Poetry

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Behn’s Only Original Volume of Verse

Behn, Aphra (1640-89)
Poems upon Several Occasions with a Voyage to the Island of Love. By Mrs. A. Behn.

London: Printed by R. Tonson and J. Tonson, at Gray 1684

Octavo: 17.6 x 11.5 cm. A8, (b)8, B-K8, L1; B-I8 (L1 bound last)

$18,000.00

The poems of the celebrated Aphra Behn, with nine prefatory poems in praise of Behn and her writings, including one by Thomas Creech and an anonymous poem sometimes attributed to Dryden. Aphra Behn, best known for her contributions to Restoration drama, was the first professional woman writer to produce a substantial body of work in English. “In her own period Behn was held to be a considerable author, famous as a playwright, propagandist poet and panegyrist, novelist, and translator (Janet Todd, ODNB)

“Through her literary life she was writing verses, though these were published in her own volumes primarily in the mid 1680s when she clearly needed money from projects outside the theatre.

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O’Donnell “Aphra Behn, an Annotated Bibliography of Primary and Secondary Sources” A18.1a; Wing B1757; Term Catalog 2, 73 (Easter 1684) Case “A Bibliography of English Poetical Miscellanies” 1521-1750), 184b

With Verses by Aphra Behn. A Fantastic, Large-Paper Copy

Behn, Aphra (1640-89); Aesop (ca. 620-564 B.C.); Barlow, Francis (1626?-1702)
Aesop’s fables with his life: in English, French and Latin. Newly translated. Illustrated with one hundred and twelve sculptures. To this edition are likewise added, thirty one new figures representing his life. By Francis Barlow.

London: Printed by H. Hills jun. for Francis Barlow, and are to be sold by Chr. Wilkinson at the Black-boy against St. Dunstan’s Church in Fleet-street, Tho. Fox in Westminster-hall, and Henry Faithorne at the Rose in St. Paul’s Church-yard, 1687

Folio: 36.3 x 22.8 cm. [8], 40; 40; 17, 2-221, [3] p. COLLATION: π1(printed title), a2, B-L2; B-L2, B-Z2, Aa-Zz2, Aaa-Ppp2.

$28,000.00

For this second edition of his magnificent production, Barlow commissioned Aphra Behn, then at the height of her popularity as a playwright and poet, to write verses to be engraved on the 110 plates illustrating the fables. In order to substitute Behn’s verses for those of Thomas Philipot (d. 1682), the lower area of the plate needed to be burnished down and the new verses engraved onto the plate in place of the earlier ones.

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Wing (CD-ROM, 1996), A703

The First Edition to include Sappho’s poem “Phainetai moi kênos îsos theoisin” in Conjunction with Catullus 51

Catullus, Gaius Valerius (ca. 84-ca. 54 B.C); Muret, Marc Antoine (1526-1585), editor
Catullus et in eum Commentarius M. Antonii Mureti.

Venice: Apud Paulum Manutium, Aldi filium, 1554

Octavo: *4, A-Q8, R10

$3,800.00

"In 1552 Muret lectured on Catullus and other Latin poets in Paris, perhaps at the College du Cardinal Lemoine or the College de Boncourt. Included in his large and enthusiastic audiences were several poets of the Pléiade -most notably Ronsard, his friend and near contemporary. Muret's lectures created a fashion for Catullan poetry. His own neo-Latin collection, Juvenilia (1552), contains several Catullan imitations, but Catullus is still more important in the poetry of the Pléiade, much of which appeared close on the heels of his lectures.

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Renouard 162/19; Adams C-1145; Schweiger (Latin) Vol. I, p. 84

Writing & Teaching Poetry in 15th c. Poland. With a Fine woodcut of the Author and his Students

Corvinus, Laurentius [Korwin, Wawrzyniec](ca. 1465–1527)
Magistri Laure[n]tij Coruini Nouoforensis, viri lepidissimi Compendiosa et facilis diversorum carminum structura, cu(m) exemplis aptissimis ac ad ungue(m) elaboratis, et postremo brevibus cognoscendarum syllabarum preceptis.

