PETRUS DELPHINUS DelfinMareMagnum
2 018 résultats
In-folio; ff. (392), in caratteri romani; il titolo, tranne le prime due righe, è in caratteri gotici; pelle marrone ottocentesca firmata Bedford, con decorazione dorata ai piatti entro doppia cornice, titolo in oro al dorso, fregi, nervature, tagli dorati. Ex libris John Fairfax Crowder. Al frontespizio sotto al titolo una xilografia raffigura "Petrus Delphinus Generalis" inginocchiato di fronte a A. Romualdo; la pagina è inquadrata in una cornice a grottesche su legno che reca il monogramma "I C", che era stata impiegata nel 1521 per Sallustio, e poi per l'edizione delle Vite de SS. Padri del 1532. Raro epistolario del generale dei camaldolesi, fonte ricchissima per la vita storica e artistica fiorentina del XV secolo. PIETRO DELFIN, (Venezia 1444-1525), venne eletto generale dei camaldolesi nel 1480, e coltivò costantemente le lettere e la teologia, tenendosi in relazione con gli uomini più illustri del suo tempo, soprattutto con gli umanisti. Irriducibile avversario del Savonarola, nel suo Dialogus in Ieronymum Ferrariensem arrivò a chiedere la condanna al rogo del frate. Prima edizione del suo epistolario, una ricchissima fonte per la dottrina teologica ma anche per i dettagli storici di cui le sue lettere sono corredate. L'argomento principale che è al centro degli scritti di Delfin è certamente la disputa teologica o comunque religiosa, oggetto di fitti scambi epistolari con i rappresentanti del clero e gli umanisti di tutta Italia; tra gli altri argomenti vi rientra anche una disquisizione piuttosto lunga (l. II ep.LXXVII) circa l'azione corruttrice delle rappresentazioni teatrali, in particolare delle commedie, con un richiamo ai ludi scaenici degli antichi romani. Ma dati i rapporti con gli umanisti del tempo, la raccolta contiene anche scambi epistolari con questi ultimi: Ugolino Verino, Ermolao Barbaro, Francesco Guicciardini ecc. Ad esempio proprio in una di queste missive si esprime l'augurio che si ponga mano ad una edizione completa delle opere di Leon Battista Alberti. In folio; ff. (392), in Roman characters; the title, except for the first two lines, is in gothic characters; 19th century brown calf binding signed Bedford, with gilt decoration on the plates within a double frame, gilt title on the spine, friezes, bands, gilt edges. Ex libris John Fairfax Crowder. On the title page, under the title, a wood plate depicts "Petrus Delphinus Generalis" kneeling in front of A. Romualdo; the page is framed in a grotesque frame on wood bearing the monogram "I C", which had been used in 1521 for Sallustio, and then for the edition of the Vite dei SS. Padri 1532. Rare epistolary of the general of the Camaldolese order, a very rich source for the historical and artistic life of Florence in the 15th century. PIETRO DELFIN, (Venice 1444-1525), was elected general of the Camaldolese order in 1480, and constantly cultivated literature and theology, keeping in touch with the most illustrious men of his time, above all with the humanists. Irreducible opponent of Savonarola, in his Dialogus in Ieronymum Ferrariensem he came to ask for the friar to be condemned to the stake. First edition of his epistolary, a very rich source for theological doctrine but also for the historical details with which his letters are accompanied. The main topic that is at the center of Delfin's writings is certainly the theological or religious dispute, the subject of dense exchanges of letters with representatives of the clergy and humanists from all over Italy; among the other topics there is also a rather long disquisition (l. II ep.LXXVII) about the corrupting action of theatrical representations, in particular of comedies, with a reference to the ludi scaenici of the ancient Romans. Given the relationships with the humanists of the time, the collection also contains correspondence with the latter: Ugolino Verino, Ermolao Barbaro, Francesco Guicciardini etc. For example, precisely in one of these letters the wish is expressed that a complete edition of the works of Leon Battista Alberti be put to work.
