It has long been believed that the editor could have been the famous Cretan scholar Marcos Mousuros, yet it is quite possible that responsibility for establishing the text belonged primarily to Ioannes Gregoropoulos, another Cretan coadjutor at the Venetian press.
The edition remained the Euripidean vulgate until at least the second half of the nineteenth century. The Euripides is in parva forma , the handy portable size which was introduced by Aldus for the Virgil of The text of Electra was first printed by Blado in , and edited by the Florentine Pietro Vettori on the basis of a manuscript discovered by his disciples Bartolomeo Barbadori and Girolamo Mei. They are late examples of the 'Harleian' style, so called after Edward Harley, second Earl of Oxford.
Agati, G. Onorio da Maglie , Roma , pp. Gaunt, Sir Robert Peel. Woodcut printer's device on the recto of fol. Two parts. Woodcut printer's device on both title-pages, and a smaller version at the end of each part. Woodcut animated initials, and headpieces. Handsome Venetian bindings, executed around by Anthon Lodewijk.
Aventure Di Pinocchio (Italian Edition) - AbeBooks - Collodi:
Gilt-tooled red morocco, over pasteboards. Gilt and blind fillet borders. Central medallion with radiating tongues-of-flame within lobed panel, the two volumes slightly differently tooled with solid outline and azure tools. The central medallion of the first volume overstamped with forged Apollo and Pegasus plaquette. Spines with five double raised bands, decorated with one, and outlined with two gilt fillets. Compartments gilt, open circle border at the head and foot of the spines.
Edges of the boards decorated with a double vertical line in blind.
Edges gilt and gauffered with double dotted-line frame. Missing four ties, probably in red silk. Skilful repairs to the corners and joint of vol. In modern cloth solander cases, in brown for vol. A fine copy, some spotting. Minor ink stain in the first volume, a few leaves uniformly browned. Provenance: Pietro Benincasa ownership inscription on the title-pages 'Pietro Benincasa', partly removed from the first volume ; Curtio Bertini, from Colle val d'Elsa sixteenth-century ownership inscriptions on the title-pages, 'Di Curtio Bertini' and 'Di Curtio Bertini da Colle' partly removed from the first volume.
By the early twentieth century the two volumes became separated:. A remarkable copy, in its original Venetian binding, of the first edition of Domenichi's Italian translation of the Vitae by the Greek historian Plutarch. The two volumes have only recently been reunited after a century's separation; they were bound around by the famous Flemish craftsman Anthon Lodewijk or Lowies, who was active in Venice between and In his mature work he imitated the style of the 'Mendoza Binder' or the 'Fugger Binder', but using his own kit of Italian tools.
These are found in presentation copies of books printed by Giolito in , and , for his distinguished clientele, which included among others Jakob Fugger and Antoine Perrenot de Granvelle. These volumes demonstrate his more mature, elaborate Venetian style; in all likelihood the bindings were executed on behalf of the printer Giolito for a notable recipient.
By the early twentieth century the two volumes had become separated, and the first one now offers a striking example of a perfectly genuine Renaissance binding to which a forged medallion had been added. In fact, on its cover a forged Apollo and Pegasus round plaquette was carefully applied, possibly before , when it appeared in a catalogue published by the Libreria De Marinis in Florence. The volume was later seen in Sotheby's sale of the Cartier library in Monaco on 28 November The Apollo and Pegasus medallion may have been made either in the nineteenth century by the best known Apollo and Pegasus forger, the Milanese binder Vittorio Villa d.
These skilful forgeries were sought by some collectors as specimens of fine Renaissance bindings or desirable curiosities. STC Italian vol. Hobson, Renaissance Book Collecting , App. XXIII, , , [1 blank], [6, of advertisements], [2 blank] pages. Original red cloth binding A ; original brown-orange coated endpapers. Housed in a full red morocco clamshell case.
First American edition of one of the Great American Novels, in its extremely rare original first state binding in red cloth according to BAL. Its reputation generally precedes it and certainly no reader comes to the text without having at least heard about 'that long book on whales' [ Davey, Herman Melville's Moby-Dick , p. There is no doubt that Melville was inspired by an article written by the American journalist and explorer Jeremiah N. Reynolds and published on the popular publication Knickerbocker Magazine in May the magazine's account was a vivid tale purportedly told to Reynolds by the eccentric first mate of a whaling vessel, and was based on the legendary Mocha Dick, the whale who had killed more than thirty men, and had attacked and damaged three whaling ships and fourteen whaleboats.
