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Verlag: Forgotten Books, 2018
ISBN 10: 0259133949ISBN 13: 9780259133940
Anbieter: PBShop.store US, Wood Dale, IL, USA
Buch
PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
Verlag: Forgotten Books, 2018
ISBN 10: 0666131996ISBN 13: 9780666131997
Anbieter: PBShop.store US, Wood Dale, IL, USA
Buch
HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
Verlag: Forgotten Books, 2017
ISBN 10: 0259133949ISBN 13: 9780259133940
Anbieter: Buchpark, Trebbin, Deutschland
Buch
Zustand: Wie neu. Zustand: Wie neu | Seiten: 500.
Verlag: Forgotten Books, 2018
ISBN 10: 0666131996ISBN 13: 9780666131997
Anbieter: PBShop.store UK, Fairford, GLOS, Vereinigtes Königreich
Buch
HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
Verlag: Forgotten Books, 2018
ISBN 10: 0259133949ISBN 13: 9780259133940
Anbieter: PBShop.store UK, Fairford, GLOS, Vereinigtes Königreich
Buch
PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
In-8 (10 x 17 cm) de (8)-240 ff. (sign. ã8 A-Z8 AA-GG7), veau brun, dos orné à cinq nerfs, triple filet à froid d'encadrement sur les plats, fleurons dorés aux angles, fer doré à la main tendant une gerbe de trois fleurs de lys au naturel (reliure de l'époque). Deuxième édition française après celle de 1542 de la version d'Adrien Sevin établie sur l'édition vénitienne de 1538, précédée de l'épître du traducteur à Claude de Rohan comtesse de Saint-Aignan.Épopée amoureuse adaptée en prose italienne par le jeune Boccace de la célèbre légende Floir et Blancheflore - deux enfants qui s'aiment et que tout sépare, le Filocolo connut une grande renommée à la Renaissance.Belle impression peu commune en lettres rondes ornée de grandes lettrines gravées sur bois sortie des presses de Gilles Corrozet - en concurrence la même année avec l'édition du Philocope de Charles l'Angelier (1555). Exemplaire sans le feuillet blanc final (GG8). Habiles restaurations.Brunet, I, 1014 ; Gay, III, 726.
Anbieter: Antiquariaat FORUM BV, Houten, Niederlande
Erstausgabe
VI, CLXXIIII ll.Jean André issue of the extremely influential first French-language edition (by Adrien Sevin) of Boccaccio's first major work, Il filocolo (ca. 1336), a prose tale detailing the romantic love and adventures of Florio and Biancafiore (based on the ca. 1160 French verse romance Floire et Blancheflor), written at the request of Boccaccio's muse "Fiammetta". Boccaccio's version served as the model for Chaucer's more than fifty years later, but it is a reworking rather than a translation, so it was largely through the present printed translation that Il philocope, a precursor of the better known Decameron, became known north of the Alps. The fine woodcut illustrations first appeared in Janot's 1540 edition of Amadis de Gaula, and after the Philocope also for several other romances. The borders used with them in these works are apparently older, for two of the head borders are dated 1520. King François I of France, who reigned from 1515 to 1547, greatly admired the Italian Renaissance and encouraged Italian influences in many aspects of French culture. The present book reflects that movement both as a model of French Renaissance prose under Italian influence and as an example of book production, using new roman and italic types in the new style introduced under Italian influence in the 1530s.With the small letterpress bookplate and the armorial bookplate of Charles Bouchelet de Vendegies, Comte d'Hust (1772- 1851), and a later bookplate of the Swiss collector Albert Natural. With a few mostly marginal defects and early repairs, but with three repaired tears in the text (one also in a woodcut, but so skilfully repaired that it is barely visible in the woodcut). One of the repeated woodcuts has a small abrasion. Otherwise in good condition. The binding has restorations to the hinges and corners and the spine shows some superficial cracks and flaking, but nearly all of the tooling remains clear. The very influential first French edition of Boccaccio's first major work, with excellent woodcut illustrations.l BMC STC French, p. 71 (Janot issue); Brun, Le livre français illustré, p. 158; Mortimer (French) 105 (Janot issue); Rawles, Denis Janot . (1976 PhD thesis) 164; Renouard, Imprimeurs Parisiens 155; USTC 37796 & 92444 (8 copies; see 37799, 65503 & 92444 for the other issues); cf. Adams B2169-2171 (Italian eds.).
