libro or livre or book or buch (Oltre 1.700 risultati)

Condizione: Buono (Good). Book.

First editions of all three volumes of Jane Austenâ s masterpiece, her bestselling book during her lifetime which remains a landmark of English literature. 12mo, three volumes bound in full mottled calf with gilt titles and elaborate gilt tooling to the spine, double gilt ruling and botanical gilt scrolling to the front and rear panels, gilt turn-ins, all edges speckled black. Housed in a custom half morocco clamshell box with gilt titles and elaborate gilt tooling to the spine. A very attractive example of this significant work in English literature. Originally titled First Impressions, Pride and Prejudice was written between October 1796 and August 1797 when Jane Austen was not yet twenty-one, the same age, in fact, as her fictional heroine Elizabeth Bennet. After an early rejection by the publisher Cadell who had not even read it, Austen's novel was finally bought by Egerton in 1812 for £110. It was published in late January 1813 in a small edition of approximately 1500 copies and sold for 18 shillings in boards. â The size of the edition is not knownâ ¦ perhaps 1500 copiesâ ¦ The first edition was sold off very rapidly and a second one was printed in the same yearâ (Keynes, 8). A novel of manners, the story follows the character development of young Elizabeth Bennet, an independent young lady who learns about the repercussions of hasty judgments and comes to appreciate the difference between superficial goodness and actual goodness. â Elizabethâ s own energy and defiance of character respond to Rousseauâ s and the popular notion of the pliant, submissive female. None of her novels delighted Jane Austen more than Pride and Prejudiceâ ¦ She had given a rare example of fiction as a highly intelligent formâ ¦ This remains her most popular and widely translated novelâ (Honan, 313-20). Pride and Prejudice has consistently appeared near the top of lists of "most-loved books" among literary scholars and the reading public. It has become one of the most popular novels in English literature, with over 20 million copies sold, and has inspired many derivatives in modern literature. For more than a century, dramatic adaptations, reprints, unofficial sequels, films, and televised versions of Pride and Prejudice have portrayed the memorable characters and themes of the novel, reaching mass audiences. The most popular film adaptations include the 1995 BBC television adaptation starring Colin Firth as Mr. Darcy and Jennifer Ehle as Elizabeth Bennet and the 2005 film directed by Joe Wright and starring Keira Knightley as Elizabeth Bennet and Matthew Macfadyen as Mr. Darcy. In very good condition. Title page of Vol. I supplied in facsimile and pages [1]-4 re-inserted and tipped in.

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Encuadernación de tapa dura. Condizione: Muy bien. 1ª Edición. 4º menor (19,8 x 14 cm.) 4 h. sin num. inc. port., xxxix h. fol. inc. port. con gran escudo grabado en madera, capitulares en madera. Impresión en caracteres góticos. Chagreen habana, lomo con nervios, título y data en oro, cantos, contracantos, cabeza y cortes dorados [M. Lortic]. Primera edición del primer libro impreso en castellano sobre la caza y el primero en tratar sus aspectos legales y morales, considerado el texto más importante de la literatura cinegética de la época. Dedicado a Íñigo López de Mendoza, duque del Infantado, Núñez de Avendaño hace una defensa moral y jurídica de la actividad de la caza practicada por los señores en sus dominios, a través de doce cuestiones o dudas. En ella ofrece consejos y técnicas para los cazadores, sobre la elección de los perros, la identificación de las aves de caza. "(It) was the first Castilian printed book on hunting and the first to deal with its legal and moral aspects. The book was first published in 1543. Avendano wrote the Aviso to show the Castilian aristocracy its responsibilities regarding hunting. He argued that hunting was made legal by natural law and ius gentium and could be controlled by the monarch only when hunting threatened the public interest" (John Marshall Carter, Medieval Sport, in Journal of Sport History, vol. 9, no. 1, Spring 1982, p. 71). Es obra de extremada rareza, de la que tan solo se tiene constancia de tres ejemplares en subasta pública en los últimos 50 años, Christie s 1987, 2008 y 2014. Magnífico ejemplar, con copiosa marginalia de época. Palau, 197084; Salvá, 2651; Schwerdt II, p.46; Souhart, 354; Uhagon, 296; Martín Abad, La Imprenta en Alcalá, 339; Catalina García, Tipografía Complutense, 195.