Melville began focusing his attention on the question of evil, which let him generate the character of Captain Ahab, thanks to Nathaniel Hawthorne's friendship: the zenith of their relationship was reached when Moby Dick was published and was dedicated to Hawthorne. In the Harpers' fire destroyed the plates of all his books, and only about sixty copies of Melville's book survived. Davey ed. Original publisher's green cloth. On the upper cover, title stamped in gilt between two gilt stripes with the name of the author and printer embossed in green; the lower cover decorated with two floral-patterned rolls in black; spine with title lettered in gold.
Covers slightly discoloured, lower cover somewhat bumped. In a fine sand morocco folding case, probably by Gozzi Modena , the figure of Pinocchio outlined in gold at the centre of the upper board, with inlays in green, white, and red morocco. A good copy, marginal browning. Two short tears to the blank margins of pages 18 and , repaired, without any loss. The exceedingly rare first edition in book form — presented in its very desirable original luxury cloth binding — of the masterpiece by the Italian writer and journalist Carlo Lorenzini better known as Collodi , the enduring children's classic about a marionette whose nose would grow each time he told a lie.
The novel Pinocchio was first serialised in the children's magazine from Rome, Giornale per i bambini , under the direction of Ferdinando Martini: the first instalment appeared on 7 July , and the last one on 25 January Pinocchio was published as a book in the same year, , probably in a very small print run, and at least twelve reprints appeared during the first year of publication.
Le avventure di Pinocchio
Enrico Mazzanti was responsible for the everlasting black-and-white illustrations. The success was enormous, with countless editions and translations into more than languages. Collodi's masterpiece continues to be cherished to this day and has been the subject of numerous adaptations, including popular versions by Walt Disney and Steven Spielberg, who used the story for the film A.
The work was first translated into English in by M. Murray, whose version — The Story of a Puppet or The Adventures of Pinocchio — was published in the same year in London as well as in New York, supplemented with thirty seven of Mazzanti's illustrations. In the first American illustrated edition was published, thanks to the work of Walter S. Carpenter - M. Prichard eds. In this copy the Index relating to the Opuscula is bound at the end. Woodcut printer's devices on the two first title-pages and on fol.
N4v of the second part. Eight full-page engravings in text. Woodcut decorated initials. Nearly contemporary limp vellum. Traces of ties. Smooth spine, title inked in an early hand faded. A very fine, unsophisticated copy. A few small spots and fingermarks; ink stain to the blank outer margin of fol. A short tear to the lower blank margin of fol. N3, without any loss; minor repairs to the lower margin of fol. Numerous marginal notes a few slightly trimmed , corrections, and underlining.
Provenance: gifted by the author to Pietro Matteo Pini Eustachi's address on fol. A1r of the third part 'Petro Matthaeo Urbinati discipulo optimo Bartholomaeus praeceptor donauit''; the note 'Addendae Annotationes meae' probably in Pini's own hand on fol. Large engraved vignette on the title-page showing a dissection, signed by Pietro Leone Ghezzi Thirty-nine engraved plates. Fine decorated engraved initials. Contemporary hazel calf, over pasteboards. Covers within border of gilt fillets, floral tools at each corner.
At the centre, gilt coat of arms of Pope Clemens XI.
Marbled pastedowns and flyleaves. Edge boards decorated with narrow frieze. Edges mottled red. Some small stains to the covers, leather slightly abraded. A very good copy. Foxing in places, a few minor spots, and ink stains.
An early shelfmark 'K. Provenance: the famous physician Giovanni Maria Lancisi ; Clemens XI Albani's armorial binding , given as a gift to the Pini family small, and now barely legible, eighteenth-century stamp on the title-page. A highly significant set, consisting of two fine dedication and association copies. The first edition of the Opuscula anatomica by the famous anatomist Bartolomeo Eustachi or Eustachius, bearing on the title-page of the third part his autograph address to his disciple Pietro Matteo Pini, and the magnificent Tabulae anatomiche executed by Pini on behalf of his teacher and posthumously printed in by another leading figure in the history of medicine in Rome, Giovanni Maria Lancisi, and offered by him to the heirs of Pietro Matteo Pini.
