DANTE ALIGHIERI - Book Hunter's Holiday - WordPress.com

43 Pages·2010·1.5 MB·English

Catalogue 1
DANTE ALIGHIERI
“When you’re going through Hell, keep going.”
Winston Churchill Book Hunter’s Holiday
3182 Campus Drive, No. 205 2010
San Mateo, California 94403
[phone]
www.bookhuntersholiday.com
Terms of Sale
If you have any questions about a book you wish to order, please contact us at chris@bookhuntersholiday.
com. Please email or call ahead to reserve a book, as all books are subject to prior sale.
Prices are quoted in U.S. Dollars and are net, plus sales taxes where applicable. Shipping and insurance
are extra. All books are guaranteed as described and any item may be returned for any reason within seven
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however, postage to be paid by buyer.
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invoiced. Reciprocal trade courtesies extended. Search and want services are available, as well as collection
development. Please inquire. Offers of books for sale are actively solicited, from single titles to entire col-
lections.
Chris Lowenstein
Book Hunter’s Holiday
3182 Campus Drive #205
San Mateo, CA 94403
[phone]
[email protected]
http://www.bookhuntersholiday.com
Blog at: http://bookhuntersholiday.wordpress.com
1
ontrary to what some of my former even as that American classic, a Mickey Mouse
high school English students used comic book. Additionally, several of the books
Cto assume prior to reading his work, from this collection are featured in a short docu-
Dante Alighieri (1265-1321) is not mentary film (“Dante in History”) that will ap-
some long-dead, inaccessible author whose an- pear in that ultimate expression of current popular
cient work gathers dust on bookshelves and whose culture, the video game. Electronic Arts plans
message is only for the privileged few who can de- to release its Dante’s Inferno video game some-
cipher terze rime. The items featured in this cata- time in early 2010 and used several of the books
logue, my first, were assembled to highlight Dante’s offered for sale in this catalogue as examples of
work in permutations other than the traditional the way popular culture has understood Dante.
high spots. Dante experts won’t find the revered Dante’s appeal also extends beyond popular cul-
Aldine or Velutello editions or the well-known ture to other seemingly unlikely audiences. Some
Cristoforo Landino commentary in this catalogue. editions of Dante were published specifically for
Instead, this catalogue gathers together fresh, pre- children. Plays have been written about charac-
viously overlooked examples of Dante’s work that ters from Dante. There is even a Hebrew adap-
have appealed to both scholar and average reader tation of Dante’s decidedly Christian imagining
over the centuries. The books in this catalogue will of the afterlife. John Flaxman, the pre-eminent
enhance the shelves of the astute Dante collec- sculptor for Wedgwood Pottery, produced line
tor or create a core collection for the novice. Like drawings of Dante’s famous work. Some of the
Dante’s work itself, the collection offered here also editions offered here are inscribed with personal
demonstrates that book collecting is not necessar- messages from their translators.
ily limited to the scholarly and wealthy among us. All of these different editions, translations, and
Dante has always been an author for the com- illustrations have helped Dante’s work to endure in
mon man. Writing in the vernacular rather than the 700 years since it was initially published, and
the traditional Latin, Dante ensured that his book help shake the dust off Dante’s image as a stately,
could be read by any literate Italian. While the ancient author only accessible to scholars and only
admiration of Dante’s work by his contemporaries affordable to those who can purchase incunabula.
may be easy to understand in light of his use of the Recognizing that the assembly of a complete
vernacular, his appeal to modern readers might collection of all of the editions of Dante in one
seem puzzling. His writing is rife with Aristotelian bookseller’s first catalogue is a task that could
philosophy, religious minutiae, and the political never be completed (Dante’s works have not been
battles of 13th–century Italy -- hardly the mak- out of print in almost 700 years), the items in this
ings of a popular bestseller. catalogue provide perspective on the popular re-
However, Dante’s gift for describing in words the ception of Dante’s work. The catalogue is orga-
violent images of Hell and the ethereal qualities of nized by date of publication so that the reader
Heaven has long appealed to many readers’ sense of can see the change in the way Dante’s work has
the visual. His work has been illustrated over and been presented, specifically from the 18th un-
over by dozens of artists since 1481. Popular high- til the 21st centuries. Turn the pages and enjoy!
spot editions of Dante’s work include amazing il-
lustrations by great artists such as Botticelli, and Chris Lowenstein , Owner
poets with artistic visions, such as William Blake.
