Poetry

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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

$28,000.00

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.

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 Poems of Vittoria Colonna - The Best Edition

Colonna, Vittoria (1492-1547)
Le rime spirituali della illustrissima signora Vittoria Colonna Marchesana di Pescara. Alle quali di nuouo sono stati aggiunti, oltre quelli non pur dell’altrui stampe, ma ancho della nostra medesima, piu di trenta, ò trentatre Sonetti, no mai piu altroue stampati; un capitolo; et in non pochi luoghi ricorrette, et piu chiaramente distinte

Venice: Vincenzo Valgrisi, 1548

$7,500.00

Quarto: 20 x 15 cm. 120 pp. Collation: A-P4.

The first edition of Colonna's Rime had been printed in Parma by Viotto in 1538 and presented 145 poems of which 9 by other authors. The first Valgrisi edition (the first in 4to format and the first with the title Rime spirituali) had appeared in 1546 and included 180 poems. The important later edition edited by Rinaldo Corso in 1558 has only 158 poems.

The poetic production of Vittoria Colonna comprises two main characters: one profane, which consists of Petrarchan poems celebrating the love for her husband, the Marquis of Pescara Francesco D'Avalos, whom she married in 1509 and who died in battle in 1525; and one sacred, in which the personal pain for the loss of her husband is transfigured and becomes more and more universal up to a point in which it coincides with the pain of Christ on the cross.

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M. Bandini Buti, Poetesse e scrittrici, Rome, 1941, I, pp. 164-171; Gamba, no. 1325 (“più copiosa e meno scorretta”); Edit 16, CNCE12833; A. Erdmann, My Gracious Silence, Lucerne, 1999, p. 211.

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

$16,500.00

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

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

The First Aldine Dante

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

Venice: Aldus Manutius, August 1502

$16,000.00

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

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

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

$16,500.00

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

“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

$9,000.00

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.

“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 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

$15,000.00

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

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

$24,500.00

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

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

The First Illustrated Edition of Horace (1498)

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

$60,000.00

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

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

$9,500.00

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

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 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

$27,500.00

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

“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.

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

$20,000.00

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.

“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

The First Illustrated Edition

Ovid. Ovidius Naso, Publius (43 BC-17 AD); Sandys, George (1561-1629), translator
Ovid’s Metamorphosis Englished, Mythologiz’d, and Represented in Figures. An Essay to the Translation of Vergil’s Aeneis. By G.S.

Oxford: J. Lichfield, 1632

$12,000.00

Folio: 30 x 20 cm. π6 (-blank π1), ¶4, A-D4, E4 (-blank E4), F-Z4, Aa-Zz4, Aaa-Ttt4, Vvv2. (Leaves Q2 and 3 reversed.) With an added engraved title, engraved portrait frontispiece, and fifteen full-paged engravings.

This edition of Sandys’ translation also includes his translation of Book One of Vergil’s “Aeneid”. Sandys never accomplished the task of translating the entire poem. The work that he found “too heavy a burthen” was later taken up by his admirer, John Dryden. On the front end-paper of this volume is a manuscript quote, attributed to Dryden, which reads, “English poetry owes much of its present beauty to Sandys’ translations.

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Bandini Annales p. 180

A Lamentation of God over his vineyard, Devastated by Man's Laws and Deeds

Sachs, Hans (1494-1576)
Ein klag Gottes uber seinen Weinberg, verwüstet durch menschen lehr und Gepot.

Nuremberg: Georg Meckel, around 1560

$4,800.00

Quarto: 18.8 x 13.8 cm. [4] lvs. A4

Hans Sachs was a poet, playwright, writer of dialogues, and an accomplished Meistersinger of the Nuremberg School (Sachs is the title character of Wagner’s “Meistersinger”). A shoemaker and guild master by trade, Sachs was an ardent supporter of Luther and the Reformation. Sachs’ songs, plays, and dialogues address the social concerns of his day and the effects of the Reformation on the established social order.

