Tibullus and propertius (13 risultati)

Hardcover. Condizione: Very Good. p.lxv, 384 pages, a very good plus hardback, publisher's original blue cloth binding, with gold gilt lettering and the Oxford logo to the spine, absolute minimum evidence that the book is from a university library.

Paperback. Condizione: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condizione: Fine. 1st Edition. [4], 61, [1], 46, 93 Pages, [2 Pp Catalog At End] : Illustrations [Headpieces And Tailpieces] ; 3 1/2" X 2". Original Red Cloth, Paper Title Label Printed In Black. Frontispiece Lacking, But No Trace Of Its Removal. Original Red Cloth Has Trace Of Wear At Top Front Spine Corner, Otherwise Near New. Spine Label Complete, Undamaged, Unworn, Slight Aging. Hinges Tight. Ownership Signature Of A Rhodes Scholar Dated 1962. Engraved Headpieces And Tailpieces (illustratore).…

Hardcover. Condizione: Good+. No Dust Jacket. Binding very good. Extensive underlining and marginalia on some pages, mostly in the Introduction and Notes.; Third edition, revised. lxv, [1], 384, [12 (advertisements)] pages. Blue cloth boards with gilt lettering and rule on spine. Page dimensions: 166 x 113mm. Series: Clarendon Press Series. …

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Fair. Preface and edition of F. Petrovsky's translations.

Hardcover. Condizione: Very Good. (i)-xvii,126 pp., (2 p.) publisher's list; 16mo; bound by F. Bedford for Pickering & Co. in sprinkled brown calf extra, gilt top; five raised bands forming six panels, five decorated in gilt; red leather spine label lettered in gilt; inside dentelles; marbled pastedowns & endpapers. Light foxing to prelims and title page; page iii trimmed a half inch bottom edge. Short, clipped catalogue entry pasted down on first blank, with a note in pencil below: "Bot of Pickering & Chatto, Sept. 05." An attractive copy, beautifully printed. Text in Latin.…

Octavo, contemporary calf, worn, spine cracked, spine ends chipped, joints breaking but cords holding. Gaskell, Foulis, 268.

Hardcover. Condizione: Fine. one volume: 1): ff. 167, [1]; 2): 78 leaves, A-G8, H10, a8, b4. Two different sets of Italic letter; large printer's device on title and white-on-black foliated initial in 1); tiny nicks to lower margin of ff. 145 and 159 in 1), occasional light ink smears in lower margin and small wormtrail at tail of gutter in final gathering of 2). A fine copy in contemporary English calf, blind-tooled with triple-fillet panel; later crested arms of the Mander family handsomely blind-stamped on rear cover; a few small stains and wormholes, repair to first compartment of spine; original pastedowns from two folded leaves of thirteen-century, probably English, manuscript of Aristotle's Topica with red and blue rubrication and slightly later extensive annotations, diagrams, manicula and charming little drawing of man with hat; on front endpaper recto, contemporary English monastic ex dono, partially legible 'Anthonius Dunworth[?]', and bookplate of the historian Gerald P. Mander (fl. 1927-1950); acquisition note of 'Henry Bracegirdle' dated 'Oxford, 6 December 1660', his extensive annotations throughout and final table of subjects on rear fly and endpaper, his autograph repeatedly in places; at head of title, Bracegirdle's price note, partially erased, and seventeenth-century inscription of 'Ed. Palmer' of Queen's College in Oxford; partially covered contemporary inscription on verso of rear endpaper. A fine volume with two clean and remarkable editions of Latin classic poetry. The first is an early reprint of the 1502 ground-breaking Aldine edition in octavo of Catullus, Tibullus and Propertius, who were, together with Ovid, the main lyric poets of the first century BC. In their verses, they focused on personal matters and day-to-day images, dwelling on the passionate feeling for their lovers. This is the first edition published by Simon de Colines (c.1480 -1546), a skilled printer who was trained by Henry Estienne, led the Estienne workshop until Robert entered the business in 1526 and then became an independent and distinguished publisher in Paris. He was renowned for the beauty of his Roman, Greek and Italic fonts, often modelled on Aldus's types. In this book, he employed the famous Saint Augustin flourished italics. The second part of the volume comprises a bright copy of the genuine 1501 Aldine edition of two masters of Latin satire, Juvenal (c.55-127 AD) and Persius (34-62 AD). This publication (not to be confused with an almost identical imprint issued some twelve years later by the Aldine) was the fourth ever printed classic in the renowned octavo series with Griffo's italic font, soon after Virgil, Petrarch and Horace. The book has an interesting early English provenance connected to the seventeenth-century academia in Oxford. Henry Bracegirdle bought it in Oxford on 6 December 1660 and then read it over and over, drafting marginalia throughout and compiling a detailed index of topics; this suggests he used the book for his university studies and perhaps as source of inspiration for his own writing. He must be the BA who graduated at Merton College in 1667, the son of Richard Bracegirdle from Wolverhampton and the owner of two manuscript miscellanies of English poetry (Cambridge, King's College, Hayward Collection, H. 11. 13-14). Below Bracegirdle's price note, there is another seventeenth-century inscription ('Ed. Palmer e Coll. Reg. Oxon.') written by probably the subsequent owner of the book, that is Edward Palmer, son of Sir William of Warden in Bedfordshire, BA at Queen's College in 1668 and poet. In 1667, he published An elegy on the death of Mr. James Bristow, late fellow of All-souls (A. Wood and P. Bliss, Fasti Oxonienses, II, London 1820, p. 301). The sale of his library was advertised in 1681 (cf. ESTC, R221392). 1): Not in Adams. BM STC Fr., 96; Brunet, I, 1678 ('assez belle'); Graesse, II, 86; Renouard, 132; Schreiber, 52.2): BM STC It., 364; Adams, J 770; Brunet, III, 629; Graesse, III, 518; Renouard, 29:6.…

