237 résultats
51271Argentorati Strasbourg: apud J.G. Treuttel 1786. Third edition. 18mo. pp. ii 149 i. A little toned towards edges some light patches of foxing. Green straight-grain morocco raised bands and gilt title to spine gilt borders a.e.g. Patchy colour fading joints and corners worn some scratches still very good overall. Armorial bookplate of Thomas Sewell to front paste-down. "These are the most beautiful and accurate editions; the latter i.e. this of 1786 was twice published in the same year and has the text of the Roman edition of Spalleti but with corrections: it was a favourite edition" Dibdin. Dibdin 4th edn. I. 264. Argentorati [Strasbourg]: apud J.G. Treuttel, 1786. hardcover
1820TK0328London:: Printed for James Carpenter 1820. 1820. 2 volumes in 1. Tall 4to. xlvii 1 49-175 1; 3-148 pp. 2 frontispieces 26 engraved plates by Robt. Ker. Porter. The plates are full size for the volume whereas the text leaves are all mounted and expanded to achieve the same size as the plates. Original full gilt-stamped calf; rebacked with raised bands gilt-stamped spine compartments 1 of 2 clasps; corners showing lacks the one clasp. Very good. Illustrated by Sir Robert Ker Porter a friend of the author. Sir Robert Ker Porter KCH was a British artist writer and diplomat. Known today for his accounts of his travels in Russia Spain Portugal and Persia he was one of the earliest panorama painters in Britain was appointed historical painter to Tsar Alexander I of Russia and served as British consul in Venezuela. Printed for James Carpenter, 1820. hardcover
155460114Lutetiae i.e. Paris Guillaume Morel for Henri Estienne II 1554. 4to. Contemporary limp vellum with remains of ties to boards. Remains of contemporary paper labels to spine and traces of autor in ink in contemporary hand also to spine.A few smaller worm tracts to boards and a bit of spotting but overall very nice. A large spot to title-page presumably erased ink from the removal of an old owner's name. The spot is in the blank margin close to the printer's device but not touching it. Apert from that internally very nice with only light occasional damp staining or browning. Old ink note in Greek characters to front free end-paper and a small note referring also to "Lyra" on A1r. A very nice copy with large margins. Woodcut printer's device to title-page woodcut headpiece and opening initial. Magnificently printed in all three sizes of the famous "grecs du roi"-type. 8 110 pp. <br/><br/><em>Rare first edition of the groundbreaking Anacreon-volume by H. Estienne being the milestone publication that not only constitutes the first book by the brilliant Henri Estienne II but also the extremely influential editio princeps of the Anacreontea. Furthermore this groundbreaking publication contains Sappho’s now immortal Aphrodite-hymn being the very first of any of Sappho’s poems to appear in print here for the second time in print as well as the magnificent “Midnight poem†fragment 168B establishing for the first time since antiquity the gathering together of poems by Sappho: “A momentous point in her transmission. Yet it is ironic that the first collection of a fragmentary Greek poet known and admired beyond any other today should have appeared as a mere appendix to a book dedicated to another author entirely without even her name on the title-page.†Cambridge Companion to Sappho p. 251. The impact that Sappho - “mother of all women poets†- would eventually come to have upon modern poetry and society was not yet known to Estienne and his contemporaries for whom she was more or less unknown. Estienne however recognized the value of the poems of hers that he had encountered and with the publication of them in the present volume began a tradition that would eventually cause her to become arguably the most celebrated Greek poet of all time. “Estienne’s edition of Anacreon’s poetry was enthusiastically received by the Pléiade poets which considerably boosted Sappho’s influence on western European literatureâ€. van Dijk: I Have Heard about You p. 37. This beautifully printed slim volume constitutes an outright Renaissance sensation. “The “Anacreaonta†became the most influential “ancient†Greek poetic text during the Renaissance and Estienne’s “editio princeps†virtually caused a poetic revolution not only in France but also in Italy and Germany – where this influence culminated in the 18th century with the Anacreontic Poets “Die Anakreontikerâ€.†Schreiber 139. Henri Estienne II – “in many ways the greatest member of the Estienne dynasty and most certainly its most prolific scholar†Schreiber - had travelled extensively through Italy the Low Countries and England in search of Greek manuscripts. It is from one of these that he had printed possibly by Guillaume Morel his first book this editio princeps of the Anacreaontea which is thus also the first book to bear his imprint. Henri Estienne along with his contemporaries believed the work to contain the ancient Greek lyrics of the poet Anakreon 6th century BC whose poems are not extant except for some short fragments. In fact the poems contained in this volume constitute the Anacreontea which is a collection of Greek lyric poems written in the style and imitation of Anacreon at various dates. “Henri’s publication of these “ancient†Greek lyrics caused an immediate literary sensation in France and was celebrated and immortalized by Ronsard in an oft-quoted passage of his “Odesâ€.