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VD 16, S 399, Weller 88

The First Edition of Suckling’s “Fragmenta Aurea”

Sir John Suckling (1609-1642)
Fragmenta aurea. A collection of all the incomparable peeces, written by Sir John Suckling. And published by a friend to perpetuate his memory. Printed by his owne copies

London: Printed [by Ruth Raworth and Thomas Walkley] for Humphrey Moseley, and are to be sold at his shop, at the signe of the Princes Armes in St Pauls Churchyard, 1646

$4,500.00

Octavo: 18.2 x 11.3 cm. [8], 119, [7], 82, 64, [4], 52 p. With an engraved portrait (A1v.) by William Marshall. A4, A-G8, H4; A-E8, F4; A-D8; A-C8, D4.

First edition of the most important volume of Suckling’s work, comprising his poems, letters, the tragedies Aglaura (1637, rev. 1638) and Brennoralt (late 1639?), and the comedy The Goblins (1638–1641), and the “An Account of Religion.”

“Suckling made his mark as a poet, playwright, and belletrist, but he was a writer mainly by avocation, and by second nature.

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Wing S6126; ESTC R15688; Hayward 84; Pforzheimer 996; Studies in Bibliography 165; L. A. Beaurline and T. Clayton, "Notes on Early Editions of Fragmenta Aurea," Studies in Bibliography 23 (1970), pp. 165-170

The First Edition of Spenser’s Complaints. The Sole 16th Century Edition

Spenser, Edmund (ca.1552-1599)
Complaints. Containing sundrie small poemes of the worlds vanitie. VVhereof the next page maketh mention. By Ed. Sp.

London: Imprinted by Thomas Orwin for VVilliam Ponsonbie, dwelling in Paules Churchyard at the signe of the Bishops head, 1591

$35,000.00

Quarto: 18.5 x 14 cm. [184] p. Collation: A-Z4 (lacking final blank Z4)

The contents are as follows: 1. The Ruines of Time. 2. The Teares of the Muses. 3. Virgils Gnat. 4. Prosopopoia, or Mother Hubberds Tale. 5. The Ruines of Rome: by Bellay. 6. Muiopotmos, or The Tale of the Butterflie. 7. Visions of the Worlds vanitie. 8. Bellayes visions. 9. Petrarches visions.

“Of the nine poems in the volume, four are sonnet sequences while the others are in rhyme royal, ottava rima, sixaines, or couplets.

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Johnson, A Critical Bibliography of the Works of Edmund Spenser printed before 1700, No. 14; STC (2nd ed.), 23078; Pforzheimer, 968

Spenser’s Great Pastoral Eclogue. The First Edition, the Sole Separate Edition & The Only Edition to Appear in The 16th Century

Spenser, Edmund (ca.1552-1599)
Colin Clouts come home againe. By Ed. Spencer.

London: printed by Thomas Creede for VVilliam Ponsonbie, 1595

$27,500.00

Quarto: 18 x 13 cm. [80] p. Signatures: A-K4

With a dedicatory epistle to “The Right worthy and noble Knight Sir Walter Raleigh” dated “from my house of Kilcolman, the 27. Of December. 1591.” In addition to “Colin Clout”, this volume also includes Spenser’s “Astrophel: A pastorall Elegie upon the death of the most Noble and valorous Knight, Sir Phillip Sidney” (dedicated to Sidney’s widow, who had by then become the Countess of Essex); An untitled poem beginning “Ay me, to whom shall I complaine…” often referred to as “The dolefull lay of Corinda”; “The mourning Muse of Thestylis” (by Ludowick Bryskett); “A pastorall Aeglogue upon the death of Sir Phillip Sidney Knight” signed L.