Book Hunter’s Holiday
But some of the most interesting and acces-
sible artistic interpretations of Dante’s works, all
of which appear in this catalogue, include edi-
tions of his books published as Victorian adver-
tising trade cards for beef bouillon, as chromo-
lithograph postcards, as cigar advertisements, and
Cover illustration: Item 23, back cover illustration: Item 56.
1
1790 1804
1. [ALIGHIERI, DANTE]. Penrose, Thomas.
An Early partial
A SKETCH OF THE LIVES AND WRITINGS
OF DANTE AND PETRARCH WITH SOME Translation
ACCOUNT OF ITALIAN AND LATIN LITER-
signed by the Author
ATURE IN THE FOURTEENTH CENTURY.
London: John Stockdale, 1790.
2. Wharton, Richard, Esq. M.P. FABLES: CON-
12mo. 4 1/2”x 7”. [4] 114 + [2] pp. publisher’s ads.
SISTING OF SELECT PARTS FROM DANTE,
Facsimile of Petrarch’s handwriting on p. 105. Recent
BERNI, CHAUCER, AND ARIOSTO. IMITAT-
quarter sheep over marbled boards, gilt spine with
ED IN ENGLISH HEROIC VERSE. London:
burgundy morocco label. A little very light foxing, a
Printed by T. Bensley . . . for Payne and Mackinlay,
couple of pencil marks. A very good, uncut copy. First
1804.
edition. ESTC lists only six copies in North Ameri-
8vo. 5 3/4”x 9”. 199 pp. Inscribed by the author.
can libraries. Thomas Penrose (1769-1851) was the
With the bookplate of Peter Isaac. Gray paper-covered
son of Thomas Penrose, the poet (1742-1779). The
boards with parchment spine. Corners bumped, gray
younger Penrose was admitted on the foundation of
paper worn away at bottom corners. Else very good.
Winchester College, became fellow of New Col-
Though Henry Francis Cary was the first to trans-
lege, Oxford, and vicar of Writtle-cum-Roxwell. (See
late the entire Divine Comedy into English, several
Oxford DNB.) $750.00
English authors prior to him translated various cantos
of the work into their native tongue. According to
ESTC, the first such partial translation of Dante’s
2
1804
poetry into English appeared in 1773. Wharton’s
... And by his Wife
1804 translation of cantos 3 (the description of the
entrance to Hell), 32 and 33 (the story of Ugolino, 3. Wharton, Richard, Esq. M.P. FABLES: CON-
a traitor at the lowest depth of Hell) into English SISTING OF SELECT PARTS FROM DANTE,
Heroic Verse is one of several early appearances of BERNI, CHAUCER, AND ARIOSTO. IMITAT-
Dante in English. The three cantos translated in this ED IN ENGLISH HEROIC VERSE. London:
work are among the best known scenes in Inferno. Printed by T. Bensley . . . for Payne and Mackinlay,
Fables renders select parts of Dante’s well-known terze 1804.
rime in English Heroic verse, imitating the style of 8vo. 5 1/2” x 8 1/2”. 199 pp. Inscribed by the
English poet, dramatist, and critic, John Dryden. This author’s wife, “Given to Mr. J.W. Phipps by Mrs.
