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Año de publicación: 2022
Librería: S N Books World, Delhi, India
Libro Impresión bajo demanda
LeatherBound. Condición: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1716 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 172 Language: Italian Pages: 172.
Librería: Antiquariaat FORUM BV, Houten, Holanda
[4], [16], 502; [4], 504, [2]; pp. plus 40 pp. of engraved music.First and only edition of a collection of 10 Italian Christian tragedies, written by the Naples poet Duca Annibale Marchese (1687-1753). It is illustrated with beautiful engravings after the important Italian baroque painter Francesco Solimena (1657-1747) and complemented with the engraved music for the choruses of the five tragedies in the second volume, composed by some of the most foremost Italian and German 17th- and 18th-century composers, like Tommaso Carapella (1655-1736), Domenico Sarro (1679-1744), Leonardo Vinci (1690-1730) Francesco Durante (1684-1755), Johann Adolf Hasse (1699-1783), Nicola Fago (1677-1745) and more.With the armorial bookplate of James Whittle and another bookplate of the California collector and philanthropist Dorothy Jayne Pedrini Shea, both on the front paste-down. Also with the bookplate of Randall J. Moskovitz M.D. loosely inserted, whose estate holds many books with fore-edge paintings. Binding only slightly worn around the edges and corners, a few wormholes on the spine. Some browning and foxing, some marginal water stains in the foot margin of the first few leaves (the preliminaries; not affecting the plates). Overall in good condition. A fascinating binding with two bright and detailed fore-edge paintings on the fore-edge, one when it is closed and another when it is fanned open.l ICCU, NAPE 006664 & 006666; for the emblem ofthe fore-edge painting: Emblemata: Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts, col. 165; Bernhard Schirg, "The Daphnic fate of Camerarius; Sweden's first printed emblem book revealed in Olof Rudbeck the younger's botanical dissertation (1686)", in: Intersections: interdisciplinary studies in early modern Europe, 50 (2017): Emblems and the natural world, p. 564, no. 11.
Publicado por Naples, Felice Mosca, 1729., 1729
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Original o primera edición
Large 8vo. 2 volumes in one. (4), (16), 502 pp. (4), 504, (2) pp.; followed by 40 pp. of sheet music. With two allegorical engraved title vignettes on both title-pages (printed in red and black), an engraved frontispiece by Jeremias Jakob Sedelmayr after Francesco Solimena, an engraved author's portrait by Antonio Baldi, and 11 engraved plates by both Sedelmayr and Baldi after Solimena, accompanying the 10 tragedies and the dedication. Also with some engraved initials and some woodcut tailpieces and 40 pages of engraved sheet music to the choruses. Contemporary brown morocco, gold tooled spine, gold-tooled frames on both boards with gold-tooled cornerpieces, black morocco spine label with title in gold, decorative gilt roll to edges and inner dentelles, marbled endpapers and gilt and goffered edges with an intricate fore-edge painting, incorporating both a closed and fanned design for the outer edge. The edges at the head and foot of the text block are painted with floral and botanical designs. The fore-edge is painted with a central cartouche with scrolling leafs in a rococco-style, which reveals, when fanned, a painting a of tree with a scroll with "Prospiciente Deo" painted above. The cartouche is surrounded by flowers and a crown is painted above. The fanned designs also reveals another cartouche in the same style, reading "Si faveat coelum, bene surculus, arbore crescet: Si mihi TU, faveas, sic EGO MAGNUS ero" and the monogram signature of an unknown artist below. The painting of the tree and the scroll and the subscription below are taken from Camerarius, being his third emblem in the first part of his "Symbolorum et Emblematum" (first edition Nuremberg, 1593). First and only edition of this collection of ten Italian Christian tragedies, written by the Neapolitan poet Annibale Marchese (1687-1753). It is illustrated with beautiful engravings after the important Italian baroque painter Francesco Solimena (1657-1747) and complemented with the sheet music for the choruses of the five tragedies in the second volume, composed by some of the foremost Italian and German 17th and 18th century composers, including Tommaso Carapella (1655-1736), Domenico Sarro (1679-1744), Leonardo Vinci (1690-1730), Francesco Durante (1684-1755), Johann Adolf Hasse (1699-1783), and Nicola Fago (1677-1745). - Binding only slightly worn around the edges and corners; a few wormholes to spine. Some browning and foxing, some marginal waterstaining in the lower margin of the first few leaves (preliminaries only, not affecting the plates). Provenance: armorial bookplate of James Whittle and another bookplate of the California collector and philanthropist Dorothy Jayne Pedrini Shea, both on the front pastedown. Also with the loosely inserted bookplate of Randall J. Moskovitz, M.D., whose collection comprised many books with fore-edge paintings. - Overall a good copy in intriguing binding with a bright and detailed fore-edge painting, both closed and fanned. - For the emblem of the tree of the fore-edge painting see Emblemata: Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts, col. 165.