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Folio, ff.[395] [of 408?]; lacking first leaf and 12 further leaves at front and end, final leaf partially preserved (lower half restored), ff.[181] and [182] supplied in old (nineteenth-century?) manuscript; printed in red and black, with four full-page woodcuts illustrating the Evangelists, small marginal woodcut of the Instruments of the Passion, woodcut head- and tailpieces, woodcut initials; nineteenth-century and later restorations and reinforcements mostly to the margins (with manuscript integrations where affecting text), particularly to the first twenty and the last ten leaves, short closed tears at head of two woodcuts, two woodcuts shaved at outer margin, oilstain and browning to early and last quires, dampstaining and scattered stains throughout, a few closed tears and chips to the edges; bound in eighteenth- or nineteenth-century velvet and leather over wooden boards, lined with canvas, large repoussé metal centre- and corner-pieces to front board showing the Evangelists in the corners and the Crucifixion at centre, leather clasps to fore-edge (largely perished); joints partially split but holding, velvet worn (exposing the canvas in places), a few chips and abrasions to the surface.An outstanding and very rare specimen of Slavic early printing: a Gospel for liturgical use in Old Church Slavonic published in Vilna (Vilnius) in the house of Mamonichey, the publishers who re-ignited printing activities in the Duchy of Lithuania after the closure, fifty years earlier, of the Vilnius printing house run by the Belarussian Francysk Skaryna. Alive with multiple ethno-cultural and ethno-confessional strands, Vilna was home to an active Orthodox merchant class, organized in wealthy fraternities and committed to the resumption of printing. Merchants Kuzma and Luke Mamonichey invited the collaboration of Pyotr Timofeev Mstislavets, a colleague of the Russian proto-typographer Ivan Fyodorov and began work in 1574. In the course of a three-year partnership three books were produced. The Altar Gospel was the first to see the light, in 1575. Its new simple, elegant, and solemn font became a paragon in Orthodox sacred text printing. After 1576 the partnership ended with a court case and the disappearance of Mstislavets. When the Mamonichey resumed printing in 1583, new types were commissioned, and a determined expansion policy was pursued 'with religious and secular content, intended for the needs of both the Eastern Orthodox and the Uniates, not only on the territory of the Polish-Lithuanian Commonwealth, but also for Muscovite Russia, as well as for the Southern Slavs in the Balkans. The publications of the Mamonichi brothers were addressed to: "the regions of Muscovite Russia, Wallachian, Serbian and Bulgarian"' (Polimirova, p.269). Their activity was decisive in making Vilna the main typographic centre of Cyrillic printing in Eastern Europe, yet their productions are now rare on the market.Our copy of this 1600 edition bears the hallmarks of a Gospel book designed for liturgical use: the elegant, well-spaced types, the iconic rich intensity of the four woodcut representations of the Evangelists, and the absence of markings in the margins are both functional and symbolic. The sacredness of the object is enhanced by its almost sculptural outer appearance to be manifest to the whole congregation during the elevation and procession with an encasing of dark velvet, and exuberant metal relief corner-pieces showing the Evangelists at work around a Crucifixion centrepiece.Guseva, Izdanija kirillovskogo rifta vtoroj poloviny XVI veka, 168; Nemirovskij, Slavjanskie izdanija kirillovskogo (cerkovnoslavjanskogo) rifta 1491 2000, 264. See Polimirova, 'Vilnius Editions from the End of the 16th and the Beginning of the 17th Century in Bulgaria', in Knygotyra, 80 (2023), p.269. Apparently European, British, and American institutions rely exclusively on microfiches from the copy held at the Lomonosov Moscow State University Library. Language: Eastern European.

2 volumes. In 1. Folio. (505 x 390 mm). Frontispiece, title with engraved vignette, dedication with engraved head- and tail-pieces to King George (George I who died in 1727), advertisement leaf, list of plates, list of subscriber's (pp. x) and 52 engraved plates numbered 1 - 73, of which five are large fold-outs and take four numbers each, and 7 double-page taking 2 numbers each; Vol.II - title with engraved vignette, list of plates (pp. vi) and 45 engraved plates numbered 1 - 63, of which 18 are double-page and take 2 numbers each; two small tape repairs to frontispiece recto, some leaves slightly toned as often. Contemporary French red morocco, boards with triple gilt rules, banded spine with gilt decoration and tooling with green morocco label with gilt title in eight compartments, turn-ins with roll tool border, board edges ruled in gilt, marbled endpapers, a.e.g. [PROVENANCE: Discrete bookplate of Baron Alexis de Redé to front pastedown]. An outstanding example of the first edition of the published works of Inigo Jones in contemporary French red morocco. Essentially based on the Jones-Webb collection of architectural drawings purchased by Lord Burlington in the early 1720s, this book provides extensive coverage of Jones's designs for the Banqueting House in Whitehall and various smaller projects. The work gives much space to the designs by Jones and Webb for Whitehall Palace as a whole (without acknowledging that they are in fact mainly by Webb) and adds to the drawings from this source four plates based on Palladio's drawings for S. Giorgio in Venice (which Burlington had also acquired). There are, in addition, a large number of plates illustrating buildings designed by Lord Burlington himself, notably Chiswick House and the Westminster School dormitory. The whole forms a splendid record of Jones's work and of Burlington's reinterpretation of Palladio and Jones for his own time. ''The Designs of Inigo Jones' was a significant feature in Burlington's campaign to establish a new standard of taste in England: the first . in a series of visual exemplars . It was published again as late as 1770, with an additional perspective view of the Whitehall Palace.' (Millard). The allegorical frontispiece by William Kent, frequently lacking, is present here. The subscribers' leaf lists more than 350 (several ordering multiple copies), and includes 18 Dukes and 22 Earls, one of whom was Lord Burlington, the commissioner of the work who ordered 12 sets. Other notable subscribers were Christopher Wren, Nicholas Hawksmoor, Colen Campbell, Isaac Ware, Paul Fourdrinier (listed as Fourdriener), Sir Robert Walpole and Hans Sloane; there is no clear French candidate as a subscriber for the present copy. The bookplate to the front pastedown is that of Baron Alexis de Redé (1922 - 2004). Born Oskar Dieter Alex von Rosenberg in Zurich (he inherited his title on the death of his brother in 1942), de Redé was an Austro-Hungarian banker, aesthete, collector and socialite known for exquisite taste, opulent hospitality and legendary balls. Dubbed 'La Pompadour de nos jours' by Nancy Mitford, de Redé lived for over 50 years in an apartment at the Hôtel Lambert on the Isle de Saint-Louis in Paris, and after they bought it in the late 1970s he shared the house with Marie-Hélène - with whom he threw balls at the Château de Ferrières - and Guy de Rothschild. de Redé's copy of 'The Designs of Inigo Jones' passed to the Rothschilds on his death in 2004. [Millard 34; Fowler 162].

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Book.