Very Good Turkish, Ottoman (1500-1928) In modern, handsome full brown morocco. Foolscap 8vo. (18 x 12.5 cm). In Ottoman script (Old Turkish with Arabic letters). 159 p. Extremely rare first Turkish translation of Macbeth, printed in Ottoman Cairo. Macbeth reflected Abdullah Cevdet's reaction against Hamidian despotism and his love and advocacy of liberty. One must also remember him as one of the founding members of the Party of Union and Progress - a secret organization that conspired to overthrow Abdülhamid's absolutist regime. The argument that Abdullah Cevdet's translation of Hamlet, Julius Caesar and Macbeth reflected his opposition to Abdülhamid II's absolute monarchy could be justified with the fact that the themes of the translated plays were perceived by the political authorities as threatening since they were about the murder of kings and heads of state. In Abdullah Cevdet's view, Macbeth is famous as a drama of "ambition for status" (hirs-i cah). Abdullah Cevdet was an Ottoman-born Turkish intellectual and physician of Kurdish ethnic descent, and one of the founders of the Committee of Union and Progress (CUP). In 1908, he joined the Democratic Party that later on merged with the Freedom and Accord Party in 1911. He was also a translator, radical free-thinker, and ideologist of the Young Turks until 1908. The son of a physician, and himself a graduate from the Military College in Constantinople as an ophthalmologist, Cevdet, initially a pious Muslim, was influenced by Western materialistic philosophies and came to oppose institutionalized religion but thought that "although the Muslim God was of no use in the modern era, the Islamic society must preserve Islamic principles." He published the periodical Içtihat from 1904 to 1932, of which articles he used to promote his modernist thoughts. He was arrested and expelled from his country several times due to his political activities and lived in European cities including Vienna, Geneva and Paris. His poetry was linked with the Symbolist movement in France and he received accolades from leading French authors like Gustave Kahn. (Source: DR. ABDULLAH CEVDET'S TRANSLATIONS (1908-1910): THE MAKING OF A WESTERNIST AND MATERIALIST "CULTURE REPERTOIRE" IN A "RESISTANT" OTTOMAN CONTEXT; Ayluçtarhan, Sevda). "Between 1908 and 1910, Abdullah Cevdet produced a large oeuvre of translations, including four translations of Shakespeare's tragedies: The translations of Hamlet and Julius Caesar (translated by Cevdet as Jül Sezar) were published in 1908, the same year as the declaration of the Second Constitution. Macbeth, translated by Cevdet as Makbes, was published in the following year. [.] Nonetheless, Abdülhamid II seemed to be even less tolerant of the dissemination of Hamlet, Macbeth, and Julius Caesar, since they were all about unjust rulers who were executed in the end. It is not surprising that the performances of these plays became subject to strict censorship in the Ottoman lands and banned (Paker 1986: 91). This could be shown as a reason why Abdullah Cevdet was able to publish the translations of these plays only after 1908, though he had finished translating Hamlet in 1902, Julius Caesar and Macbeth in 1904, and Romeo and Juliet in 1905 (Süssheim 1987). As Abdullah Cevdet was a planner of culture, his literary translations cannot merely be judged on an "aesthetic" level. It will be discussed in this chapter that Abdullah Cevdet's translations of Hamlet, Julius Caesar and Macbeth could be read as critical texts directed against Abdülhamid II's absolutist regime. [.] Due to the fact that the selection of source language and culture is an important factor in accounting for any kind of "translation policy", Abdullah Cevdet's selection of both these instruments needs to be taken into account (Toury 2000: 202). Özege 12009. Only one copy in OCLC: 949612474 (Bogaziçi University Library of Turkey).
In-8°, 2 voll, contengono 1. Le curieux impertinent; L'ingrat; L'irrésolu. 2. Le médisant; Le triple mariage; L'obstacle imprévu. Le opere hanno ciascuno un frontespizio proprio datato tra il 1712 e il 1718. Legatura in piena pelle con tassello, titolo e fregi in oro al dorso.
