Buy with confidence. Excellent Customer Service & Return policy. Kessinger Publishing paperback
1759015325London: A. Millar 1759. Book measures 18x11.5.cm. 6135pp. Bound in full period calf raised bands gilt lines leather title label. Calf rubbed wear loss on head and tail of spine hinge joints worn but binding holding firm. Internally portrait of Ariosto pasted to free endpaper. Pages in good clean condition. A good clean copy. . Full Calf. Near Very Good. Small 8vo. A. Millar Hardcover
154015172Venetia:: Alberto Gratia c1540. Very rare. 85 x 132mm. Single leaf. Single leaf. Title page. Very minor wear at top edge no affect. Mounted on verso at edge onto white paper backing. Portrait of Ariosto. Suitable for framing or mating with another copy. Alberto Gratia, unknown
0593535030.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1019008458.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1834elala1621London: 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
25087London: C Bathurst T. Payne et al. 1783. 5 volumes. cxxxii336 iv408 iv428 iv438 and iv322pp. half-title present in each volume. Original quarter calf over marbled boards marbled edges vellum corners. 8 engraved plates as called for including the Blake illustration in volume 3. An impressive set. . First edition thus. A very pure eighteenth century binding with some chips and wear the most serious being a weakness to the upper hinge of volume 1. Please ask for condition notes. London: C, Bathurst, T. Payne et al. 1783. hardcover
1968006807Bobbs-Merrill Co 1968. 1st Edition. Hardcover. Good/Good. Octavo. First thus. Green cloth boards with gilt lettering on spine pictorial dust jacket. Cocked edge wear on boards boards mildly bent some smudges and spots on edges of text block. Jacket has creasing closed tears sunning/toning a few small chips and one or two small stains. Now in protective mylar. Scarce in hardcover. Bobbs-Merrill Co hardcover
1396492836.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
160318663Venetia: Vencenzo Valgrifi 1603. A very early printing of the complete and corrected ORLANDO FURIOSO also with the Life of Ariosto by Battista Pigna. Letters tables and scholarly critical works by Ruscelli and others. Magnificently illustrated with 51 full-page woodcut engravings within ornate borders using the blocks from the first Valgrisi quarto edition of 1556 46 in the ORLANDO 5 additional in the appended “Cinque Canti†also with engraved architectural titlepage imprint set in type in a cartouche in the lower part of the border type ornament with the title medallion portrait of Ariosto from the Giolito portrait of 1542 from the profile by Titian devices of Ariosto and Valgrisi’s serpent device half titles and beautifully engraved decorated large head and tail pieces and large historiated and arabesqe capital initials printed in double column Italic. 4to full antique Italian vellum over stiff boards spine with terra-cotta morocco label lettered and decorated in gilt. 8 A - Z8; Aa - Vv8; ie xvi 654 32. A very handsome copy in proper period binding. The paper just likely mellowed and toned by time very occasionally headlines slightly shaved first gathering cropped a bit the vellum very well preserved sturdy and handsome. RARE AND EARLY ILLUSTRATED PRINTING OF ONE OF THE FOUR CORNERSTONES OF ITALIAN LITERATURE. Ariosto’s great cantos inspired by the crusades are considered his crowning achievement. Though first published in 1516 Ariosto considered this edition incomplete and imperfect. He continued to work on correcting and enlarging it throughout the remainder of his life thus the first “complete†ORLANDO FURIOSO was not produced till 1532 the year prior to the author’s death by consumption.<br> The extraordinary merits of this work cast into oblivion the numberless romantic poetry which inundated Italy during this period. This flawless work powerful elegant and cultivated. In description and narrative he excites the reader’s deepest feelings and displays a vivacity of fancy with which no other poet can vie.<br> ‘The ORLANDO blocks were cut for Valgrisi’s first quarto edition of 1556 and follow Niccolo Zoppino’s idea of providing one illustration to each canto but going far beyond the Zoppino blocks in skill of design and cutting. They are the first full-page illustrations for Ariosto. They were placed in the instructive tradition of the Marcolini Dante the illustration is mentioned on the title-page and at the beginning of Ruscelli’s 1556 dedication to Alfonso d’Este Duke of Ferrara. Ruscelli explains to the reader the application of the rules of perspective to the multiple scenes in these cuts. The upper part of the block often becomes a map offering as Philip Hofer notes a tour of the canto by hippogryph. Valgrisi’s artist often varied from Giolito’s in his choice of the principal scene for illustration and relegated the Giolito subjects to his background. Valgrisi’s blocks are printed within borders with figures and grotesques. He was able to use the same blocks without borders in an octavo of 1556 for the popular market. There are two different border designs for the illustrations and two smaller cherub borders for the “argomento†to each canto.’ Vencenzo Valgrifi hardcover