Condizione: Very good. First US edition of Austen's third published novel, centering on the comedic neighborhood drama caused by the amateur production of a play, with the specter of the slave trade hovering beneath the plot. Morally upright Fanny gets pulled into a neighbor's scheming via an adaptation of Elizabeth Inchbald's well-known play, LOVERS' VOWS. Among Austen's works, MANSFIELD PARK especially demonstrates how careful contrasts of characters and plot twists can bring out subtle ironies. Edward Said famously argued that this novel demonstrates a casual acceptance of slavery through dwelling on the leisure of English people made possible through wealth from the slave trade - however, many critics have disputed this interpretation, clarifying not only that Austen read famous abolitionist authors but also that the heroine clearly disapproves of the plantation-owning character. As is evident, MANSFIELD PARK has proven fertile ground for exploring wider political and moral issues that are less obvious in her other novels. First published in 1814 in three volumes, this is the first edition to appear in the United States, published in two volumes by Carey & Lea in an edition of only 750 copies. Two 12mo volumes, 7.75'' x 4.5'' each. Original boards, expertly rebacked with original spine laid down. Publisher's catalogue bound at front of volume I. 4, 200; 204 pages. In custom clamshell box. Partially effaced ink owner inscription on front pastedowns, one dated 1833. Wear and rubbing to original boards, original spine labels toned and partially perished; moderate foxing to text.

First Edition with these Illustrations. 465 x 325 mm. (18 1/4 x 12 3/4"). 14 p.l. (including two frontispieces), 253, (i.e., 252), [1] leaves, followed by the final plate (complete). SPLENDID CONTEMPORARY MARBLED CALF, VERY PROBABLY A PRESENTATION BINDING BY THE PUBLISHER, expertly restored incorporating original sides and backstrip, covers quite ornately gilt with wide frame composed of two intricate rolls and gilt rules, central panel with elaborate cornerpieces of curling leaves, volutes, and floral tools, very large oval centerpiece composed of two concentric Baroque-style frames heavy with plumes, scallop shells, flowers, volutes, and many small tools encircling a similarly framed center oval topped with a coronet; raised bands, spine attractively gilt in compartments with large central fleuron and lavishly scrolling cornerpieces, two red morocco labels, densely gilt turn-ins, Albrizzi's special daubed endpapers, all edges gilt. WITH 84 ELEGANT ENGRAVINGS: two frontispieces (one of Apollo and the muses, with flying angels holding a tondo portrait of the author, the other of Empress Maria Theresa of Austria, to whom the edition is dedicated), charming vignette on title page of Tasso riding on a half shell into a Venetian dock (and being welcomed by a female personification of Venice petting one of a pair of lions), 20 vignette initials, 20 large vignette headpieces, 20 vignette tailpieces (19 large and one smaller), and FEATURING 20 EXQUISITE LARGE PLATES, each within a decorative frame, as well as a final large plate showing Tasso and the publisher Albrizzi out in nature, all BY GIAMBATISTA PIAZZETTA. A Large Paper Copy. Front pastedown with (early 19th century?) armorial bookplate of "Marcuard." Cohen-de Ricci 978; Brunet V, 666; Graesse VI (pt. 2), 33. â Covers with some faint scratches, gilt on centerpieces a little rubbed, with minor loss (perhaps in an effort to efface), other minor signs of use to the leather, but the exceptionally handsome binding remarkably impressive (even with restorations and minor defects), the gilt dazzling and the volume generally giving off a feeling of grandeur. Occasional minor foxing, smudges, or small stains, but still QUITE A FINE COPY, crisp and bright internally, with vast margins and excellent impressions of the plates. This is a remarkably fresh and clean contemporary copy of one of the finest illustrated books of the 18th century. It is a wonderful oversized illustrated Venetian printing of a great Italian classic, which the normally reserved Graesse describes as a "magnificent edition in regards to the printing and the paper: the 20 plates and the headpieces by Piazzetta are beyond all praise." The engravings are highly detailed, romantic Rococo illustrations of a major artist, Giambatista Piazzetta (1682-1754). Palluchini (as reported by Benezit) comments on the "subtle unity and vibrant luminosity" of Piazzetta's chiaroscuro, and he remarks that "Piazzetta's striking use of light, together with the bold compositions and handling seen in some of his works, make him an important precursor of Tiepolo." As for the author, Britannica says it as well as anyone: in his "Jerusalem Delivered," Tasso (1544-95) "aimed at ennobling the Italian epic style by preserving strict unity of plot and heightening poetic diction. He chose Virgil for his model, took the first crusade for [his] subject, [and] infused the fervor of religion into his conception of the hero Godfrey." But his inclination toward romance clashed with his original epical intentions, and the work became a classic early example of the poetry of sentiment. "This sentiment, refined, noble, natural, steeped in melancholy, exquisitely graceful, pathetically touching, breathes throughout the episodes of the 'Gerusalemme,' finds metrical expression in the languishing cadence of its mellifluous verse, and sustains the ideal life of those seductive heroines whose names were familiar as household words to all Europe in the 17th and 18th centuries." Unfortunately, the work, while still in manuscript, was condemned by contemporary critics on both religious and literary grounds, and the sensitive and conscientious author suffered a nervous breakdown, was later visited by a violent insanity, and was confined for seven years. When he was released, he discovered that his masterpiece had been published and that he was now famous. He was to have received the laurel crown with which Petrarch alone had been honored, but he died just before the presentation. As recorded by Doyle in the catalogue for their November, 2010, sale, other copies are known to exist in this same splendid binding, a fact that strongly suggests they came from the publisher and were intended for dedicatees. (That Doyle copy--measuring three-quarters of an inch shorter than ours and with cracked joints and missing an inch of spine leather--sold for $11,250.).