book, offering selections from several major literary Wharton, March 13, 1812.” In navy blue embossed
works, is an interesting example of the “skimmed milk” leather with gilt decorative devices and gilt letters on
that was served up to the eighteenth-century reader spine. A.e.g. Joints and corners heavily rubbed. Cor-
as an example of Dante’s poetry. It is best appreciated ners lightly bumped. Else very good. A second copy
when compared with the later, complete, and (argu- of item #2 and, as it is signed by the author’s wife, a
ably) more competent translations such as Cary’s and suitable companion to item #2, which is signed by the
Longfellow’s. Scarce. ABPC locates no copy offered author himself. $600.00
at auction in the past 30 years. OCLC locates but 2
copies. $750.00
3
1807
John Flaxman was the Flaxman spent seven years studying in Rome.
A Sculptor’s View of
leading Neo-Classical Britain’s National Portrait Gallery describes this
Sculptor in late eighteenth-
Divine Comedy time as one that “transformed him from an ob-
century Britain and a
scure British designer and sculptor into a major
well-known designer for
Wedgwood Pottery. 4. [FLAXMAN, JOHN (1755-1826)]. Alighieri, international figure with a proven track record in
Dante. COMPOSITIONS FROM THE monumental sculpture and decorative design. His
outline engravings of 1793-5 illustrating Homer
HELL, PURGATORY, AND PARADISE OF
and Dante won him an international reputation
DANTE ALIGHIERI. FLAXMAN’S DE-
unmatched by any contemporary British artist.
SIGNS FROM DANTE. Engraved by Thomas
He was also appointed the Royal Academy’s first
Piroli from the drawings in the possession of
Professor of Sculpture in 1810.”
Thomas Hope, Esq. 1793. London: Longman,
Though over two hundred years old, Flaxman’s
Hurst, Rees, and Orne, 1807.
stark line drawings are eerily modern in their
Oblong folio. 11” x 17”. 110 leaves of plates;
interpretation of Dante’s classic poem. $800.00
38 plates to the Inferno, 38 to Purgatorio, and 33
to Paradiso. One plate, between Purgatorio and
Paradiso is not numbered and is entitled, “Faith,
Hope, and Charity.” In rich, chocolate-colored
5. [FLAXMAN, JOHN (1755-1826)].
boards with vellum spine. Spine soiled. Vellum
Alighieri, Dante. “THE CARNAL”, AN
cracked on lower joint. Boards rubbed, edges have
ENGRAVING FROM “COMPOSITIONS
small chips, and corners fraying. Age toning to
BY JOHN FLAXMAN FROM THE DIVINE
edges of pages. Foxing, though generally affecting
POEM OF DANTE ALIGHIERI” Purga-
only the margins. Still, a very good copy.
tory, Canto 25, The Carnal. London: Longman,
This collection of plates illustrated by John
Hurst, Rees, and Orme, 1807.
Flaxman was commissioned by the art collector
11” x 17”. Printed on heavy paper. A single
Thomas Hope (1769-1831), and was probably
engraving from a portfolio published in 1807.
begun in April or May 1792, at the same time as
The engravings were designed by John Flaxman
Flaxman’s work on drawings for Homer’s Iliad
and engraved by Thomas Piroli. This particular
and Odyssey.
engraving is from Canto 25 of Dante’s Divine
Flaxman was the leading Neo-classical sculp-
Comedy and is entitled “The Carnal.” It depicts
tor in late eighteenth-century Britain and a well-
the souls of those who in mortal life were slaves
known designer for Wedgwood pottery. After
to their carnal appetites. Single sheet. A few
working as a designer for Josiah Wedgwood,
4
The Atlantic Monthly first published three cantos of
Longfellow’s translation of Paradiso in January, 1864,
three years before his groundbreaking translation was
published in its entirety in book form.