Cologne: Per Martinu[m] de Werdena, 1508

Quarto: 20 x 14.5 cm. [44] pp.

$4,500.00

An early edition (1st 1496), and the only edition with the woodcut of the author instructing his students, of this work on writing poetry by the important Silesian poet Laurentius Corvinus (born Laurentius Rabe and known in Polish as Wawrzyniec Korwin), well-known to historians of science as the man who assisted Copernicus in his first publication, a Latin translation from the Greek of the letters of Theophylactus, for which Corvinus provided two poems, one of which mentions Copernicus’ interest in astronomy.

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VD 16, C 5453; IA 145.627; Estreicher XIV, 420; Goluszka-M. P 205 See: Jacqueline Glomski, “Poetry to Teach the Writing of Poetry”, in Poets and Teachers: Latin didactic poetry and the didactic authority of the Latin poet from the Renaissance to the present: (Proceedings of the Fifth Annual Symposium of the Cambridge Society for Neo-Latin Studies, Clare College, Cambridge, 9-11 September, 1996)/ Edited by Yasmin Haskell and Philip Hardie. Also, “Laurentius Corvinus and the Flowering of Central European Humanism”, Terminus ix (2007), pp. 49-74

The First Aldine Dante

Dante Alighieri (1265-1321)
Le terze rime di Dante.

Venice: Aldus Manutius, August 1502

Octavo: 15 x 9.1 cm. 244 unnumbered leaves. Collation: a-z8, A-G8, H4. Leaf l2 is a blank.

$16,000.00

This is the issue with the Aldine anchor and dolphin device on the final leaf. Quires a-c were also completely re-set, the present copy having the headline 'INFERNO' on a2r, and 'INF' in all the other leaves of these quires.

The edition – titled here simply “Le terze rime” – signals a linguistic restoration of the work and an important advance in the recovery of the original text.

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De Batines, I, pp. 60-62; Mambelli, 17; Renouard, p. 34, no. 5; Ahmanson-Murphy, 59; Dionisotti-Orlandi, “Aldo Manuzio editore”, no. XXX; Adams, D-83; Gamba, 385

Illustrated with 100 Woodcuts - In a Contemporary Italian Binding

Dante Alighieri (1265-1321)
Opere del Divino Poeta Danthe con svoi Comenti : Recorrecti et con ogne diligentia novamente in littera cvrsiva impresse. In bibliotheca S. Bernardini. [With the commentary of Cristoforo Landino.]

Venice: Per Miser Bernardino Stagnino da Trino de monferra, 28 March, 1520

Quarto: [12], 441 leaves. Collation: AA12, a-z8, [et]8, aa-zz8, 2[et]8, [con]8, [rum]8, A-E8

$16,500.00

The book is illustrated with a full-paged woodcut of Dante with three scenes (1. wandering in the “selva oscura”, 2. beset by the lion, leopard and wolf, and 3. led by Vergil.) The poems are illustrated with 98 smaller woodcuts. In addition to the woodcuts that illustrate the text, there is a vignette of Adam & Eve, God, and the Serpent in the Garden of Eden that appears on the title page and again in the woodcut border on the first leaf of the Inferno.

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Adams D 90; Mambelli, Annali delle Edizioni Dantesche, no. 27; Colomb De Batines, Indice generale della Bibliografia dantesca I, 78; Sander, Le livre à figures italien, depuis 1467 jusqu’a 1530, 2325; Essling, Les livres à figures Vénitiens de la fin du xve siècle et du commencement du xvie, 529

With the Engraved Portrait of Donne

Donne, John (1573-1631)
Poems, by J.D. VVith elegies on the authors death

London: Printed by M[iles]. F[lesher]. for John Marriot, and are to be sold at his shop in St Dunstans Church-yard in Fleet-street, 1639

Octavo: 13.5 x 9.1 cm. [8], 300, [4], 301-388, [32] pp. A-Z8, Aa-Dd8. With the engraved frontispiece portrait.