Handsome 1498 Printing of an Important Commentary on Feudal Law Alvarotus, Jacobus [1385-1453]. [Corbinellus, Matthaeus de, Additions]. [Mascarellus, Montorius, Additions]. [Baptista de Sancto Blasio, Johannes]. [Super Feudis (and) Consilia (and, by Baptista de Sancto Blasio,) Rubrica de Differentiis Inter Decisiones Feudales et Decisiones Civilis. Consilium ad Materiam l.i (sec) Praeterea Ducatus]. [Pavia: Johannes Andreas de Boscho [and Michael de Garaldis], 23 August 1498]. 146, [28] ff. Collation: a8, b-zz6, [et]6, AB6, CD8. Folio (15-1/4:" x 10-1/2"; 39 x 27 cm). Limp vellum, most likely sixteenth century, large calligraphic title to spine, pastedowns renewed, edges rouged. Light rubbing, a few minor spots and stains, small chip to fore-edge of front cover, some darkening to spine. 72-line gothic type in double columns. Moderate toning to interior, faint stains to a few leaves, faint owner inscription dated 1749 to a1, marks and annotations in early hands in a few places, a few annotations affected by trimming. A notably handsome copy. $16,000. * Born into a noble Paduan family, Jacobus Alvarotus (Jacopo Alvarotti) was a professor of law at the University of Padua, then a renowned center of legal study, and one of the most renowned legal minds of his time. His commentary on feudal law, which is both an exposition and a comparative study of its relationship to the Ius Commune (civil and canon law), is his most important work. Written in 1438, it circulated in manuscript and was first printed in Venice in 1477. An immediate success upon publication, it was a standard work for decades and was still cited centuries later by such important writers as Grotius (in his 1609 treatise Mare Liberum). The edition offered here is enriched with additions by Corbinellus and Mascarellus and nine consilia edited by the renowned law professor Baptista de Sancto Blasio, who is also the author of the final two sections of the book: Tractatus Differentiis, a treatise on feudal law structured in 161 small "points," and a related consilium. All editions of this work are scarce or rare. The ISTC locates 28 copies of the present copy, none in the United Kingdom or United States. Incunabula Short-Title Catalogue (ISTC) ia00547500.

Condizione: Buono (Good). Book.

First edition. First edition. Handcolored folding map. viii,410pp. 12mo. Scarce Early Texas Promotional Tract, Dedicated to Stephen F. Austin. This is Mrs. Holley's second book on Texas, intended as a practical and informative guide for emigrant's to the area. Despite the title, which is similar to the author's Baltimore 1833 book, this is a completely different work. Jenkins in Basic Texas Books calls it "a much more important book." Dedicated to Austin, included herein is a general history of Texas to May 5, 1836, a printing of the Texas and Mexican constitutions, Stephen Austin's farewell address of March 7, and specific information regarding settlements, towns, business and banking matters, transportation and communication facilities, etc. While her earlier book served to promote the enthusiastic interest of prospective emigrants to Texas, Mrs. Holley in this work provides the hard facts of what they would find there. As Stephen F. Austin's cousin, she was in a position to know. "In addition to the San Jacinto reports, it includes the first book printing of the Texas Declaration of Independence, of the Republic of Texas Constitution, of Travis' famous letter from the Alamo, of Austin's Louisville Address of 1836, and other key documents of the revolution. It includes the full text of the Mexican Constitution of 1824 and translations of the colonization laws, as well as chapters on money and banking, the mails, trade, natural history, society and manners, religion and Indians. It includes the best physical description of Texas up to that time, and a clear and concise analysis of the colonization and land grant system and of Austin's colonization activities" (Basic Texas Books). The Hooker "Map of the State of Coahuila and Texas" was published several times in the 1830s, with revisions to reflect the changing face of Texas. Based on the mappings by Stephen F. Austin and David Burr, the map appeared as a separate ca. 1833 (see Streeter 1136), in Holley's 1833 book (Streeter 1135), and in A Visit to Texas (Streeter 1155) before appearing here. Each version shows additions and changes to reflect the events as the Revolution unfolded. This issue particularly noteworthy, with the land grants entirely hand colored and with Thorn's grant stamped "now Filisola", among other changes. The map shows not only the geography of the Republic, but the location of Indian tribes and villages and herds of of wild horses, cattle, and buffalo. Taliaferro, Cartographic Sources in the Rosenberg Library 241: "Hooker's map is one of the earliest maps of Texas to show all of Texas to the Arkansas River, including the Panhandle." This copy with early provenance to Henry Moses Spalding (1854-1916) founder and President of the the First National Bank of Denton, TX. Streeter Texas 1207; Raines, p.116; Howes H593, "aa"; Sabin 32528; Graff, Fifty Texas Rarities 15; Basic Texas Books 94; Reese, Best of the West 60 (note); Vandale, Texianameter 88 Publisher's cloth, remnants of paper spine label, worn. Repairs to separations of the folding map. Provenance: H. M. Spalding, Denton TX (ink ownership stamp on title); James P. Waggener (booklabel); Ted Lusher (booklabel). Housed in a clamshell box Handcolored folding map. viii,410pp. 12mo.

Alken, Henry. First Edition, with rare Number for June 1828 and the leaf of Errata in Volume II. Illustrated with 152 plates, many of them hand colored, by Henry Alken, Samuel Alken, Robert Cruikshank, Thomas and Edwin Landseer, etc., and 214 woodcuts in the text and including wood-engraved additional titles. With half-titles. 13 vols. 8vo (8-1/2 x 6 inches; 215 x 150mm). One of the great appeals of this journal is the breadth of subjects covered. The primary emphasis is on hunting, shooting, and the turf, but its reach extends to such less fashionable pursuits as swimming and gymnastics; the angler will find much of interest here. A superb, prime set of this important sporting journal, complete in 13 volumes, WITH THE RARE JUNE 1828 NUMBER, (the last issued, of which only a small number were published), the January to June title page for 1828, half titles where called for, and the errata page in Vol. 2. PLUS The Turf Herald and Turf Guides for 1824-1827. A fresh, clean set, beautifully bound. A CORNERSTONE OF ANY SPORTING LIBRARY. Schwerdt I, pp. 32-5; Tooley 64; Podeschi A12; Cohn 32; Slater p. 9 Uniformly bound in full tan polished calf by Riviere, spines gilt with red and green morocco labels, all edges gilt. Very occasional foxing to plates. A fine set Illustrated with 152 plates, many of them hand colored, by Henry Alken, Samuel Alken, Robert Cruikshank, Thomas and Edwin Landseer, etc., and 214 woodcuts in the text and including wood-engraved additional titles. With half-titles. 13 vols. 8vo (8-1/2 x 6 inches; 215 x 150mm) First Edition, with rare Number for June 1828 and the leaf of Errata in Volume II.

