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Displayed below are some selected recent viaLibri matches for books published in 1502

        TERZE RIME (Lo 'Nferno E'L Purgatorio E'L Paradiso Di Dante Alaghieri) [bound with Petrarca:] SONETTI E CANZONI In Vita Di Madonna Lavra

      Venice: in Aedib. Aldi. Accuratissime men. [and] d’Aldo Romano, 1502 [and] 1514. Two books bound as one volume. The first Aldine printing of The Divine Comedy and the first Dante in Aldine “pocket book” (8vo) format, bound with the fine Aldine printing of Petrarca. ONE OF THE EARLIEST POCKET BOOKS EVER PRINTED AND THE BEGINNING OF ALDUS' GROUNDBREAKING INTRODUCTION OF THIS NEW STYLE IN PRINTING AND PUBLISHING. ONE OF THE GREAT BOOKS IN THE HISTORY OF PRINTING. With the famous Aldine anchor device on the final leaf of Petrarca. 8vo 146 mm x 95 mm, in later three-quarter brown calf over marbled boards, the spine lettered in gilt. (244ff) a1-z8 (l2 blank present) A1-H4; (207ff) a2-z8, A1-C8 (A8 blank present). A well preserved copy with some interesting period marginal notations and bracketing in an antique hand, occasional mellowing or typical evidence of age. The Petrarca is complete but for the non-textual a1 introductory leaf. One leaf contains a stanza of text censored but readable. The Dante volume is complete. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus and which allowed for books to become available to the general public. The Aldine printing of Dante is a book of the greatest importance. Bound with the Dante is a very early issue of Petrarca's Canzoni and Sonetti. Petrarca, like Dante was one of the four greatest writers in all Italian literature, Along with Tasso and Ariosto, the four form the cornerstones of Italian literature and language. “Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes.” PMM.

      [Bookseller: Buddenbrooks, Inc.]
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        in hoc codri volumine haec continentur orationes, seu sermones ut ipse appellabat epistolae silvae satyrae eglogae epigrammata

      Bononiae: Joan Ant. Platonidem Benedictorum, Die Vero VII Martii 1502. [Postincunabolo-Bologna] (cm.30,8) solido cartonato recente con unghie, titolo al dorso. -cc.166 (di 168). Manca l'ultima carta a8 bianca e la carta A8 all'inizio. l'opera completa è costituita da -cc.106 (A-T) + cc.54 (A-I) + cc.8 (a) tutte non numerate, caratteri romano corsivo con vari passi in greco. Taluni sostengono l'esistenza di altri 4 fogli (Graesse- Brunet), altri la smentiscono come Cat. Colombina e Serra-Zanetti che la descrive minuziosamente a pag. 354 e a pag. 86 la dice "Edizione veramente magnifica per la forma nitida, aperta e armoniosa dei caratteri romani stile "platoniano" e per l'euritmia della struttura". Edizione originale assai celebre e ricercata anche per la sua straordinaria bellezza tipografica. L'autore, grande umanista bolognese fu poeta e grecista, la vita di Codro nelle ultime sette carte, presenti nel nostro esemplare è scritta da bartolomeo Bianchini. L'opera tocca vari argomenti, medicina, metamorfosi umane, matematica, astonomia, chirurgia, veterinaria ecc.Nonchè passi osceni ai sermoni 4, 5, 12 Come si legge in un'antica notazione manoscritta nella carta bianca prima del fornis. Tracce di polvere al verso dell'ultima carta e lievi difetti all'estremo margine bianco delle prime due carte. per altro esemplare veramente magnifico a grandi margini, assai nitido e fresco. Con note coeve manoscritte ai margini per lo più nella prima metà dell'opera, in chiara e precisa grafia. *Serra-Zanetti "Stampa in Bologna" 1959 p.86 e p.354 n°512; * Biblioth. Colombina II 137-8; *Choix 11807; * Fantuzzi II 144; *Frati II 7307; * Adams U 64; * BM. STC. 705; * Graesse II 209; * Brunet II 121 e VIII 822; * ISAAC 13662; secondo iccu, solo 8 ncopie nelle biblioteche italiane.[f55] . molto buono. Rilegato. prima edizione. 1502.

      [Bookseller: Libri antichi e rari Francesco e Claudia]
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      [Venice: Aldus Manutius, April 1502].. a-r8,s4; [140] leaves. Small octavo (155 x 90 mm). Recent full black morocco, raised bands, ruled and lettered in gilt. Earlier binder's endsheet preserved with a 19th century tutor's prize inscription, a bit tanned at edges, with occasional smudges, light soiling and scattered foxing, small erasure at lower edge of a1r, just a good copy. First Aldine edition, printed in Italic type, with a prefatory note by Marco Antonio Mauroceno. Best know as Lucanus' PHARSALIA, this is his epic poem about the struggle between Pompey and Caesar after the latter's crossing of the Rubicon. Aldus based this edition on the Venice edition of 1493, and a brief life of Lucanus concludes the text. RENOUARD 33:3. GOLDSMID 40. STC OF ITALIAN BOOKS, p.395. BRUNET III:1198. ADAMS L1557. ISAAC 12775.