$16,500.00

“The poetry of Donne represents a sharp break with that written by his predecessors and most of his contemporaries. Much Elizabethan verse is decorative and flowery in its quality. Its images adorn; its meter is mellifluous. Image harmonizes with image, and line swells almost predictably into line. Donne’s poetry, on the other hand, is written very largely in conceits— concentrated images that involve an element of dramatic contrast, of strain, or of intellectual difficulty.

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STC 7047; Keynes 80; Pforzheimer 297

A fine Copy with the Portrait of Donne

Donne, John (1573-1631)
Poems, by J.D. With elegies on the authors death. To which is added divers copies under his own hand never before in print.

London: Printed for John Marriot, and are to be sold by Richard Marriot at his shop by Chancery lane end over against the Inner Temple gate, 1650

Octavo: 14.2 x 9 cm. [8], 392, [32] p. A4, B-Z8, Aa8, (aa)8, (bb)4, Bb-Cc8. Lacking blank A1. With an added portrait frontispiece.

$9,000.00

“The poetry of Donne represents a sharp break with that written by his predecessors and most of his contemporaries. Much Elizabethan verse is decorative and flowery in its quality. Its images adorn; its meter is mellifluous. Image harmonizes with image, and line swells almost predictably into line. Donne’s poetry, on the other hand, is written very largely in conceits— concentrated images that involve an element of dramatic contrast, of strain, or of intellectual difficulty.

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Wing D1869; ESTC R32767; Grolier/Donne 86 (this copy); Grolier/Wither to Prior 290; Keynes, Donne 82

The Most Complete 17th c. Edition

Donne, John (1573-1631).
Poems, &c. by John Donne, late Dean of St. Pauls. With elegies on the Author's Death. To which is added divers copies under his own hand, never before printed.

London: printed by T. N., for Henry Herringman, at the sign of the Anchor, in the lower-walk of the New-Exchange. 1669

Octavo: 16.5 x 10.3 cm. (6), 414 pp. Collation: A4 (A1 blank and present),B-Z, Aa-Dd8 (Dd8 blank and present)

$7,500.00

“The poetry of Donne represents a sharp break with that written by his predecessors and most of his contemporaries. Much Elizabethan verse is decorative and flowery in its quality. Its images adorn; its meter is mellifluous. Image harmonizes with image, and line swells almost predictably into line. Donne’s poetry, on the other hand, is written very largely in conceits— concentrated images that involve an element of dramatic contrast, of strain, or of intellectual difficulty.

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Keynes 84; Wing D1871; Grolier, Wither to Prior #291

The Zanetti Hesiod: A Perfect Copy in Contemporary Pigskin by Konrad Küne

Hesiod (fl. CA. 700 B.C.)
Works, in Greek. Hesiodi Ascraei Opera et Dies. Theogonia. Scutum Herculis. Omnia cu[m] multis optimisque expositionibus. Hesiodi Ascraei Opera et Dies. Theogonia. Scutum Herculis. Omnia cu[m] multis optimisque expositionibus.

Venice: Bartolomeo Zanetti, for Joannes Franciscus Trincavellius, 1537

Quarto: 20.8 x 15 cm. [4], 188 leaves. +4, [alpha]-[psi]8, [omega]4

$15,000.00

First and sole Zanetti edition, an edition famous for its typographic beauty. This edition is of central importance, as it contains the first printing of the Greek scholia, and formed the basis of virtually all subsequent editions. Dibdin says that "this is a truly valuable, if not indispensable, volume in a library of any classical pretension." This edition includes all of the works ascribed to Hesiod: the "Works and Days", the "Theogony" and the "Shield of Herakles".

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Mortimer 233. Brunet III:140. Sander 3380; Adams H-470; Hoffmann II, 248; Bibliotheca Bacchica 345; Layton, pp. 33, 513-21; Schweiger I, 143; Graesse III, 262; STC Italian, p. 326.

The Third Aldine Homer

Homer
ΟΜΗΡΟΥ ΙΛΙΑΣ HOMERI ILIAS [and:] ΟΔΥΣΣΕΙΑ. Βατραχομυομαχια. Υμνοι. ϕβ. VLYSSEA. Batrachomyomachia. Hymni XXXII.