In Venice, between and , Bartolomeo Eustachi — a San Severino-born professor of anatomy at Sapienza University, and physician to the Pope — published his Opuscula anatomica , a collection of writings on various medical topics, including the first treatise ever printed on dentistry — De dentibus —, introduced by a separate title-page, bearing the date ''. The final quires contain, as a third part, the Annotationes horum opuscolorum ex Hippocrate, Aristotele, Galeno, aliisque authoribus collectae , the annotations to Eustachi's anatomical treatises collected by his relative and pupil from Urbino, Pietro Matteo Pini b.
As the copy presented here attests, Pini had received those quires directly from Eustachi, and bound them together with the first two parts of the Opuscula , which at the time were already printed, and therefore in his hands. In fact, another great point of interest lies in the note 'Addendae Annotationes meae' 'my commentary has to be added' , written by Pini on a paper slip tipped-in on the verso of the general title-page of the Opuscula , owing to the fact that his Annotationes were at that point still in print.
In , Pini had also executed a series of forty-seven anatomical drawings for Eustachi, which were then engraved by the renowned Venetian artist Giulio de' Musi, two on the obverse and reverse of a single copper plate. These engravings should have illustrated the Opuscula anatomica , but only eight were included in the publication. The other thirty-nine illustrations, which, for unknown reasons, had not been published in , were long sought after by Marcello Malpighi following Eustachi's death in , and it was ultimately assumed they had been lost entirely.
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Quite to the contrary, Eustachi had bequeathed the copper-plates to his disciple Pini, and after years they were discovered in the possession of one of his descendants. Owing to their great importance, the series of copper-plates was purchased by Pope Clemens XI for the sum of scudi , and were subsequently given to the outstanding physician Giovanni Maria Lancisi , professor of anatomy at Sapienza University as well as the Pontiff's archiatre.
In , heeding the advice of Giovanni Battista Morgagni , another famous anatomist of the age, Lancisi published these thirty-nine engravings, together with the eight smaller plates which had already appeared in the Opuscula anatomica of Each of the larger plates is within a three sided graduated border the eight smaller illustrations have a fourth rule at the bottom , in order to easily identify the structures depicted. Numerous eighteenth-century editions were published from these original copper-plates, and the plate showing the sympathetic nervous system was included in in the Encyclopaedia Britannica.
They demand careful study, and not a quick all-embracing glance. Nevertheless, the appearances of the figures are easily reconciled in the imagination to actual slender men, gesturing on an unexcited, stylized manner. They are elegant, classical figures [ The Tabulae anatomicae , edited by Lancisi and accompanied by his notes, is presented here in a splendid copy, finely bound in brown calf and bearing the arms of Pope Clemens XI: it is the copy offered by Lancisi to the heirs of Pietro Matteo Pini. Adams E; Choulant-Frank, p.
Chernin and G. Shklar, Canton, MA Choulant-Frank, p. Roberts - J. Tomlinson, The Fabric of the Body. European Traditions of Anatomical Illustration , Oxford , pp. In its original limp vellum binding, covers decorated with ink drawings by Cesare Vecellio : the upper cover depicts the church of Santa Maria della Rotonda in Ravenna, the lower one a part of the city ramparts.
Traces of two pairs of ties on the fore-edge. Smooth spine decorated in ink with stylised acanthus leaves; painted edges, on the fore-edge a view of the city, and the inscription 'RAVENA'. Very good copy, lightly stained and spotted, more prominently on the leaves of quires M and T; pale waterstain at the blank outer margin of the first leaves. M-Z, London , no. Historia di Ravenna. In Ravenna, Catalogue no.
A splendid copy of the second edition of this rare work on the history of Ravenna, owned by the well-known bibliophile from Belluno, Odorico Pillone In , Pillone famously commissioned the painter Cesare Vecellio ; see nos. Vecellio, a cousin and pupil of Titian who worked in his atelier until his death, thus decorated the fore-edges of the majority of Pillone's library, depicting characters and landscapes relating to the subject of each book.
