Search Results: Authors starting with M from Chartaphilus - Libri antichi e rari

8° (mm 149x98); pp. 128. Marca tipografica al frontespizio, silografia a piena pagina alla c. A2v. Marocchino moderno. Buon esemplare, tenuto anche conto della povertà tipografica dell'edizione.
Rarissima edizione popolare del Milione, di cui non si trova riscontro presso la bibliografia.
Come le altre, precedenti e successive, edizioni della versione toscana del Milione, il testo della presente discende dal manoscritto cosiddetto 'Ottimo' [Ms. II, IV, 88 della Bibl. Naz. Di Firenze, ant. Magliab. XIII, 104; provenienza: Crusca, 18].

4° (mm 204x138) ; cc. (8), cxxiiii, (4) [Errata e Registro]. Capilettera silografici. XVIII century brown half calf, gilt spine with raised bands, boards covered with coloured paper, title in gold on label, red edges. Light waterstains on the first leaves, light repair to the lower margin of the title-page, generally a very good, clean copy.
Provenance: XVIII century engraved armorial bookplate of the Martelli family of Florence, with motto "Sola virtus vera nobilitas", mounted on the front flyleaf facing the title; XX century ex libris on the verso of the front cover.
First edition.
Also in light of Mircea Eliade and Jack Zipes' studies about the "extraordinary symbiotic connection" between myth and fairy tale, Mariconda's Favole - featuring magic, enchantments, metamorphoses, fanciful beings, etc. - seems related more to the written history of the fairy tale than to the novella tradition (M. Eliade, Myth and Reality, New York 1963; J. Zipes, Fairy Tale as Myth/Myth as Fairy Tale, University Press… Read More

Complete series of 6 prospective copperplates engravings (each plate measures ca. mm 200x165) with strictly contemporary hand colouring. Very nice condition.
They scenery-like sheets create a perspective image if arranged one behind the other.
Appreciated by spectators attending from balconies, the view exhibits an extraordinary street circus with various animals: an elephant, bears, savants dogs playing comedies, acrobatic monkeys, etc.; trainers wear sumptuous oriental costumes.
Cf. https://www.finebooksmagazine.com/blog/miniature-theaters-martin-engelbrecht
A. Milano-W. Seitz, Numerazione dei diorami teatrali di Martin Engelbrecht, in La camera dei sortilegi. Autoritratto di una società nei diorami teatrali del '700, Mostra diretta da G. Strehler, Milano 1987, p. 61.

"Pulcinoelefante" is an Italian publishing house founded by Alberto Casiraghi (or Casiraghy).
The books are hand printed using movable types on the high-quality Hahnemühle paper produced in Germany. Annually "Pulcinoelefante" publishes hundreds of small plaquettes formed by a text (aphorism or short poem), accompanied by small engravings or original drawings made by artists. Each edition is published in a very small number of copies hors de commerce.
"[…] Piegata dal vento della vita, sub specie mutationis, l'opera di Alda Merini, in un flusso inarginato, si muove dalla narrativa alla poesia, dall'eros al mistico, dall'informe alla forma, dal terrestre al celeste, dal vissuto al sognato.
E' significativo notare il profondo legame di Alda Merini con le edizioni Pulcinoelefante di Alberto Casiraghy (edizioni veloci, stampate in giornata). Si attua una produzione sconfinata di Alda Merini, dove si riconferma un'intuizione consequenziale: una sorta di frase infinita nella temporalità, nella durata… Read More

Drawing on paper; cm 35,5 x 49,5 (the drawing) cm 45 x 58 (the - contemporary? - white sheet of paper); pencil, white lead and watercolor; pasted on a white sheet of paper (probably contemporary); with Tanto Gentile e Tanto Onesta Pare sonnet pasted on the passe-partout (previously hand written on the white sheet and later cut off); in good condition.
Dante is looking at Beatrice, who is pretending not to see him, denying him any form of greeting, and behind her two women, possibly her servants, are talking, peeking at the man. The artist here is probably depicting a scene inspired by chapter X of Dante's work La Vita Nova (The New Life), where he states that Beatrice stopped greeting him whenever he met her, leading him to despair ("la qual fu distruggitrice di tutt'i vizi e reina de le vertudi, passando per alcuna parte, mi negò lo suo dolcissimo salutare nel quale stava tutta la mia beatitudine"). This hypothesis is supported by the sonnet that the artist wrote on the lower write margin of the… Read More