Venice: In aedibus Aldi et Andreae Asulani Soceri, 1524

Two octavo volumes: 16 x 9 cm. I. [1-7]8, A-Z8, AA-LL8, MM6 II. A-z8, A-H8, I4

$24,500.00

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Adams H-745; Ahmanson-Murphy 226; Renouard 98:1; Brunet III, p. 269; Graesse III, 326; Hoffmann ii 460

First Edition of Chapman’s Complete Translation. A Peerless Copy

Homer. Chapman, George (c. 1559-1634), translator
The Iliads of Homer prince of poets· Neuer before in any language (sic!) truely translated. With a co[m]ment vppon some of his chiefe places; donne according to the Greeke by Geo: Chapman

London: printed [by Richard Field] for Nathaniell Butter, ca. 1612

Folio: 28 x 18.5 cm. [π]1, *6(-*1, bank), A-Ff6, G8 (-Gg8, blank), [π]2.

$100,000.00

First edition of the complete text, in 24 books, of George Chapman’s celebrated landmark translation of Homer’s “Iliad”, one of the foundational works of Western literature. In this edition, the final 12 books appear for the first time and the first and second books are rewritten. “The unsigned sheet containing the sonnets to Viscounts Cranborne and Rochester and to Sir Edward Philips is a great rarity, only about six copies having it can be traced.

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STC 13634; ESTC S119234; Pforzheimer 169

A Fine Copy of the Ogilby Odyssey. With 24 full-paged Engraved Illustrations

Homer; Ogilby, John (1600-1676), translator
Homer His Odysses Translated, Adorn'd with Sculpture, and Illustrated with Annotations, by John Ogilby, Esq; Master of His Majesties Revells in the Kingdom of Ireland.

London: Printed by Thomas Roycroft, for the Author, 1665

Large Folio: 40 x 26 cm. π2 +1 (printed title page, privilege, dedication), A-C2, D-Z4, Aa-Zz4, Aaa1 (lacking final blank Aaa2). With an added engraved frontispiece (signed “Abr. Van Diepenbeck Inv.”), a full-paged engraved portrait of John Ogilby (by William Faithorne after the portrait by Peter Lely), full-paged engraved portrait of James Duke of Ormond (found only in a few copies), and 24 full-paged engraved plates, three of which are signed by Diepenbeeck. The engravers are Loggan, Willems, Hertoch, Caukercken, and Meyssens. The book was published by subscription.

$18,000.00

“John Ogilby studied the heroic epics, translated them faithfully, and included the numerous scholarly marginalia necessary to make his work respectable. But he had been an actor and impresario before becoming a translator and he retained an interest in the depiction of a scene as well as a sense of line and design. His emphasis on picture or illustration was unusually lavish for his time.

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Schuchard, “A Descriptive Bibliography of The Works of John Ogilby and William Morgan”, No. 12, pp. 50-1; Wing H 2554

The Koberger Horace

Horace. Horatius Flaccus, Quintus (65-8 B.C.)
Opera cu[m] quibusdam Annotat[i]o[n]ib[us]. Imaginibusq[ue] pulcherrimis aptisq[ue] ad Odarum conce[n]tus & sente[n]tias.

Strasbourg: Johann Reinhard, called Grüninger, 12 March, 1498

Folio: 298 x 222 mm. Collation: [*]6, A-V6, X-Z6, AA-II6, KK-LL8; [**]6

$60,000.00

This copy is partially rubricated and is annotated, in Latin, throughout in at least two contemporary hands. The early annotations are intact, having been spared by the binder’s knife, and consist of metrical notations, citations from other authors, and comments. There are also two glosses in Greek (leaves S6v and FF1r) as well as an apparent note in German (leaf FF6). An added manuscript index for the “Epistolae” is bound after the final text leaf.

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Hain 8898; Goff H 461; BMC I, 112; Polain 1989; Proctor 485; Walsh 182; Fairfax Murray (German) 205; Rosenwald Collection 188; Dibdin, Bibl. Spenceriana II, 87-95. For Grüninger, his illustrated books, and Locher’s edition of Horace, see Mark Morford, Johann Grüninger of Strasbourg in “Syntagmatia: Essays on Neo-Latin Literature in Honour of Monique Mund-Dopchie and Gilbert Tournoy (Humanistica Lovaniensia, XXVI) 2009

"Nobody" dares to criticize the luxury of the priests and the idle life of the Pope.