Vecellio is also famously the author of Habiti antichi et moderni , the well-known illustrated history of clothing, in which he mentions the library and other collections of the Pillone family, as well as their exquisite hospitality in their Villa. The present example represents one of only twenty one volumes that Vecellio adorned with drawings on the covers, and one of the very few with both decorated vellum covers and painted fore-edges: the rich imagery features views of a fairy-tale Ravenna with Santa Maria della Rotunda and a fortification artfully drawn in a Mannerist style.
In , a Pillone descendant sold the entire collection to English bibliophile Thomas Brooke for 20, lire. The collection, united until then, was thus dispersed. Conte ed. Original green cloth, blind stamped title on upper cover, spine lettered in gilt. Dust jacket in first issue, with lowercase 'j' in 'jay Gatsby' on the back hand-corrected in ink.
Repairs to the spine of the dust jacket, including 1-inch piece at the foot, affecting the publisher's imprint. Preserved in custom drop-back box. A very good copy, spine ends and corners slightly bumped. First edition, first printing, and first state of the text, as well as the first issue of the iconic and exceedingly rare dust jacket of this masterpiece of American literature. The dust jacket for The Great Gatsby was designed by the Spanish artist Francis Cugat , who symbolically echoed the events narrated in Fitzgerald's novel, depicting two enigmatic female eyes staring, in the blue of a night sky and above bright red lips, over Coney Island scene below.
It is probably the most famous and intriguing cover executed in the history of American literature. Scott Fitzgerald's The Great Gatsby is the most celebrated and widely disseminated jacket art in twentieth-century American literature, and perhaps of all time. After appearing on the first printing in , it was revived more than a half-century later for the 'Scribner Library' paperback edition in ; more than two decades and several million copies later it may be seen in classrooms of virtually every high school and college throughout the country.
Like the novel it embellishes, this Art Deco tour-de-force has firmly established itself as a classic. Buccoli A Three parts in one volume, folio x mm. Complete with fol. S6 blank. Gothic type. Woodcut printer's device on fol. Twenty-four full-page woodcut anatomical and medical illustrations fols. A2r-B6v ; 36 chiromancy hands fols. M3v , thirty-three astrological diagrams and allegorical chariots fols. The copy is complete with the two fugitive sheets, featuring two extremely rare folding woodcut plates x mm representing an anatomical figure showing internal organs — the 'viscera-manikin' — and a skeleton see below.
Woodcut animated initials. Contemporary blind-tooled half-pigskin, over wooden boards. Spine with three raised bands, inked title on upper cover, traces of clasps. A good copy. Repairs to the margins of the title-page and the final leaves, tiny wormholes on a few leaves, some marginal stains, tear repaired to one of the folding plates, contemporary annotations on the verso of the last leaf and rear pastedown.
First edition of this collection of texts, which includes — along with the German translations of the famous treatise on surgical instruments by Albucasis Abu al-Qasim Khalaf ibn Abbas al-Zahrawi, and the Chiromantia by Johannes ab Indagine d. It is arguably the most advanced surgical manual of its time, containing original information on amputations, early anaesthesia, and the treatment of gunshot wounds, all accompanied by the very best surgical illustrations of the period. Gersdorff's work was first printed in Strasbourg by Johann Schott in and was an immediate success. It was reprinted in Strasbourg in , , , and all editions in quarto and was also republished in Augsburg by Heinrich Steiner in and both folio editions.
The work went through at least twelve editions between the time of its first publication in and the early seventeenth century. Little is known about the early life of Hans von Gersdorff, one of the most noted German surgeons of the late fifteenth and early sixteen centuries. It is not known how or where he received his education, but it is evident that he was especially well-known for limb amputations, of which he is reputed to have performed at least two hundred. His work is divided into four books which treat of anatomy, surgery, leprosy, and glossaries of anatomical terms, diseases, and medications [ The edition is rightly famous for its numerous woodcut illustrations, many of which are full-page, depicting such operations as trepanations and amputations; surgical techniques such as trephining, bone setting, and traction bandages; and numerous surgical instruments.