364p. Uncut and unopened. Foxed. 4to. [304 x 235 mm.] Contemporary binding of paper boards backed in morocco tooled in gold gilt. John Baskerville (1706-1775) was the greatest printer of his era. Born in Wolverley, Hereford - Worcester, England, he became a writing master in Birmingham. He also carried on a successful japanning (varnishing) business there. In about 1750 he began to make experiments in letter founding, and produced the wonderful series of types now named after him. His first book, the Virgil of 1757, was also the first to be printed upon wove paper (manufactured by a process that he invented). In 1758 he became printer to Cambridge University. All of his books show fine craftsmanship and a refined sense of design. In the last few years before his death, Baskerville published a few Latin classics in quarto and duodecimo. "All these bear the marks of unabated genius even in his declining days: and suffice, had he printed nothing else, to distinguish him as the first typographer of his time" - T. B. Reed, in 'Old English Letter Foundries' It is worth emphasising how remarkable it is to find an uncut and unopened Baskerville quarto. Gaskell 46; Brunet V:718. EXTREMELY RARE AND UNUSUAL. **PRICE JUST REDUCED! W113
in-8. pp(1-3), 4-104. leg. piena pelle, tit. in oro. piccolissimi fori di tarlo che non toccano il testo.
Prima edizione rara. In-4°; pp. (32) 328, testatine e capilettera nel testo incise su legno; da p. 249 al termine, musica per la Missa Pro defunctis, Feria quinta in coena domini, Feria sexta in Pasceve, Sabbato sancto, e nel testo numerose parti di musica.Il theatro ecclesiastico è dedicato alle rappresentazioni canore che avevano luogo in chiesa, per le quali si offre un trattato di canto e di coro, con spiegazioni relative alla tecnica canora vera e propria, e di come per le diverse festività ecclesiastiche e a seconda del luogo si dovevano allestire i cori. Legatura in piena pella con tassello, titolo e fregi in oro al dorso. Alcuni foro di tarlo al dorso.
Djs are chipped and browned with a few tears. Scholar's bookplate to inner cover of Volume I. Volume I book in NF condition. Vol. 2 book in VG+ condition (bottom corners bumped - back inner hinge has crack along pastedown but hinge is solid). Vol. 3 is in Fine condition. ; 3 Volume Set (complete) . Corrected reprint of 1950 edition. ; 3 Volume Set COMPLETE.
Very light tanning to pages. Spines slightly faded. Very light pencil marginalia on very few pages. Vol. 3: 1 bibliographic reference written in ink to ffep and back endpage. Attractive set. ; 3 Volume Set (complete) . ; 3 Volume Set COMPLETE.
364p. Slight foxing. 4to. [304 x 235 mm.] Contemporary straight grained plum morocco leather binding. Boards tooled in gold with a wide Greek key design, and in blind with an archway roll. Engraved bookplate showing a shield (Arms Barry of six Supporters); two unicorns; ermine Coronet of an Earl ; and the Motto A MA PUISSANCE. This is likely the plate of Charles Grey, 2nd Earl Grey (1764-1845) Whig Prime Minister of Great Britain (1830-1834). There is also a manuscript inscription: "With B. Drury's Best Wishes, Eton, March 20 , 1820." John Baskerville (1706-1775) was the greatest printer of his era. Born in Wolverley, Hereford - Worcester, England, he became a writing master in Birmingham. He also carried on a successful japanning (varnishing) business there. In about 1750 he began to make experiments in letter founding, and produced the wonderful series of types now named after him. His first book, the Virgil of 1757, was also the first to be printed upon wove paper (manufactured by a process that he invented). In 1758 he be came printer to Cambridge University. All of his books bear show fine craftsmanship and a refined sense of design. In the last few years before his death, Baskerville published a few Latin classics in quarto and duodecimo. "All these bear the marks of unabated genius even in his declining days: and suffice, had he printed nothing else, to distinguish him as the first typographer of his time" - T. B. Reed, in 'Old English Letter Foundries'. Gaskell 46; Brunet V:71 8. A really handsomely bound copy of a beautifully printed book. **PRICE JUST REDUCED! W113
Ex-university private library, no exterior markings. 1/2 vellum, boards. Spine chipped with a bit of loss to base, binding edgeworn at extremities with some flecking. Fading and browning to boards. Minor moisture stain to rear endpaper and rear inner cover. Former owner's name to titlepage (from 1772) Still Attractive. A beautiful and very large book. ; 252pp, wonderfully illustrated. Contains Adelphi, Phormio, Hecyra. ; Elephant Folio - over 15" - 23" tall; 252 pages
In-8°; pp. (8), 172, frontespizio illustrato con putti, stemma del dedicatario e emblema dell’accademia, inciso su rame e 5 tavole incise su rame a pian pagina da F. vallegio. Prima edizione, manca l’ultima carta con il colophon. Legatura in cartonato coloratoTimbro a inchiostro alla c. A2 al margine.