†Schreiber. Henri Estienne started out his publishing career with this magnificent publication that catapulted him into fame and he went on to become one of the most influential literary and scholarly figures of the second half of the 16th century in Europe; he dominated Renaissance scholarship with his magnificent publications and has arguably not been superseded by any publisher since. The young Henri Estienne had discovered the present poems in Louvain in a manuscript owned by an Englishman named John Clements who was a friend of Thomas More. Their publication “was a sensation of the first class and the starting-point for a new branch of modern literature†R. Pfeiffer: History of Classical Scholarship†p. 109. “This first edition was greeted with tremendous enthusiasm by the members of the Pléiade who like everyone else believed the poems genuine and each of whom immediately translated or imitated some of the “Anacreonteaâ€.†Schreiber. The poems may not have been “genuine†Anacreon-poems but the influence that the publication of them came to exercise was no less profound than had they been; the mark they have left of modern literature is difficult to compare to anything else. The printing of the original Greek text in all three sizes of the magnificent “grecs du roiâ€-type is followed by the first Latin translation of the poems done by Estienne himself and by Estienne’s own commentary. The text of this editio princeps has been followed by almost every subsequent editor and today the name Anacreon cannot be mentioned without thinking of Estienne. After the Anacreon-poems themselves are two leaves containing first poems by Alkaios and second the two famous poems by Sappho: The Ode to Aphrodite fragment 1 and the Midnight Poem fragment 168B also known as “The Moon Sets†constituting a momentous point in the Sappho-transmission namely the first time since antiquity that anyone had gathered together poems by her. Soon after more Sappho-collections would appear causing her to eventually become the most admired Greek poet. “In a recent article R. Aulotte… shows how Sappho’s influence on the poets dates from the time when Henri Estienne published the odes then known along with his famous edition of Anacreon. His first edition published in 1554 contained the “Ode to Aphrodite†and the fragment “The Moon has Setâ€.†Mary Morrison: Henri Estienne and Sappho in: Bibliothèque d’Humanisme et Renaissance T.24 N.2 1962 p. 388. "From time immemorial women poets have had only one norm one touchstone: Sappho the legendary woman poet who lived on the island of Lesbos in the Aegean sea in the 6th century BC. … The Sappho figure is the peg on which views of female poetic genious and female sexuality have been hung century after century.†Suzanne van Dijk: I Have Heard about You… p. 35 . Dibdin I: 258 “A beautiful and rare editionâ€; Schreiber: 139; Renouard: 115. </em> hardcover
1692265151692. A Paris chez Charles Clouzier 1692. Un vol. au format pt in-12 153 x 98 mm de 1 frontispice gravÂŽ n.fol. 9 ff. n.fol. 398 pp. 1 f. de catalogue ÂŽditeur n.fol. in fine et 1 f. bl. Reliure de l'ÂŽpoque de plein veau marbrÂŽ havane plats jansÂŽnistes dos ˆ nerfs richement ornÂŽ de filets gras ˆ froid caissons d'encadrement dorÂŽs larges fleurons dorÂŽs semis de pointillÂŽs et d'ÂŽtoiles dorÂŽs piÂce de titre de maroquin acajou titre dorÂŽ palette dorÂŽe en tÂte et queue dentelle dorÂŽe sur les coupes tranches rouges. L'exemplaire - revÂtu d'une reliure dÂŽcorative du temps - s'ouvre sur un dÂŽlicat frontispice allÂŽgorique gravÂŽ signÂŽ ; rn regard d'une vignette gravÂŽe en page de titre. Edition en grec avec traduction franÂaise en regard par Hilaire-Bernard Derequeleyne Baron de Longepierre. AnacrÂŽon se consacre principalement ˆ la poÂŽsie amoureuse et ˆ la poÂŽsie de banquet. Son style se caractÂŽrise par sa lÂŽgÂretÂŽ doublÂŽ de son charme. Quant ˆ SapphoSolon aprÂs avoir entendu la lecture d'un de ses poÂmes dÂŽclara : Ç mon dÂŽsir est de l'apprendre et de mourir ensuite È. Brunet I Manuel du libraire et de l'amateur de livres 254. Abrasions en marge des plats. Petit manque en tÂte et queue du dos. Feuillets lÂŽgÂrement oxydÂŽs. Du reste belle condition. Peu courant. b42961 unknown
6827660Harvard University Press pp. 560 Index. Hardback. New. Harvard University Press hardcover
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159707Roma In Aedibus Athenaei 1958. XLIII219 p. Cloth. 22 cm Introduction text translation 'studio sui frammenti papiracei'In NP hardcover
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173631357AB1736. In Venezia Apresso Francesco Piacentini 1736. 4°. 3 Bl. 208 S. Mit 1 Portät. Pergamentband der Zeit. Die Übersetzer waren: Barnes Joshua; Corsini Bartolomeo; Marchetti Alessandro; Regnier de Marais François Séraphin und Salvini Anton Maria. Das Papier etwas stockfleckig. Der Einbandbzug fleckig und leicht verzogen. unknown
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