      [Bookseller: William Reese Company - Literature ABAA-]
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      Il Bulino. New. Hardcover. <p>It is unanimously regarded as the most beautiful among Renaissance geographical maps and it bears witness to the discovery of America. It was manufactured and illuminated in Portugal in 1502, right after Columbus&#146; and Vespucci&#146;s voyages. It is drawn on six sheets of vellum joined together to make up a single 105 × 220 cm sheet. It was probably commissioned by ambassador Alberto Cantino to supply the Duke of Ferrara with documents showing the new dimensions of the world and the importance of the latest geographical discoveries. </p><p>The planisphere shows the coasts of the Caribbean and Brazil (it is the most ancient representation of the New World in Italy) , separated by the &#145;raya&#146;, the line that divided Portuguese colonies from the Spanish ones. Even though it is one of the first maps that represent the world without applying the Ptolemaic tradition, Cantino&#146;s Map is still influenced by it, with reference to some stereotypes to which even after Columbus&#146; discoveries is still entrusted, such as the Tower of Babel, the realm of Prester John or Eden. In spite of the definition charta del navicare, that is to say a map used for sailing, it is for sure a planisphere realized for court geography, to be studied and contemplated. </p><p>Facsimile editionThis new edition of the Map, promoted by the Italian Ministry of Culture and presented by Laura Federzioni and Marco Cattini, is a joint-publication Il Bulino-Biblioteca Estense Universitaria. The facsimile has been printed in 5 fragments subsequently joined and lined together, presented in a special case (110 × 16 × 16 cm) together with the commentary volume by E. Milano and A. Battini and the certificate of authenticity. </p> .

      [Bookseller: New Boston Fine and Rare Books]
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        The history and antiquities of the abbey church of St. Peter, Westminster: Including notices and biographical memoirs of the abbots and deans of that foundation

      J.P. Neale for Longman Hurst Rees Orme & Brown London: J.P. Neale for Longman, Hurst, Rees, Orme, & Brown, 1818&#150;23. Binding as above, minor shelf wear to lower edges and corners with corners bumped, vol. I with front board expertly reattached and with small dent to outer edge of front cover. Joints delicate, due to size and weight of volumes, but holding. A few pages and plates with faint foxing, otherwise extraordinarily clean.. Folio (37.9 cm, 14.9"). 2 vols. I: [18], 227, [19], 72, [10] pp.; 13 plts. II: [2], 304, [40] pp.; 49 plts. First edition, illustrated with a total of 62 engraved plates. Allibone describes Brayley "a laborious and accurate topographer"; he compiled and edited a wide range of works with titles featuring assorted Beauties, Picturesques, Histories, Antiquities, etc. The present work provides a history of Westminster Abbey and some of its associated luminaries, along with extensive descriptions of its architecture, sculptures, and paintings. The illustrator who portrayed many of the above, John Preston Neale, was an architectural draftsman and landscape painter "best remembered for his views of the nation's country houses, churches, and public buildings," according to the Oxford DNB.Binding: By Francis Bedford, signed, in dark brown morocco done between 1851 and 1880, covers framed and panelled in ornate gilt rolls with gilt-stamped corner fleurons and midpoint decoration. Spines gilt extra with gilt-stamped leather title and volume labels. Board edges gilt-tooled with triple fillets, turn-ins with gilt-tooled rolls and corner fleurons. All edges gilt. Stamped "F. Bedford" on lower front turn-in.Provenance: Each front pastedown with armorial bookplate of William Arthur, sixth Duke of Portland.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        RELAZIONE DI GIO: RONDINELLI SOPRA LO STATO ANTICO E MODERNO DELLA CITTÀ DI AREZZO al Sereniss. Granduca Francesco I. L?Anno MDLXXXIII. Illustrata con Note, e corredata con l?aggiunta di due Racconti del 1502, e del 1530, spettanti alla medesima Città. In Arezzo, 1755, Per Michele Bellotti Stampatore Vescov.

      Ril. recente, tit. in oro al dorso, cm 22x14,5, pp 248. Piccolo timbro di biblioteca al front. (vol. regolarm. dismesso), modestiss. tracce d?uso, peraltro ottimo esempl. con barbe.