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Ashley V, 194; Pforzheimer 967; STC 23077

The Lyon Vergil

Vergil (Publius Vergilius Maro) (70-19 B.C.)
Opera Vergiliana docte & familiariter exposita: docte guide[m] Bucollica & Georgica a Servio, Donato, Mancinello & Probo nuper addito, cum adnotationib[us] Beroaldinis, Aeneis vero ab ijde[m] pr[a]eter Mancinellum & Probu[m] & ab Augustino Datho in ejus principio, Opusculoru[m] pr[a]eterea q[uae]da[m] ab Domitio Calderino. familiariter vero o[mn]ia ta[m] opera q[uam] opuscula ab Jodoco Badio Ascencio

Lyon: Jacobus Saçon for Ciriacus Hochperg, 1517

$30,000.00

Folio: 30.8 x 21.5 cm. Collation: Pt. I: 216 lvs. Collation:*10, a-z8, aa-bb8, cc6 (cc6 blank). Pt. II: 342 lvs. Collation: ††8, A-Z8, AA-QQ8, RR-SS6, TT10

These blocks were cut for Grüninger’s 1502 edition of Vergil, the first illustrated Vergil. The book, edited by Sebastian Brant, was extraordinary in the number and variety of its illustrations. “Grüninger’s artist applied to the work a skilled hand and a lively imagination… The blocks must have passed to Saçon at Lyon shortly after the printing of the Strasbourg 1515 edition of Thomas Murner’s German translation of the ‘Aeneid,’ described in Murray’s catalogue of German books, vol.

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Brunet V 1282; Baudrier vol 12, pp. 344-346; Renouard, Badius Ascensius, vol. 3 p. 370-372, no. 11. Cf. Eleanor Winsor Leach, "Brant's and Dryden's Editions of Vergil" in "The Early Illustrated Book", pp. 176 ff.) and Rabb, Theodore K. "Sebastien Brant and the First Illustrated Edition of Vergil." in "Princeton University Library Chronicle 21", 1960: 187-99.

A Fine Large-Paper Copy of the First Edition

Vergil (Publius Vergilius Maro) (70-19 B.C.); Dryden, John (1631-1700)
THE WORKS OF VIRGIL: Containing His PASTORALS , GEORGICS, AND ÆNEIS. Translated into English Verse; By Mr. Dryden. Adorn’d with a Hundred Sculptures.

London: Printed for Jacob Tonson 1697

$20,000.00

Folio: 44.6 x 28.7 cm. [ ]2, A2, *4, **4, ***2, ****2, *****2, †2, ††2 x1, B-G4, [¶]4, [¶¶]2, H-T4, U2; (a)-(f)4, Aa-Zz4, Aaa-Zzz4, Aaaa-Ffff4, Gggg2, Hhhh-Iiii4, Kkkk2.

“Dryden’s translation of Vergil” says Pope, (whose own translation of Homer was inspired by Dryden’s work) “is the most noble and spirited translation I know in any language.”

“The book was published by subscription, a system of joint-stock patronage now coming into vogue. Dryden’s correspondence with [his publisher] Tonson showed a good many bickerings during the publication.

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Wing V-616; Macdonald 33A; Wither to Prior #325; Malone I.1.313; See John Barnard “The Large- and Small-Paper Copies of Dryden’s The Works of Virgil (1697)” in “Papers of the Bibliographical Society of America” {Columbia, SC} 92, no. 3 (1998 Sept): p. 259-71.

A Fine Copy

Vergilius Maro, Publius (70-19 B.C.)
P. Virgilii Maronis Opera interpretatione et notis illustravit Carolus Ruaeus Soc. Iesu… ad usum Serenissimi Delphini. Editio Secunda

Paris: Apud Simonem Benard, Ex Typographia Dionysii Thierry, 1682

$2,900.00

Quarto: 24.2 x 19 cm. [xxvi], 864, [clxxxviii] pp. Signatures: a4, e4, i4, õ1, A-5Q4, a-z4, [2d]a4 (lacking blank 2G4). With an added engraved frontispiece.

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Schweiger 1170-1171.