in-12 pp 24,354, 8. piena pergamena coeva. contiene un sonetto del Marino, un discorso del Galluzzi o Gallucci sul teatro, la descizione dei segni astrologici, la descrizione di diverse macchine.
Full Title: P. TERENTIA AFRI POET LEPIDISSIMI COMOEDIAE: Andria, Eunuchus, Heavtontimorvmenos, Adelphi, Hecyra, Phormio, ex emendatissimis ac fide dignissimis codicibus summa diligentia castigat, metris in suum ordinem recte restitutis, ac uarijs lectionibus in margine appositis ex collatione prostremarum editionum Aldini & Gryphiani exemplaris. Elenchum interpretum, qui in had comoedias docte simul & erudite scripserunt, proxima subinde pagina demonstrabit. Eorum qu in his interpretum commentarijs annotata sunt, index amplissimus. pp. [22], 154 [i.e. 308], 117 [i.e. 234, [8]. Lacks two leaves of front matter (*2 & *3). Various errors in pagination as recorded in other examples. Folio. 320 mm. Old full vellum binding. Double and triple column Latin text in Italic and Roman. Great many bold woodcut illustrations of the scenes appear throughout the volume, and add to its charm. The various early paper 'repairs' to the title probably cover up old ownerships. Written some time after these repairs is an ink manuscript notation: Della Libreria de S(an) Vincenzo (in Tuscany). CEdit Iniquos - which seems to identify the text and/or editing as unjust, evil, and/or wicked. not too unusual for pagan works. On the front flyleaf is the 18th or 19th century autograph ownership of A. Wallis (unidentified). Publius Terentius Afer (195/185-159 BC), better known in English as Terence, was a playwright of the Roman Republic, of North African descent. His comedies were performed for the first time around 170-160 BC. Terentius Lucanus, a Roman senator, brought Terence to Rome as a slave, educated him and later on, impressed by his abilities, freed him. Terence apparently died young, probably in Greece or on his way back to Rome. He only wrote six plays. All survived, and are printed here. In this famous 1545 edition of Terence, Scoto, provided three summaries for the action of each scene by different humanist scholars of note. The innovation was immediately popular. The basic layout problem in the case of Terence was that the text consists of short scenes with much back-and-forth badinage while the apparatus was typically very lengthy. Early printers of these texts arranged the commentary for each scene all around the base text, creating a window or windows for the words of Terence. The resulting window-and-frame layouts are visually very lively, with each spread slightly different from the last, depending on the length of the commentary with respect to the text. As the sixteenth century progressed, however, it became more usual to employ a simple two-column format that placed the base text of each scene first and the commentary afterwards, alternating but running continuously from column to column. The four columns on a spread owned variety and visual interest because the text of Terence was set in larger type and more generously leaded than the commentary, but the result was rarely as handsome as the older layouts. This two-column format took over because it was much easier to set, correct, revise, and reprint than a window-and-frame. Similarly, fewer and fewer options were exercised in ornamenting and illustrating the folio text as the century wore on. Virtually the only ambitious editions from this point of view are this 1545 Scoto and the 1553 Cesano. These books preserve something of the grace of earlier folios, with scene-by-scene illustrations that characterized some folio editions in the fourteen nineties. Illustrations of individual scenes disappeared entirely after the 1555. The wonderful woodcuts are valued mainly for what they tell us of the Italian stage in the 15th and 16th century. BM STC Italian p. 664. ADD1 Safe
in-8°; 30 volumi in mezza pergamena con angoli e doppio tassello al dorso, tagli in rosso, bella legatura solida. Il primo con ritratto.