Verlag: (Paris, D. Janot for) Gilles Corrozet, (February, 24th) 1542., 1542
Anbieter: Antiquariat Buechel-Baur, Winnenden, Deutschland
Hardcover. Zustand: Sehr gut. Folio. VI, CLXXIIII leaves. With - repetitions included -36 text woodcuts (one nearly full-page) all surrounded by a varying border (partly decorated with coats of arms), some "lettres fleuries" initials by G. Tory (cf. Mortimer ) and few "Crible " initials. Woodcut printer's device. A magnificent, signed heraldic binding by the famous Paris bookbinder Gruel from the last quarter of the 19th century in an excellent state of preservation, with polychromatic Moroccan ribbon marquetry, abundant gilding of spine, cover, bottom and inside edges as well as gold-embossed spine title; three-side gilt-edging. In a later shift (broad spine of brown, napped leather with gold-embossed spine title [thumbed, somewhat faded], cover done in marbled paper, suede-lined [the lining slightly stained] and in a half-leather slip case with identical cover (slightly thumbed, edges somewhat flattened). First edition of Sevin s translation. Denis Janot organized this edition under his own name and for various Paris bookshops (cf. the corresponding entry in the Ind. Aurel. ), whose own signets and sales notes were then imprinted. Thus our specimen bears the Corrozet-signet on the title page (v. Renou ard 206) and the note : "On les vend à Paris en la grand Salle du Pa1ais du costé de 1a chapelle de messieurs, en 1a boutique de Gilles Corrozet Libraire." This signet makes the book - which is extremely rare anyhow - a top rarity , not accounted for in the relevant bibliographies / catalogues. The woodcuts derive from Janot's edition of the first books of "Amadis de Gaula" of 1540 (cf. Brun and Mortimer), but partly they were made earlier (thus one border is dated "1520"). The borders frequently bear foliage ornaments, and a whole series of them sows grotesque faces and heraldic shields. Brun writes about the "Amadis" woodcuts as a whole: « L'Amadis des Gaules dont le premier livre parut en 1540, est orné de vignettes qui offrent au lecteur une suite de charmant petits tableaux. Certaines sont d'un dessin si parfait et d'une taille si adroite qu'on ne peut s'empêcher de songer aux gravures de Lüt zelburger d'après Holbein. Ici, le style, les proportions des personnages, les physiono mies, tout enfin est différent et accuse la main d'un artiste français, mais la mâitrise est presque égale » (p.68), and generally on Janot's and Corrozet's importance (p.64 / 65) : « Ce fut le role de trois imprimeurs, Denis Janot, Etienne Groulleau et Gilles Corrozet, de répandre a profusion, sous un format commode, de petits textes classiques ou des livrets abondamment illustrés. Leurs vignettes élégantes et spirituelles, transmises ou copiées d'atelier en atelier, interprétées par les ciseleurs, les peintres verriers, les émailleurs et les fayenciers, contribuèrent pour une grande part a fixer les nouvelles formules décorati ves. ». The lavishly equipped Moroccan leather binding bears in the middle of both covers the coat of arms of Henri IV (1553 -1610) in an oval cartouche with the French heraldic shield (on a blue background) and that of Navarre (on red) together with three crowns: the two small ones representing France and Navarre, and the big one symbolizing the union (v. J. Guigard, Nouvelle Armorial du Bibliophile. Paris 1890. p. 20). The heraldic shields and the small crowns are enclosed by delicate foliage. Crown as well as tendrils are gold-embossed, the colours of the escutcheons are subtly repeated in the big crown. The coats of arms are surrounded by a network of partly geometrical, partly floral and ornamental polychromatic ribbons (in beige, brown, ruby and red) end ing at top and bottom in a bigger grotesque, and below four corner vignettes in a smaller one each (in beige the bigger, in brown the smaller ones). The fields between the stripes are gold-em bossed with "Crible" dots. The cover decor is predominantly worked in leather mar quetry . This binding in mock-historical style follows the tradition of "reliure adaptée au texte", a speciality of the Gruel.