First Edition. "(JAMES II) SANDFORD, Francis. The History of the Coronation of the Most High, Most Mighty, and Most Excellent Monarch, James II And of His Royal Consort Queen Mary The Whole Work Illustrated with Sculptures. (London): Thomas Newcomb, 1687. Tall folio (11-1/2 by 17 inches), period-style full paneled calf gilt, raised bands, burgundy morocco spine label, all edges gilt. $13,500.Rare first edition of this History of the Coronation of James II "His Robes of Purple Velvet, Furred with Ermine, and the Crown of State on His Head" a scarce fête book richly illustrated with 30 copper-engraved folio plates (29 double-page), including the rarely found Fireworks plate. From the library of Baronet Sir John Hynde Cotton, "politician and Jacobite sympathizer" (ODNB), with his armorial bookplate affixed to the verso of the title page.King James II's coronation on April 23, 1686 established a tradition "long followed by his successors" (Macaulay, History, 440). At age 12 James barely escaped with his life when forced to flee England, and waited 40 years to inherit the crown from his brother Charles II. Distinguishing himself as an officer abroad, then in Britain upon Charles' restoration to the throne, James converted to Catholicism and faced new exile amidst fierce anti-Catholic agitation. Nevertheless when Charles II died in February 1685, James' accession was "unexpectedly peaceful considering the attempts made to exclude him because he was an avowed Catholic" (Fraser, Lives, 244-5). At his coronation many stood awestruck at its lavish pageantry in which "Westminster Abbey and the Hall were splendidly decorated The service in the church was followed by a stately banquet in the hall [and] the banquet by brilliant fireworks" (Macaulay, 440). This exceptional folio volume was produced by Herald Francis Sandford but not published until two years after the coronation, and only one year before James was forced from the throne in the "Glorious Revolution." Given James' rapid departure, Sanford's History barely met its expenses and he died in debtor's prison. The 30 superb copper-engraved plates (29 double-page) by eminent English artists of the time include depictions of the royal regalia, a wonderful series of images of the procession to the Abbey with many individualized portraits, representations of the coronation ceremony and a view of the banquet, with a full listing of the 1445 dishes served. With engraved historiated initials, in-text illustrations, head- and tailpieces; vignette title page in red and black. This copy with the Imprimatur leaf and Fireworks plate, both often lacking. Wing S652 (with Newcomb's name printed in red, as here the issue Wing lists first). Engraved armorial bookplate of Sir John Hynde Cotton, Third Baronet (baptized 1686, the year before this book's publication; died 1752), to verso of title page; also with the engraved armorial bookplate of a descendant to front pastedown. "By 1733 he was being described as one of 'the leaders of the Tories', even as 'the very head of the violent (some will say the Jacobite) party.' When Beaufort revived the Loyal Brotherhood, Cotton was one of its most active members. But even at this point there is little to link him directly with the Pretender. It was only in the early 1740s that he took part in Jacobite intrigues and corresponded with the court at St. Germain Cotton did not heed the Jacobites' call during the rising of 1745; in fact, he kept his place in government and ostentatiously proclaimed his loyalty to the Hanoverian dynasty when the rebellion was over. But he was still dismissed from office a year later and returned to opposition" (ODNB).Occasional spotting, chiefly marginal or to plate versos; leaf Gg with marginal repair, not affecting text. A couple of engravings with short splits along the folds, impressions generally quite clear. Binding handsome and fine. A lovely copy with an intriguing Jacobite provenance.".

Condizione: Buono (Good). Book.

Condizione: Buono (Good). Three volumes, octavo (205 x 120 mm.); I: [2] leaves, 352 pages; II: [2] leaves, 368 pages; III: [2] leaves, 416 pagine, plus the errata leaf. Some foxing and browning due to paper quality, a couple of spots but a very fine copy in contemporary half calf, spine in compartments with gilt and blind decorations.First edition of the most famous novel in Italian literature. Manzoni started work on the novel in 1821 after reading  a 1627 Italian edict that specified penalties for any priest who refused to perform a marriage when requested to do so. On 17 September 1823 the first version of the novel was ultimated under the title of Fermo e Lucia ( published only in 1915 by Giuseppe Lesca with the title of Gli sposi promessi). Manzoni then heavily revised it, finishing by the end of August 1825; it was published on 15 June 1827, after two years of corrections and proof-checking. Manzoni's chosen title, Gli sposi promessi, was changed for the sake of euphony shortly before its final commitment to printing. Of this first edition, 1,000 copies were printed by the publisher Vincenzo Ferrario as confirmed by a letter Manzoni sent to Giacomo Beccaria in December 1839: «Della prima edizione posso credere che siano state fatte quaranta edizioni, delle quali una da me, di mille esemplari; le altre posso credere che abbian sommato a 59.000 in numero; il che vuol dire ch'io non ho avuto che la sessantesima parte dei compratori.»  The book immediately become a hit in Italy and Europe with more than 80 reprints and caught not only the attention of publishers and printers but also the praises of many illustrious writers of the time such as Mary Shelley, Walter Scott, George Eliot and Charles Dickens. ?In the 1830s and 1840s no one who was interested in Italian culture could have overlooked the extraordinary significance of this novel, let alone a novelist like Dickens [In a letter to Samuel Rogers written in Genoa and dated 1September 1844, Dickens describes his encounter with the novel in a rather enthusiastic fashion: A little, patient, revolutionary officer, exiled in England during many years; comes to and fro three times a week, to read and speak Italian with me. A poor little lame butterfly of a man, fluttering alittle bit at one time, and hopping a little bit at another, and getting through life at some disadvantage, or other, always. If I question him closely on some idiom which he is not in a condition to explain, he usually shakes his head dolefully, and begins to cry. Butthis is not what I meant to say just now, when I began to allude to him. He has initiated me in the Promessi Sposi?  And what a clever book it is! I have not proceeded far into the story, but I am quite charmed with it. The interviews between the Bridegroom and the Priest, on the Morning of the disappointment ? and between the Bridegroom and the Bride,and her Mother ? and the description of poor Renzo's walk to the house of the learned doctor; with the fowls ? and the scene between them ? and the whole idea of the character and story of Padre Christoforo [sic] are touched, I think by a most delicate and charming hand. I have just left the good father in Don Rodrigo's boisterous Eating Hall; and am in no little anxiety. I assure you. ](Letters 4: 189) Besides  I promessi sposi soon became very popular all over Europe: the first edition ? to be revised in 1840 ? was published in 1827, and the next year two French translations appeared, to be followed by others in the 1830s and 1840s. Charles Swan's The Betrothed, the first English translation, was published in 1828 and was followed in 1834 by Featherstonhaugh's version and by another anonymous one in 1844. Soon the novel became a favourite with intellectuals and writers such as Auguste Comte, Chateaubriand, and Victor Hugo. E. A. Poe enthusiastically reviewed it for the Southern Literary Messenger (1835), while the North American Review devoted a long essay to the novel in 1840. Walter Scott himself, who also express. Book.

