Illustrated book of 23 drawings by the author.
Back and flat slightly and marginally insolated.
Autograph dedication dated and signed André Hurtret to Mr. and Mrs. Bertin.
New edition. Imprint for this new edition completed on December 1st, 1655.
Very worn contemporary full brown sheep binding. Spine with raised bands decorated with grotesques (leafy designs, dots and fleur-de-lys). Brown sheep title label. Headcaps torn with large lacks to first and last compartments. Joints cracked at head and foot with leather lacks. Corners cut and worn bare. Overall very rubbed. First text leaf with browning, some following leaves affected. Foxing to index. Lacks lower right corner of page 1043.
19th-century armorial bookplate of Bellaigne de Bughas.
First edition, illustrated with a large title vignette with the coat of arms of Louis XIII, as well as numerous fine woodcut head-and tailpieces as well as initials. Preceded by an epistle to Marie de' Medici. Printed entirely in italic in 2 columns per page, each canto has divisional half-title page. At the end of the privilege one reads: "Achevé d'imprimer pour la première fois en italien le 24 avril 1623."
Modern full vellum binding, spine with five raised bands, manuscript title label, boards with some brown stains; leaves 501 and 503 have been mistakenly placed after leaf 495. Numerous pagination errors at the end of the volume, some leaves browned. Note that leaf A1 is a blank.
In 1615, Marie de' Medici and Concini summoned Marino to France, where Louis XIII retained the poet with a pension of 2,000 écus. He composed his most celebrated work, L'Adone, in Paris over a period spanning more than twenty years. This Baroque poem is made up of 40,000 verses and 5,183 octaves. The Cavalier Marino recounts the story of Venus and Adonis in a unique mixture of registers - epic, mythological, satirical and romantic - tinged with unbridled imagination. He blends Christian and Greco-Roman mythology, eroticism and mysticism, creating a text both innovative and close to the style of Ariosto and Tasso. The publication immediately met with immense success in France, but also in Italy where it influenced the creation of the "Marinist style" and revived scholarly disputes. The poem was later placed on the Papal Index.
Chapelain's letter, written in French and found in the preliminary leaves, praises L'Adone, "bon poëme, conduit et tissu dans sa nouveauté selon les regles generales de l'épopée et le meilleur en son genre qui puisse jamais sortir en public" [a good poem, conducted and woven in its novelty according to the general rules of the epic and the best of its kind that could ever appear in public].
Provenance: manuscript ex-libris "[G.D. ?] Gaillard" on the title page, similar to one recorded on a copy of Compendium logicae, 1666 (Université Toulouse 1, Resp Mn 13004).
First edition, one of 70 numbered copies on Lafuma de Voiron and reimposed in quarto Tellière format, only deluxe copies ("tirage de tête").
Spine and cover slightly and marginally sunned.
Nice copy.
First edition of Cendrars's second book, printed in 150 copies on handmade Hollande paper and offered to subscribers.
According to Sonia Delaunay, Séquences, Pâques à New York and theTranssibérien were published at the author's expense, thanks to a small inheritance. The address given - Éditions Hommes nouveaux - 4, rue de Savoie, was in fact the small attic room that Blaise Cendrars occupied at that time.
A precious copy of Blaise Cendrars's early poems, exceptionally rare and in remarkable condition.
First editions, with no deluxe copies printed (except for No. 7) for each volume.
Our complete set comprises:
Cahiers Céline 1: Céline et l'actualité littéraire 1932-1957.
Cahiers Céline 2: Céline et l'actualité littéraire 1957-1961
Cahiers Céline 3: Semmelweis et autres écrits médicaux
Cahiers Céline 4: Lettres et premiers écrits d'Afrique 1916-1917
Cahiers Céline 5: Lettres à des amies
Cahiers Céline 6: Lettres à Albert Paraz 1947-1957
Cahiers Céline 7: Céline et l'actualité 1933-1961
Cahiers Céline 8: Progrès suivi de Oeuvres pour la scène et l'écran.
Iconography.
First endpaper of the first volume shadowed due to a press clipping.
Rare complete set.