1864
areas of foxing. Three small closed tears around work were in his volume of poems Voices of the
the edges and two pinpoint size holes on the left Night (Cambridge, 1839), The Atlantic Monthly
and right edge. Suitable for framing. About very was the first to publish his attempt to translate
good. $100.00 Paradiso. Longfellow was the first American to
translate the entire Comedy into English and
was instrumental in the creation of an American
culture at a time when most books, music, and
art came from Europe. His translation of Dante,
“Hardly likely along with works such as The Courtship of Miles
Standish and Evangeline, helped to establish
to be Superseded or America as a place that had a distinct culture
and a place that was capable of creating highly
Surpassed...”
regarded literary work. A group of prominent
poets and writers supported Longfellow in this
6. Longfellow, Henry Wadsworth (1807-1882).
endeavor and christened themselves “The Dante
“THREE CANTOS OF DANTE’S PAR-
Club.” Longfellow’s much anticipated transla-
ADISO” in THE ATLANTIC MONTHLY:
tion made Dante’s visionary poem of traveling
DEVOTED TO ART, LITERATURE, AND
through the afterlife available to the American
POLITICS. NUMBER 75, JANUARY 1864.
reading public for the very first time. Charles
Boston: Ticknor and Fields, January, 1864.
Eliot Norton wrote that Longfellow’s translation
Clean, tightly bound wrappers with dampstaining
was not only “the best that has ever been made of
to top, bottom, and side margins of pages inside.
the Divine Comedy into English, but also...hardly
Text not affected by dampstains. Pages 47-55
likely to be superseded or surpassed.” (La Piana,
feature Longfellow’s translation of Cantos XXIII-
98). $150.00
XXV of Paradiso. About very good.
Henry Wadsworth Longfellow, a co-founder
of The Atlantic Monthly, first published three
cantos of his translation of the Paradiso (the third
and final part of the Commedia) in The Atlantic
Monthly in January, 1864, three years before his
groundbreaking translation of The Divine Comedy
was published in its entirety in book form. Though
Longfellow’s earliest attempts to translate Dante’s
5
1867 1868–1872
8. [DORÉ, GUSTAVE (1832-1883)]. Alighieri,
Grateful
Dante. DANTE’S INFERNO and DANTE’s
Remembrance PURGATORY AND PARADISE. Translated
by The Rev. Henry Francis Cary, M.A. with
7. [LONGFELLOW, HENRY WADS- Seventy-Six Full Page Illustrations by Gustave
WORTH (1807-1882)]. Alighieri, Dante. Doré. New York: Cassell, Petter, & Galpin, ca.
THE DIVINE COMEDY OF DANTE 1868-1872.
ALIGHIERI, VOL. I, INFERNO. Boston: 4to. 12” x 15”. Published by Cassell, these two
Ticknor and Fields, 1867. sets complement one another and are bound
Sm. 4to. 7 1/4” x 10”. [i-x], 414 pp. Green in their original light blue wrappers. Each set
boards with title stamped in gilt on spine and (Inferno and Purgatory and Paradise) contains
“Inferno” stamped in gilt on upper board and Parts 1-13 of 25, for a total of 26 of 50 issues. The
blindstamped on lower board. T.e.g. Rubbing, Cassell, Petter & Galpin editions of Doré appear
corners bumped. Hinge cracked. Joint beginning on the market most often as two bound volumes
to split on lower part of front cover. Tipped in (see items 9 & 10). Though this set is incomplete,
is a presentation page (also beginning to loosen) the individually issued parts in wrappers turn
stating, “Presented to the Rev. John Maclean, up much less frequently. In very good condition,
D.D., LL.D., on his retirement from the presi- with three to five full-page, tissue-guarded Doré
dency of Princeton College, N.J., by the Class of plates in each issue followed by several pages of
1858, in token of their grateful remembrance and Dante’s text, as translated by Henry Francis Cary.
affectionate esteem.” Good. $75.00 Many pages in each issue unopened. Occasional
light foxing and small publisher and binder’s
stamp, “S. Walker & Co.” on the cover of each
issue. (Malan, 263). $300.00
6
Circa 1880s
10. [DORÉ, GUSTAVE (1832-1883)]. In praise of Doré and
Definitive Doré
DANTE’S PURGATORY AND PARADISE. his contemporaries, H.P.