Hutten, Ulrich von (1488-1523); Weiditz, Hans (1495- ca. 1536), artist.
Outis. Nemo

Augsburg: Johann Miller, 9 September, 1518

Quarto: 20 x 15.5 cm. [24] pp. Collation: A-C4

$9,500.00

First printing of Hutten's second "Nemo", a substantially re-worked and enlarged version of the 1516 original. This edition has been augmented by 60 verses, mainly on political subjects, an introduction dedicated to Johannes Crotus Rubianus (1480-1545) and a letter to Julius von Pflug (1499-1564). It also marks the first appearance of the celebrated woodcut title page (described in detail below.

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Benzing, Hutten 62; Fairfax-Murray 211; Musper, "Petrarka Master" L7; Roettinger 7; Adams H 1237; BM STC German, p. 427; VD 16; H 6384; Worst Brock, German humanism 1480-1520 (2009), p 1200 f., No. 10.2; Röttinger, Weiditz, 7; Fairfax Murray 211; Richard C. Kessler Reformation Collection I, 114

The First Printed Illustrations of the Constellations

Hyginus, Caius Julius (fl. 2nd century)
Poeticon astronomicon. Edited by Jacobus Sentinus and Johannes Lucilius Santritter.

Venice: Erhard Ratdolt, 14 October, 1482

Quarto: 20 x 14.6 cm. Collation: a-f8 g10 (a1 blank, a2r dedication to M. Fabius [Quintilianus?], a3r text, g9r commendatory poem by Jacobus Sentinus, g10r poem and verse colophon by Johannes Santritter, g10v blank). 58 leaves. 31 lines. Types 3:91G (text), 7:92G (heading on a2r), 91 Gk (a few words). Title on a2r printed in red, 11-, 7-, 5- and 3-line white-on-black woodcut initials. 47 half-page woodcuts, probably designed by Johannes Santritter, of the constellation and planet figures.

$45,000.00

FIRST ILLUSTRATED EDITION of Hyginus’ “Poeticon Astronomicon”, illustrated with 47 half-page woodcuts of the constellations and the planets personified. The text is set in a pleasing Gothic. The text of Hyginus was first published in an unillustrated edition at Ferrara in 1475.

The “Poeticon Astronomicon” (more correctly, the “Astronomica”) is an ancient Roman work on the constellations chiefly based on the work of the Greek scientist Eratosthenes (3rd c.

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BMC V, 286; BSB-Ink H-459; CIBN H-334; Essling 285; Goff H-560; HC 9062*; Hind II, p. 462; IGI 4959; Klebs 527.2; Pollard/Perrins 31; Redgrave 30; Sander 3472

The Vision of Piers Plowman. In A Contemporary London Binding

Langland, William (1330?-1400?)
The vision of Pierce Plowman, nowe the seconde time imprinted by Roberte Crowley dwellynge in Elye rentes in Holburne. Whereunto are added certayne notes and cotations in the mergyne, geuynge light to the reader. And in the begynning is set a briefe summe of all the principall matters spoken of in the boke. And as the boke is deuided into twenty partes called passus: so is the summary diuided, for euery parte hys summarie, rehearsynge the matters spoken of in euerye parte, euen in suche order as they stande there.

Imprinted at London: by [Richard Grafton for] Roberte Crowley, dwellyng in Elye rentes in Holburne, The yere of our Lord, 1550

Quarto: 19 x 14 cm. [8], Cxvii leaves. Collation: *4 [par.]4 A-Z4, Aa-Ff4, Gg2 (with the final blank leaf present)

$27,500.00

“Few poems of the Middle Ages have had a stranger fate than those grouped under the general title of “The Vision of William concerning Piers the Plowman.” Obviously very popular in the latter half of the fourteenth century, the time of their composition, they remained popular throughout the fifteenth century, were regarded in the sixteenth by the leaders of the Reformation as an inspiration and a prophecy, and, in modern times, have been quoted by every historian of the fourteenth century as the most vivid and trustworthy source for the social and economic history of the time.