Counting among these illustrations are the first published depictions of an amputation and brain dissections. Gersdorff invented several surgical instruments, including a tripod screw-elevator for raising depressed skull fragments and machines for reducing fractures and dislocations. Of particular interest are the two folding plates, also attributed to Wechtlin, which are not usually found in copies of the present edition. The sheets were published by Johann Schott in Strasbourg in and included in the first edition of Gersdorff's treatise likewise published by Schott that same year as individual fugitive sheets to be hung on walls.
They were subsequently adapted to volume form, but never completely lost their original function; presumably many owners of the book preferred to be able to use them separately as opposed to having them sewn in, hence why many copies are now missing the plates. Numerous variants of the sheets are known; the woodcut never changes but the letter-press component is altered, i. The woodcuts are also occasionally surrounded by a typographical frame. As these two latter editions were issued in quarto format, the folio sheets found in some copies are lacking the verses underneath the image as they were removed to better fit the smaller size.
The 'viscera-manikin' plate shows part of a male figure, from the head to below the knees, with a wide piece of cloth strewn over the thighs, and the thoracic and abdominal cavities dissected; there are also seven accessory figures, the brain, cranial cavity, and tongue, with engraved German designations on the plate. At the top, above the head, is engraved the inscription 'Anatomia corporis Humani '. Below the plate are typeset verses in German and the statement 'Gedruckt zu Strassburg durch Joannem Schott'. The second fugitive sheet shows a skeleton in frontal view with the head slightly turned to the right and arms hanging down; on both sides and wherever there is space, Latin names of bones have been engraved upon the plate.
At the top, above the plate, is printed in type 'Anatomia aller Beynglyder des menschen'. It is extraordinary that the present addition includes both plates. In this period several appeared. They were generally intended to disseminate popular information, or to give instruction to barbers and surgeons, and were probably to be hung up in their anterooms. Roman and Greek type.
Title printed in red and black with two large woodcut ornaments. Woodcut printer's device at the end. Author's woodcut portrait on fol. Numerous woodcuts in various sizes, and diagrams. Four full-page woodcuts, including a terrestrial globe fol. Complete with eleven diagrams with working volvelles some of them with original threads on fols. Woodcut decorated and animated initials in various size, on black ground.
Contemporary blind-tooled pigskin over wooden boards. Covers within two blind-stamped rolls, the outer roll dated and depicting the Crucifixion, David, the Resurrection, and St. John; the inner roll dated and showing Lucretia, Caritas, and Justicia. At the centre, a later stamp of the Schola Altenburgensis printed in gold on the upper cover and in black on the lower one.
Some minor abrasion to binding, spine slightly chipped at the top, corners lightly rubbed. A very fine, wide-margined copy. Title gutter formerly reinforced, quire R lightly browned, few other leaves toned, small wear to the lower blank margin of fol. Provenance: from the library of the Latin school in Altenburg, Germany stamp on the binding 'Biblioth. Volume VII. Gutzwiller , lot His most illustrious pupil was Georg Joachim Rheticus, who in the Narratio prima would announce Copernicus' discoveries.
Ita Burattino senza fili. Ita In the Garden. Ita Risparmio energetico e tutela ambientale. Ita Pubblicazione ai sensi della L. Ita Mibac. Vieni a conoscere Pinocchio e la sua terra, vieni a conoscere Collodi. Tuesday January 15th, Ita Presentazione. Concerto ingresso libero al Giardino Garzoni Friday July 13th, News from Poland Tuesday July 10th, La Thursday June 21st, Ita Amanda Sandrelli — Pinocchio. Ingresso libero fino a esaurimento posti Tuesday June 19th, Ita Antonio Montanaro in mostra al Parco di Pinocchio. Fino al 14 luglio Tuesday June 5th, Ita Un burattino di nome Pinocchio: genesi e realizzazione del film animato di Giuliano Cenci Tuesday April 24th, Ita Giustizia, diritto e Pinocchio Tuesday May 2nd, Ita Pinocchio prende vita nella pietra di Vellano.
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English translation English. Or rather I believe it could be a mess, 1. Suggestions are always welcome. Consigli sono i bevenuti. Add new translation Add new request. More translations of "La ballata di English Questionfinder. French jivago 5. German Coopysnoopy.