Two parts in one vol., folio, ff.[II] XXXVI (wanting the first leaf, blank except for 'Macrobius'); LXXXVI; roman letter, woodcut initial, half-page woodcut world map (e6r), and 7 woodcut diagrams to first part, capital spaces with guide letters with initials supplied in red and blue in a contemporary hand, some passages in Greek; some browning, occasional light marks and light marginal damp-staining; overall very good in eighteenth-century vellum over boards, yapp fore-edges, manuscript title and imprint on spine, remains of nine earlier fore-edge tabs to text block; marginal annotations in a neat early sixteenth-century hand to c.164pp. and a 15-pp. manuscript index, in double columns, in the same hand, bound in at end.Sixth and last incunable edition of Macrobius, illustrated with a world map, with extensive early marginalia. The volume comprises Macrobius' two principal works, his important Neoplatonist commentary on Cicero's Somnium Scipionis (the otherwise lost sixth book of the De Republica), and his Saturnalia, a significant contribution to Virgilian scholarship.Influenced by Porphyry and Plotinus, Macrobius' commentary on the Somnium 'examines the enigma of the soul and its destiny in the light of Neoplatonism and of the astronomy and mathematics of the day (incidentally covering many topics including music and geography), and tends to reinforce the doctrine of the "Dream", of the immortality and divine quality of the soul, from a pagan standpoint. Macrobius' commentary was attentively studied in the West during the Middle Ages, thereby transmitting much ancient science and Neoplatonic thought' (Oxford Companion to Classical Literature). Framed as conversations at a banquet during the Saturnalia festival, the second work contains much discussion of Virgil, including his power of expression, and his debt to Homer, Ennius and others; 'he is gradually built up to be the unique scholar and poet in a way which foreshadows the medieval view of him as a wonder-working magician' (ibid.). For the woodcut world map, see Shirley's The mapping of the world, no. 13. The present rendering differs slightly from the earlier versions found in the Brescia editions of 1483 and 1485 and the Venice edition of 1492.An early reader of this copy has picked out numerous passages of interest with neat marginal notes, and has added a thorough alphabetical subject index at the end, so neatly executed that it must have been copied from another manuscript or printed source.BMC V 499; Goff M13; Bod-Inc M-005; ISTC im00013000; Essling 1232; Sander 4075. Language: Latin.

8vo. (224 x 150 mm). pp. ix, (i), 207. Half-title with printer's credit verso, title, leaf with dedication to Thomas Chatterton, two leaves with Keats' 'Preface', leaf with five-line errata and 'Book I' to 'Book IV' of Keats' verse with section title to each 'Book'; several leaves retain uncut deckle edges at foot and outer edges. Full green crushed morocco by Rivière & Son with their signature gilt, boards with triple gilt ruled borders, banded spine with gilt decoration, floral tools and gilt title in 6 compartments, turn-ins with elaborate decorative borders, board edges ruled in gilt, marbled pastedowns and endpapers, later matching green morocco-edged cloth board slipcase. The first edition of Keats' 'Endymion'. 'Endymion' was John Keats' second book, dedicated to Thomas Chatterton, who like Keats and Shelley and Byron, epitomised the Romantic ideal with their precocious talents and tragic early deaths. 'Endymion' was received badly by contemporary reviewers and it has been argued that it contributed to Keats' death from tuberculosis. Indeed, the reviews for 'Endymion' caused Byron to write: 'Tis strange the mind, that very fiery particle / Should let itself be snuffed out by an article'. (Don Juan, Canto 2, Stanze 60). Shelley defended Keats also, attributing Keats' early death directly to the reception of 'Endymion', in his introduction to 'Adonais', published in the year of Keats' death, 1821. This tall copy with many sheets retaining deckle edges at foot is from the second issue with the printer's credit reading 'T. Miller, Printer, Noble street, Cheapside' and with the five-line errata. 'A thing of beauty is a joy for ever: / Its loveliness increase . '. (The opening lines of Endymion). [MacGillivray A2].