In 8°; Serie di 6 opere, un legno al frontestpizio, molte note manoscritte nel testo. Legatura in piena pelle con tassello, titolo e fregi in oro al dorso. Tagli in rosso.
in-8°. pp. XXIV 64. Marca editoriale al fronte. Tre finissime tavole di Boizot incise all’acquaforte da Baquoy, Le Roy, Patas. Su carta azzurrina. L’autore dichiaratamente di ispira al ben noto poema omonimo di Gessner. Rilegatura originale in pelle, con impreziosimenti in oro ai piatti e al dorso, tagli in oro. Precede il testo una poesia autografa dell’autore.
In-8°; pp. 143, un fregio xilografico al frontespizio; legatura in piena pergamena con titolo manoscritto al dorso. Commedia del letterato e storico senese Girolamo Gigli, 1660-1722, noto anche per la traduzione del Tartuffe di Moliere, che intitolò Don Pilone; con questa commedia Gigli si inserisce quindi nel filone della tradizione del teatro francese, adattandolo però sia nel linguaggio parodistico che nella definizione e caricatura dei personaggi più da commedia dell’arte, al pubblico italiano. siena accademie commedia theatre teatro drama comedy settecento donne women
in-8°. pp.88. legatura in piena pergamena coeva. Alcune pagine brunite, le prime caarte con gore di umifdità..
12 vols., sm. 8vo., Mixed Editions; original dark blue limp calf, upper boards with author's signature in gilt, backs gilt extra, gilt tops, navy blue silk markers, a very good, clean set housed in publisher's drop-front card box, top flap with author's signature in gilt top, interior fully lined in navy blue cloth, a near fine set. The twelve volumes are those of the Pocket Edition. The set comprises: I: The Devil's Disciple, Caesar and Cleopatra, Captain Brassbound's Conversion (second impression, 1927); Vol. II: Back to Methuselah ((first edition thus, 1926); Vol. III: Saint Joan, The Shewing-Up of Blanco Posnet (second impression, 1927); Vol. IV: Translations and Tomfooleries (first edition thus, 1926); Vol. V: Androcles and the Lion, Overruled, Pygmalion (first edition thus, 1926); Vol. VI: Misalliance, The Dark Lady of the Sonnets, Fanny's First Play (first edition thus, 1926); Vol. VII: Arms and the Man, Candida, The Man of Destiny, You Never Can Tell (first edition thus, 1926); Vol. VIII: John Bull's Other Island, How He Lied to Her Husband, Major Barbara (first edition thus, 1926); Vol. IX: Man and Superman (first edition thus, 1926); Vol. X: Widowers' Houses, The Philanderer, Mrs. Warren's Profession (first edition, 1926); Vol. XI: Heartbreak House, Great Catherine, Playlets of the War (second impression, 1927); Vol. XII: The Doctor's Dilemma, Getting Married (second impression, 1927). Very scarce in this condition.