Full Vellum. Condizione: Very Good. Late 19th century paper vellum binding with leather label with gilt lettering. Small 8vo. 143 pages. The label is worn and there is general scuffing from handing and age. Light wear. Endpapers date from this binding. Title page is soiled with previous owner's name and date at the top. An old ink writting at the bottom of the title page. Slight spotting throughout. Overall in VERY GOOD condition. Rare. Photos available upon request. CATULLUS, TIBULLUS, and PROPERTIUS: These three first century B.C. poets, like Ovid, were very popular in the Renaissance, and have always been grouped together since the 1472 first edition of Wendelin of Speyer. The manuscript tradition of all three is poor, and Catullus had only recently been rediscovered (in 1375) in a single corrupt manuscript which has since perished. The loss of this manuscript makes the early printed editions all the more valuable. Aldus's edition was edited by Girolamo Avanzi, a young scholar who had made a name for himself in Catullus studies. The edition was far superior to its predecessors, and this together with its unusually large press run of three thousand copies ensured its influence on the text of Catullus for many years. Size: 8vo - over 7¾" - 9¾" tall. Hardcover.…

8vo. iv+xviii+64pp. [ and ] xxvi+126+[2]pp, Contemporary calf rebacked retaining original label, offsetting to preliminaries, a very good copy. . Gaskell 268.

pp. (iv) blanks, (iv) half-title and title, xvii, (i) blank, 63, (i) blank, xxv, (i) blank, 126, (ii) Advertisement, (iv) Blanks. Contemporary calf neatly rebacked with the old spine relaid, scattered foxing, a very good copy. *GASKELL #268.

Two books in one binding. Westein, Amsterdam 1702. Small 4to. Two engraved titleleaves. (28)+424+(100); (20)+476+(68) pages. Bound in a contemporary full vellum binding with hand written author names to the spine. Front cover vellum slightly loosened at the pastedown. Boards a bit bowed. A few contemporary notes to the flyleaf, first leaf of the Tibullus work and at the back of the book. Name to the verso of the flyleaf. * Nice Amsterdam edition of the two Roman poets of the late republic.…

First Baskerville Edition. 310 x 260 mm. (11 7/8 x 9 3/4"). 1 p.l., 200, 221-372 pp. (but complete). SUPERB CONTEMPORARY RED MOROCCO, LAVISHLY GILT IN THE STYLE OF DEROME, covers with wide dentelle frame composed of botanical elements and many small tools, raised bands, spines gilt in compartments with central floral sprig surrounded by acorns, flowers, stars, and dots, volute cornerpieces, green morocco labels, gilt turn-ins, marbled endpapers, all edges gilt. Front pastedowns with engraved bookplate of P. Dupont and with morocco heraldic book label. Gaskell 44. âA breath of rubbing to extremities, title page a little browned, final page a bit foxed, other trivial imperfections, but AN EXCEPTIONALLY FINE COPY, internally clean, smooth, and bright, and in a sparkling binding. This is the impressive quarto edition of a trio of great Roman love poets, in a premier binding befitting the elegant printing. In a sheet dated 1760, which Baskerville issued appended to a specimen of his folio Bible, the printer discusses his proposed "Baskerville Classics": "Many gentlemen," he says, "have wished to see a sett of the Classicks . . . in the Manner, Letter, and Paper, of the 'Virgil,' already published," and he vows to print the same, with the poetical classics first. The present items are from what turned out to be seven Baskerville quarto printings of the classics, mostly done late in the printer's career but, according to Reed, bearing "the marks of unabated genius." These volumes, says Reed, would "suffice had [Baskerville] printed nothing else, to distinguish him as the first typographer of his time." In the present works, the stately typography, the luxurious paper (textured, but feeling rather like vellum), and the spacious design combine to give the reader a particularly gratifying feeling of strength and serenity. The extraordinarily smooth surface of our leaves provides a tactile experience not available from any other 18th century printer, Bodoni included. The beautiful binding here is unsigned, but is clearly the product of a first-rate workshop; while it is not uncommon to see a volume from the Baskerville quartos in a decorative contemporary binding, the present one would have a place in the front row of any assemblage.…