1f. (recto title, verso blank), 1f. (recto typeset privilege and dedication to King George I with woodcut armorial device, verso blank), [i] (blank),121 pp. Engraved throughoout. Occasional mild soiling to margins; very small crease to lower right corner of several leaves. Bound with: Handel. Arie Aggiunte di Radamisto. London: Published by the Author. Printed and Sold by Richard Meares Musical-Instrument-Maker and Musick Printer in St. Pauls Church yd. & by Christopher Smith at ye Hand & Musick-Book in Coventry-Street near ye Hay-Market. N.B. Not to be sold any where else in England, [1721]. 1f. (recto title, verso blank), 38 pp. Engraved throughout. Title slightly browned and soiled; small hole to corner of first leaf; occasional small stains and soiling with music unaffected. Two volumes in one. Tall folio. Full modern dark brown leather with raised bands on spine with titling gilt. In very good condition overall. First Edition, first issue of both parts. Rare. With the Privilege not present in some copies. Händel-Handbuch I, 172. Smith p. 53, nos. 1 and 2. BUC p. 429. Hoboken Vol. 5, 29 and 30. RISM H258 and H261. First performed in London at the King's Theatre on 27 April 1720, with text by Nicola F. Haym after the Italian drama L'Amor tirannico O Zenobia by D. Lalli; revised, with the addition of 13 new pieces, for a performance at the King's Theatre on 28 December 1720. "The printing of the score was heralded by a publicity campaign. A press announcement on 12 July 1720 stated that it "is now Engraving finely upon Copper Plates by Richard Meares, Musical Instrument-Maker and Musick-Printer. NB To make this Work the more acceptable, the Author has been prevailed with to correct the whole'. On 3 December 'the Printer presumes to assert that there hath not been in Europe a Piece of Musick so well printed, and upon so good Paper'. It appeared on 15 December, fortified by a Privilege of Copyright granted to Handel on 14 June. The name of the engraver, Thomas Cross, appears on the last page of the score, which is indeed a handsome volume. Smith's name confirms that Handel was concerned in the publication, but there is no proof that he corrected the plates or supplied the bass figuring ." ". On 14 March 1721 Meares advertised 'several Additional Songs' . These Arie Aggiunte di Radamisto, comprising the ten new arias and duet composed for the December 1720 revival, but not the quartet or accompanied recitative, were published a week later on 21 March, and the two collections subsequently sold together." Dean: Handel's Operas 1704-1726, pp. 365-66. " . on April 27, Radamisto, Handel's first opera for the Academy, was presented to a full house, the King and "his ladies," as well as the Prince of Wales, being in the audience. Mainwaring says that "several gentlemen were turned back, who had offered forty shillings for a seat in the gallery" (usually selling for two shillings and sixpence). The success was tremendous, and indeed Radamisto is one of Handel's great operas. It has a good libretto, and the work is well and tightly composed even though the proportions are large. Radamisto contains elaborate instrumental numbers, ritornels and preludes, in addition to a wealth of great arias." Lang: Handel, pp. 174-75. "Radamisto proved to be one of the greatest operas [Handel] ever produced in England. . The crowds flocked to Radamisto like a modern mob to a notorious prize-fight, and the opera had an unbroken run till the season ended on 25th June. . Radamisto was easily the most popular opera of its epoch. . The airs from Radamisto were being sung everywhere." Flower: Handel, pp. 128-29. One of the rarest and most desirable of all Handel's opera scores, bound with the volume of supplemental arias often lacking.

Hardcover. Condizione: Very Good. (1) FIRST EDITION. 4to. Pp. [8] 48 [4]. Roman letter, a little italic. Three strengthened double fold out copper plate maps of Middlesex, London and Westminster by Peter van den Keere (1571-c.1646), in strong impression, full-page arms of Elizabeth I to verso of dedication. Engraved t-p with classical architectural setting flanked by two men in three quarter profile and contemporary dress, weapons or tools suspended above. Detailed index at end, final leaf with verses and errata. (2) FIRST EDITION. 4to. Pp [8] 31 [1]. Roman letter, a little italic, mainly English text, some Latin. Title within geometric baroque frame with floral detail and a trefoil scene of a stag standing in a river. Foldout map of Hertfordshire by William Kip (active 1588-1635) in good impression, plate of arms of Elizabeth I. Historiated initials and ornaments to reader s note and beginning of text. Dedication to Edward Seamor, reader s note, and corrections preceding text. Final leaf strengthened, pages a little soiled. Armorial bookplate of Richard Croft and paper label of Eric Sexton (1902-1980) to front pastedown, of Nathan of Churt (1889-1963) and leather label of Eric Sexton to ffep. Good, well-margined copies, some age yellowing and marginal foxing, in later speckled calf, tan panel central to cover, gilt ruled with floreate corner pieces. Small repair to lower outer corner of upper cover, rebacked, gilt dentelles, a.e.g. A charming pair of works by renowned Elizabethan cartographer John Norden, surveying the history, political and geographical organisation, and general features of the counties of Middlesex, where Norden had his permanent home, and Hertfordshire. His other surveys, which included Essex, Northampton, Cornwall, Kent and Surrey, were published at various later dates [ ] Norden s intention was to compose a series of county histories, but lack of money intervened to prevent the completion of this design . These were the only two published in his lifetime. The first text lists the Saxon Alphabet before briefly laying out the (mostly Saxon) history of the county. The author lists and describes small scale geographical areas, such as hundreds, parks, roads, hills and market towns, as well local battles, ending with an alphabetical survey of settlements and houses of repute within the county, including coats of arms. He delves into the chronology of certain important sites, referring to a variety of sources such as Camden and Thomas Walsingham. The maps are early examples of Flemish engraver and globe-maker Pieter can den Keere s work, whose map of Ireland served as a model for later editions of Ortelius Theatrum. He also produced a series of 44 plates of the British Isles, based on the works of Saxton, Ortelius and Boazio, which began to appear from 1599. The map of Middlesex includes certain natural geographical features such as hills and forests, and the city of London is represented by a cluster of buildings, with London bridge visible crossing the river Thames. The city is shown is more detail in the second map complete with labels corresponding to letters on the map, which is surrounded by the arms of various guilds. The second work on Hertfordshire is dedicated to Edward Seymour, 1st Earl of Hertford. It opens with a historical description of the county, along with a list of fairs, market-towns, and more general small-scale divisions, before presenting the alphabetical list of towns and settlements. After each entry is a letter and a number, which refers to a square on the gridded map, enabling the reader to locate each place. It ends with an alphabetical table of Houses and Beryes , an old English suffix denoting a town, which are organised in the same fashion. It features William Kip s earliest published map, who later went on to have his work published in Camden s atlas, Britannia. His style closely follows that of renowned cartographer Christopher Saxton (c.1540-1610), retaining much of the same detail.