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STC 19907; Grolier, Langland to Wither, No. 154; cf. Pforzheimer 798 (the other “Second Edition” of 1550). For the binding, see Oldham, English Blind-Stamped Bindings, Plate XLVII, Roll no. 782.

One of the Greatest Woodcut Books of the Reformation

Luther, Martin (1483-1546); Sachs, Hans (1494-1576), attributed author; Hans Sebald Beham (1500-1550), artist
Das Babstum mit seynen gliedern gemalet und beschryben gebessert und gemehrt.

Nuremberg: Hans Guldenmund, 1526

Quarto: 20.5 x 16 cm. [44] pp. A-E4, F2

$34,000.00

One of the greatest –and scarcest- illustrated books of the German Protestant Reformation, illustrated with 74 fine woodcuts by the famed painter and engraver Hans Sebald Beham (1500-1550). Beham executed these woodcuts a short time before he was banished from Nuremberg, having been accused of heresy, blasphemy, and refusing to recognize the authority of the City council. The religious orders represented include the Dominicans (Predigers), Franciscans (Barfussers), Augustinians, the Brothers of Our Lady, etc.

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Benzing 2236; VD 16, P 363; Kuczinski 173; Pauli, Beham 1124-1180

“And Rome not able her own weight to beare”

May, Thomas (c.1595-1650); Lucan, Marcus Annaeus (38- 65 A.D.)
Lucans Pharsalia: or The ciuill warres of Rome, betweene Pompey the great, and Iulius Caesar. The whole tenne bookes, Englished by Thomas May, Esquire.

London: printed by Aug. Mathewes, for Thomas Iones, and are to be sold at his shop in St. Dunstanes Church-yard, and printed [by J. Haviland] for James Boler at the signe of the Marigold in Pauls Church-yard, 1631 and 1630

Octavo: 14 x 9.5 cm. I. a8, A-S8 T2. II. A-K8. With blank leaves A1, A2, and K8 in the second book present. . There are engraved title pages to both works; the first is tipped in. The second is integral to the collation. Complete.

$6,500.00

The English poet, playwright, and historian Thomas May had a remarkable life and career. He experienced royal favor during the early reign of Charles II, who referred to him on a notable occasion as “My poet”. In 1627 May published his greatest poetical work, a translation of Lucan’s Roman epic poem the “Pharsalia”. Written during the reign of Nero, the “Pharsalia”, which took as its subject the civil war between the would-be dictator Julius Caesar and the senatorial faction led by Pompey the Great, offered a subtle critique of imperial power and a warm nostalgia for republican institutions.

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STC 16888 and STC 17711

A Large Paper Copy of the First Illustrated Edition

Milton, John (1608-1674)
Paradise Lost. A Poem In Twelve Books. The Authour John Milton. The Fourth Edition, Adorn’d with Sculptures.

London: Printed by Miles Flesher, for Jacob Tonson, at the Judge’s-Head in Chancery-lane near Fleet-street, 1688 AND 1688

Folio 36 x 22.8 cm. I. [A]-B2, C-Z4, Aa-Xx4, Yy-Zz2, Aa2. II. A-R2; A-H4. With an added engraved portrait of Milton and 12 plates illustrating the first work.

$20,000.00

“The only major English literary work with important engraved illustrations in the 17th century is the first illustrated edition of ‘Paradise Lost.’” (Edward Hodnett)

"‘Paradise Lost’ is at once a deeply traditional and a boldly original poem. Milton takes pains to fulfill the traditional prescriptions of the epic form; he gives us love, war, supernatural characters, a descent into Hell, a catalogue of warriors, all the conventional items of epic machinery.

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I. Wing M2147; Shawcross 347; Coleridge 93b; Pforzheimer 720; Wither to Prior #607; Hofer, Baroque Book Illustration, 16. II. Wing M2154; Shawcross 348; Coleridge 170; Pforzheimer 721

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