Two Volumes. With 10 hand-coloured aquatint plates "Drawn by H. Repton. Engraved by Stadler.", title vignettes signed "H. Repton inv. & delin. H. R.Cook sculpsit." Offsetting. Plates age stained especially on verso. Decorated title pages. 185mm. Disbound. Early inked ownership of E.W. Spangler in both volumes and scratched out ownership on title pages. Edward Webster Spangler. (1846-1907) was from York, PA. During the Civil War he was a member of Company K, 130th Regiment PA Volunteers, Second Brigade, Third Division, Second Corps, Army of the Potomac. After the War he was a lawyer in York for more than 40 years, president of the Spangler Manufacturing Company, and for a time publisher of the York Daily (Record). .Humphry Repton (1752-1818) was a great English landscape designer, and illustrator. These 'Odd Whims' were dedicated to his neighbour William Windham of Felbrigg Hall. Repton served as Windham's confidential secretary during Windham's very brief stint as Secretary to the Lord Lieutenant of Ireland. **PRICE JUST REDUCED! ENGSETS BX 5
Seven Volumes in Fourteen. Illustrated with mounted proofs on India paper with original tissue guards. Title pages printed in red and black. Text printed on Japanese Vellum. Uncut and unopened. LIMITED EDITION. Number 29 of only 100 copies. Printed and inked ownership of Dr. Wm. M. Findley. Tall 8vo. Original full cloth bindings. Original paper spine labels. Head and tail of some volumes lightly chipped. Hardbound. Very good set of an extremely scarce edition. **PRICE JUST REDUCED! HAKESPEARE BOX 3
Le 3 incisioni cm 23x32 raffigurano le scene della rappresentazione che si tenne al teatro della Pergola di Firenze, incise da Arnold van Westerhout da Jacopo Chiavistelli
First and only edition of this study of ethics in drama. One of thirty large-paper copies signed by the author and printed on fine, thick wove paper. The normal copies of this book were printed on wood-pulp paper, and are now crumbling into dust. Art-nouveau inspired vignettes throughout. Large 8vo. Original wraps with an attractive modernist design on the front cover. Minor wear to wraps and light sunning to spine. Internally uncut, bright, and fine. Palau 332384.
Three volumes. 12mo. [157 x 89 mm.] Engraved frontis, illustrations, and vignettes by Eisen, engraved by Lempereur and Aliamet. Tasteful contemporary full red straight grained morocco leather binding in the Syston Park style. Marbled endpapers. All edges gold gilt. A clean and crisp copy of an eminent Barbou classic, probably from Sir John Hayford Thorold's Syston Park library. Plautus was a famed Roman writer of comedies, His plays, adapted from those of Greek New Comedy, are popular and vigorous representations of middle-class and lower-class life. Written with a mastery of idiomatic spoken Latin and governed by a genius for situation and coarse humor, Plautus' comedies achieved a great reputation. Characteristic of his plays are the stock comic figures: the knavish, resourceful slave, the young lover and his mistre ss, the courtesan, the parasite, and the braggart soldier. His plots and characters have had great influence upon later literature, with adaptations and imitations by many writers, e.g., Molière, Corneille, Jonson, and Shakespeare. Twenty-one plays survive, more or less complete: Amphitruo (Amphitryon), Asinaria, Aulularia, Bacchides, Captivi, Casina, Cistellaria, Curculio, Epidicus, Menaechmi, Mercator, Miles gloriosus, Mostellaria, Persa, Poenulus, Pseudolus, Rudens, Stichus, Trinummus, Truculentus, and Vidularia (in fragments) - Columbia Encyclopedia. For some interesting tales and comments on Plautus see: Hadas, 'Ancilla'. A brief history of the Barbou Classics is given by Schweiger (II 1269). In 1742 Lenglet de Fresnoy persuaded Coustelier to start a series which was meant to be a French rival to the Elzeviers - even surpassing them in tersms of schoalrship and typography. Though this effort soon exhausted itself, it was revived by Jean Joseph Barbou in 1753. Seven of these attractive little books appeared in 1753-1755, and though there were more issued in the next decade, there was not enough market interest to support a sustained publishing program. They still stand as a monument to French scholarship and typography. An elegant and correct edition. Brunet IV:709; Harwood III:233; Cohen 373; Cohen-de Ricci 808. Very scarce. **PRICE JUST REDUCED! W154
Both books have been rebound in Green boards with gilt lettering to spine. ; 1887-1891 Reimer edition. ; 2 Volumes Bound in 1 COMPLETE