      [Bookseller: Editoriale Umbra]
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        Tragaediae septem cum commentariis

      Venice: Aldus Manutius, Aug, 1502. Aldine octavo (153 × 94 mm). Eighteenth-century English red morocco, spine gilt in compartments between raised bands, green morocco label, sides ruled in gilt with a double fillet, gilt devices at corners, turns-in gilt with a floral roll, comb-marbled endpapers, gilt edges. In a custom morocco-backed folding case. Types 1:80 italic, 4:79 Greek, cut by Francesco Griffo. General title, Latin dedication to Janus Lascaris, epigrams of Simonides, Erucius and Dioscorides the Alexandrian from the Anthology, 6 divisional titles, woodcut dolphin and anchor device (Fletcher no. 2) on verso of last leaf. Inscriptions on the first binder&#39;s blank: "H. Girdlestone from Francis Turner Inner Temple 1808" and "H. Girdlestone to John Farnham Messenger 1 January 1864". Binding rubbed, joints cracked at ends; title slightly stained and with 2 small wormholes not affecting text, small wormhole through last 14 leaves, a very few small marginal stains, a very good copy. Editio princeps. One of the most important of Aldus&#39;s Greek editions both textually and typographically, this remained the best available edition of Sophocles&#39; text until the 19th century. The scholia promised in the title were not finally included, as explained in Aldus&#39;s prefatory letter; Lascaris published them in 1518, at the Medicean press at Rome. The Sophocles was the first Greek book issued in Aldus&#39;s portable format, and the first classical text printed in Francesco Griffo&#39;s fourth type, the smallest and most delicate of the Aldine Greek types, modelled on Aldus&#39;s own Greek hand. This was the first Aldine edition to mention in the colophon Aldus&#39;s Greek Neakadamia, which combined a dining club with a serious educational movement concerned with the revival of classical culture. Aldus&#39;s preface to Lascaris describes a fire-lit meeting of the academy, where Greek alone was spoken.

      [Bookseller: Peter Harrington]
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      [Venetiis: in Aldi Romani Academia mense Augusto 1502].. [196] leaves. Octavo. Full 19th century straight grain red morocco, elaborately gilt extra, a.e.g. Greek letter. Aldine anchor on verso of terminal leaf. Bookplate of Henry Labouchere, 1st Baron Taunton (1798- 1869). Some early and interesting manuscript annotations and highlighting in red ink, a few other annotations faded and occasionally a bit smeared, similar annotations eradicated from title, minute single wormhole in foremargins of final half of text block (in a few instances showing signs of early careful in- fill), otherwise a very good copy, neatly bound. First edition in book form of the Greek text of seven of the Tragedies of Sophocles, edited by Marcus Musurus with a dedication to Jan Lascaris. This was the first of the classical Greek texts published by Aldus Manutius in this portable form, and it remained the most readily available source for study of Sophocles&#39;s text until the 19th century, when superior manuscripts became the object of scholarly study. Like the copies noted by Brunet and regarded as the earlier printing, the verso of the four-line title is blank, as is the facing recto. A high-water mark in the history of typography, classical texts and drama. ADAMS S1438. RENOUARD 34:6. BM (ITALIAN), p.634. BRUNET V:445-6.

      [Bookseller: William Reese Company - Literature ABAA-]
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      [Venetiis: in Aedib Aldi, August 1502].. [252] leaves. a-z8, A-G8, H4. Small octavo. Full green French morocco, raised bands, gilt inner dentelles, a.e.g. Set in Italic. Aldine anchor on colophon. One raised band nicked, careful sympathetic restoration of upper joint, light scattered foxing, faint old manuscript foliation of leaves, but a very good copy. Cloth slipcase and chemise. First Aldine edition, and the first edition of Dante in octavo format, based on a manuscript sent to Aldus by the Venetian humanist, Pietro Bembo. The edition is also notable for historians of typography as it marks the first utilization of the Aldine Anchor as Aldus&#39;s signature device -- although it does not appear in all copies, among them the earliest. The edition was such a success that it was soon counterfeited in such a faithful manner that close scrutiny of the final collation is necessary to distinguish the editions. With this edition, "it was as if the poem had never been printed before: the 15th-century vulgate was swept aside. Bembo&#39;s text was to become the basis for every subsequent edition of the Divine Comedy until the late 19th century" - Renaissance Dante in Print (1472 - 1629). Online catalogue of Notre Dame, Newberry Library, and Univ. of Chicago collaborative exhibition. RENOUARD 34:5. GOLDSMID 43. ADAMS D82-3. BMC (ITALIAN), P. 209. BRUNET II:500.

      [Bookseller: William Reese Company - Literature ABAA-]
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