Condizione: Buono (Good). Book.

Folio (290 x 210 mm), ff.258 (all blanks present); gothic letter in double columns, spaces for initials with guide letters; some light browning, occasional staining, short wormtrack in outer blank margin of c.23 leaves, single wormholes mainly towards beginning and end affecting the odd single letter, neat repairs to tears in D6 and D7 affecting two letters on each verso, small burn on p2 obscuring a two-letter word on the recto, but generally in good condition; scattered marginalia in various different hands throughout; contemporary (probably Nuremberg) blind-stamped calf over wooden boards, top compartment of upper cover stamped 'Lambardica' in gilt in large gothic letters, fragment from an incunable used as the rear pastedown (see below), front pastedown and free endpaper apparently renewed at an early date; some rubbing and wear, loss to head of spine, tears and loosening to tailcap, old worming to boards, lacking clasps.Jacobus de Voragine's influential Legenda Aurea in a contemporary gilt-lettered binding with an incunable fragment used as the rear pastedown. This copy is also notable for its extensive sixteenth century manuscript additions relating to Saint Wolfgang of Regensburg and former ownership by Christoph Pühler (c.1500 1583), a mathematician, writer, and pupil of Peter Apian (1495 1552). Printed in Strasbourg but bound in Nuremberg, it found its way to a Hungarian mathematician who may have used it while in Siklos, Vienna, and/or Passau. The volume also appears to have been connected in some way with the monastery of St Florian in Austria.This edition of the Legenda Aurea includes 215 legends, which a sixteenth-century hand has here supplemented with additional hagiographic material relating to Saint Wolfgang of Regensburg (covered in Legend CCVIII) perhaps a saint of local and/or personal significance to the user. Some of the annotations, along with an ownership inscription, indicate an interest in, and indeed connections with, Pannonia, a historical region that now includes western Hungary and parts of eastern Austria: the aforementioned hagiographic material refers to Saint Wolfgang's Christian mission to Pannonia (sig.N8v, lines 28-29), while a marginal note on D3r flags 'pannonia' next to the portion of the text in which Saint Martin's birth place is identified as Sabaria in Pannonia (now Szombathely, Hungary). The Pannonian ownership inscription names the owner of the book as Christopher Collatinus, alias of Christoph Pühler (c.1500 1583), born in Siklos, Hungary. Pühler was the author of Ein kurtze vnd grundliche anlaytung zu dem rechten verstand Geometriæ [A short and systematic introduction to the right understanding of geometry] which was printed in Dillingen in 1563 and which recent study suggests is a 'pseudo-translation' of Hugh of Saint Victor's Practica geometriae (Morel, 'Bringing Euclid into the mines: classical sources and vernacular knowledge in the development of subterranean geometry', in Translating Early Modern Science (ed. Fransen et al., 2017), pp.154-81, p.162). In this work, Pühler claims to have been taught in Vienna by Peter Apian (1495 1552), the influential mathematician and astronomer perhaps best known for his visually impressive Astronomicum Caesareum. As Pühler is known to have spent time in Siklos, Vienna, and Passau, the present copy could theoretically have moved with him between any of these places.The rear pastedown comes from a copy of the 1478 edition of Juan de Torquemada's Quaestiones Evangeliorum de tempore et de sanctis printed by Friedrich Creussner of Nuremberg. The appearance of a Creussner fragment in a binding containing a Strasbourg imprint can be readily explained. The binding itself was almost certainly produced in Nuremberg, as there are striking similarities to stamps used by the 'Madonna, Nuremberg' workshop and likenesses to three other roughly contemporary Nuremberg workshops (see below). Given that Creussner himself worked in Nuremberg, it seems that our binder had access to waste material from a local printer.Binding:The decoration was almost certainly completed in Nuremberg, possibly by the 'Madonna, Nuremberg' workshop (active around 1473 1503). Four of the blind-tooled stamps used are nearly identical to ones used at the 'Madonna, Nuremberg' workshop (Einbanddatenbank workshop 500380w, stamps s014146, s028433, s031049, s014120); compare also the stamps used by three other roughly contemporary Nuremberg workshops (500205w, 501439s, 501448s). The British Library Database of Bookbindings provides another example of a book that was printed in Strasbourg and then bound in Nuremberg (IA1743A).Provenance:1. Handwritten additions of hagiographic material relating to Saint Wolfgang on sigs.1-1r, 1-1v, 2-6r, N8r, and N8v, written in a sixteenth-century cursive script, 40-51 lines to the page, unruled. N8r, N8v, and 1-1r seem to contain a version of the beginning of Othlo's life of St Wolfgang (Bibliotheca hagiographica Latina 8990); cf.Legenda Sancti Wolfgangi (Burgdorf, 1475) ff.1r-5v (ISTC iw00068000). There is also material from a separate hagiography relating to Saint Wolfgang on sigs.1-1v and 2-6r; cf.Acta sanctorvm Novembris II (ed. Carolo de Smedt et al, 1894), pp.549-50. The same hand also appears to be responsible for some of the marginalia.2. Christoph Pühler (c.1500 1583), with his ownership inscription on N7v: 'Iste liber est Christophori Collatinus Siclas opido pannoniorum inferiorum'.3. There are later indications of monastic provenance, or at least a monastic connection. A note on F5r records the death of a canon regular named Francis Schwab in 1671: 'Franciscus schwab can.Reg.ad s florianum professus duobus et medis Anno in monasterio sancti Nicolai hospes fuit Anno 1671 discessit 12 January deus benedicat' (the text after 'discessit' is in a darker ink, and possibly another hand). St Florian was an Augustinian foundation in Upper Austria famed for its library. In the outer margin of the same leaf, in.