Lovecraft said, “There’s
TRANSLATED BY THE REV. HENRY
9. [DORÉ, GUSTAVE (1832-1883)]. something those fellows
FRANCIS CARY, M.A. FROM THE
Alighieri, Dante. DANTE’S INFERNO. catch -- beyond life --
TRANSLATED BY HENRY FRANCIS ORIGINAL OF DANTE ALIGHIERI AND that they’re able to make
ILLUSTRATED WITH THE DESIGNS us catch for a second.
CARY, M.A. FROM THE ORIGINAL
OF M. GUSTAVE DORÉ. New York: Cassell Doré had it.”
OF DANTE ALIGHIERI AND ILLUS-
Publishing Company, ca. 1890.
TRATED WITH THE DESIGNS OF M.
New edition. Large 4to. 9 1/2” x 12”. 304 pp.
GUSTAVE DORÉ. New York: Cassell, Petter,
Decorative brown cloth stamped in gilt and black.
Galpin and Co., ca. 1880.
All edges gilt. Illustrated throughout with full-
New edition. Folio. 10 1/2” x 13 1/2”. Deco-
page plate engravings by Gustave Doré, including
rative brown cloth stamped in gilt and black.
frontispiece. Corners and spine ends bumped,
All edges gilt. Illustrated throughout with the
mild rubbing, occasional age toning to edges
definitive full-page plate engravings by Gustave
of pages. Bit of rubbing to front board and top
Doré, including frontispiece with tissue guard.
of rear board. We also offer the c. 1880 Cassell
Slight fraying to spine ends, corners lightly
edition of Dante’s Inferno with Doré illustrations.
bumped, mild rubbing, occasional light foxing.
(Item 9). (Malan, 265). Very Good. $150.00
Bookplate of Scott Helm. Ffep creased. A hand-
some copy with spectacular illustrations. We
also offer the c. 1880 Cassell edition of Dante’s
Purgatory and Paradise (Item 10). Cloth. (Malan,
265). Very Good. $150.00
7
Circa 1890s 1892
Hand-Painted Binding A Fine Daybook
11. Gitner, Karl. DANTE’S GOTTLICHE 12. Lodovico. FIOR DA FIORE DALLE OP-
KOMODIE AUS DEM ITALIENISCHEN ERE DI DANTE. Firenze: G.Barbera, 1892.
VON KARL GITNER. Liepzig and Wien: Sm. 8vo. 5” x 6 3/4”. 300+ un-numbered pp.
Bibliographisches Institut, ca. 1890s. Parchment-colored leather exquisitely stamped
Sm.8vo. 5 1/4” x 7 1/4”. [i-v], vi-xxxii, [1-3], with scarlet and gilt fleur-de-lys and scrolls. In
4-172 pp. Bound in hand-painted vellum with original scarlet cloth dustjacket and matching
yapp edges. The stubs of four leather ties (now scarlet slipcase. Gilt floral endpapers and original
missing) are present. Elaborate painting of a gold red silk bookmark. Features a quote from the
dragon on a red background with a coat of arms works of Dante for every day of the year, each
in green. Titles in blue and green calligraphy. page with elaborate floral borders. Color title
Elaborate red and gold Florentine scrollwork on page and prelim. in the style of an illuminated
spine and lower board. Boards rubbed. Front end- manuscript. Bound by G. Giannini. Highly
paper beginning to detach from binding. Previous attractive book in fine condition with a fine dust-
owner bookplate (dated 1976) affixed to front jacket in a near fine slipcase. $750.00
endpaper. Else very good. Although it is undated,
the binding is similar to other psuedo-medieval
bindings made in Florence for tourists visiting
the place of Dante’s birth. Such bindings reached
their peak of popularity in the late 19th and early
20th century. $400.00
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