147 books for « homer a n f r g s »Edit

‎Ilias. Öfversatt af Marc Wallenberg. I-XII. Sången + XIII-XXIV Sången. (I.e. fully complete). - [FIRST COMPLETE SWEDISH EDITION OF THE ILIAD]‎

‎Stockholm, Olof Grahn, 1814-15. 8vo. Bound in one lovely, contemporary brown half calf binding with gilt and blindstamped ornamentation to spine. A bit of wear to spine and extremities, but overall an excellent copy, also internally. The errata-leaf has been strengthened at the top, blank margin. Bound with both half-titles, which are not always present. (16), 303, (1)" (4), 327, (1, - errata) pp.‎

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‎Scarce first edition of the first complete Swedish translation of The Iliad, Marcus Wallenberg's famous magnum opus, which constitutes the first full Scandinavian translation of any Homeric work and which in many ways introduced Homer to the Swedish public. The work exercised great impact upon the reading public of Sweden and came to be highly influential. It was both highly praised and the source of much controversy, over metrics and translation-principles in general. ""The first volume of Marcus Wallenberg's translation of the Iliad-which was going to be the first complete Swedish translation of the Homeric epics-appeared 1814… The reviewer in Stockholms Posten began by exclaiming ""A Swedish translation of Homer in metric verse!!"" He argued that the translation was a major achievement for Swedish literature and noteworthy for two reasons. Firstly, because of the source text. He describes Homer as the oldest and greatest poet in Greece and the world but says that he suspects that readers would be surprised by this description. This indicates that Homer was moving towards the top of the epic genre hierarchy and was overtaking Virgil, but that his position there was not quite uncontested yet. Secondly, because of the method of translating. The reviewer commends Wallenberg for choosing to make a faithful translation"" (Goldwyn, edt.: ""The Trojan Wars and the Making of the Modern World: Classical Reception Since Antiquity"", p. 161). At the turn of the 19th century, as Swedish translators of the classics began to question the old conventions governing translation, the Iliad became a locus of aesthetic contestation, and Wallennberg's great achievement became the centre of attention. But the translation not only played a central part in academic descussions about Homer, the classics, and translation-principles, it paved the way for an understanding of the Homeric epics in Sweden and placed Homer among the canonical authors that had otherwise been neglected. ""When the second volume of Wallenberg's Iliad appeared (1815), the whole Iliad was reviewed by Lorenzo Hammarsköld in Swensk Literatur-Tidning. Hammarsköld began by welcoming the translation and detailing the difficulties facing a Swedish translator of the Iliad, the main one being lack of interest and understanding for the Homeric epics among the Swedish readership. What Swedes of his time knew of Homer was, according to Hammarsköld, not much more than that Homer was sublime, majestic, and bold beyond description, but at times prosaic and unpolished, and that he, since he did not know of literary societies, could fall so far below epic grandeur, that he likened a king to a bull and a charming prince to a fly. Further, the Swedish public lacked in the education needed to properly appreciate the Homeric narrative and the beauty of his unaffected and unsentimental style. Therefore, Hammarsköld feared that ""a translation in the genuine and grand style"" would not be appreciated and that readers were likely to feel deceived, suspecting that a garrulous storyteller has been passed off as Homer and not know what to think of the translation at hand"" (ibid. pp. 171-72) The translation did in fact prove to be very popular indeed and he gave to the general Swedish public the opportunity of reading one of the greatest world classics in their own language. ""Marcus Wallenberg, lecturer in Greek in Linköping gymnasium and later bishop in the diocese of Linköping, was the author of the first complete Swedish translation of the Iliad (1814-1815) and the Odyssey (1819-1821). The preface to the first volume of the Iliad gives readers to understand that Wallenberg had been observing the translations of Homer with great interest. These, he says, had made him hope that it would appear soon in a complete Swedish hexametric translation, a translation so faithful that it would preserve the spirit of the original and reproduce the effect of the Greek verse.48 When no Swedish Iliad appeared, he started working on a translation of that sort, even though he had no intention of publishing it."" (ibid. p. 169)‎

‎Poetarum Omnium. Ilias & Odyssea. 2 vols. I. Ilias, Andrea Divo justinopolitano interprete, ad verbum translata. Herodoti Halicarnassei libellus, Homeri vitam fidelissime continens, Conrado Heresbachio interprete. cum Indice copiosissimo. Cum Gratia... - [THE EXTREMELY INFLUENTIAL ""VERSIO LATINA""]‎

‎Venice, Jacobus à Burgifrancho, 1537. 8vo. Bound in two nice later (18th century) half vellum bindings with gilt leather title-labels to spine. Lovely 18th century patterned paper over boards. a bit of overall wear, but generally very nice. Internally very nice and clean, with only very light occasional dampstaining. Small wormholes to blank margins, some neatly restored. Overall a very nice, clean, and fresh set indeed. Fully complete (possibly with the exception of blanks in the Odyssey). Iliad: (22), 277, (1, colophon) ff. + two blank leaves. Title within woodcut ornamental border, woodcut initials, large woodcut printer's device to verso of colophon-leaf. Odyssey: 251, (8, -index), (1, -colophon) ff. Title within woodcut ornamental border, woodcut initials, large woodcut printer's device to verso of colophon-leaf. The 8-leaf index has been misbound and is placed between ff. 184 and 185.‎

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‎Scarce first printing of the first Divo-editions of The Iliad and The Odyssey, the first printed official ""Versio Latina"" of Homer, being the first complete Latin text of the Iliad and Odyssey available in print and one of the most influential versions of these two masterpieces ever to appear. ""The Versio Latina, or Latin translation of the works of Homer, has existed since the 14th century, but was first printed, under the name of Andreas Divus, in 1537. It is a crib, to give it no finer name, but a crib which had immense influence, being the first introduction to Homer for generations of mediaeval and early modern scholars."" (Introduction by Hefyd to the Libri Vox-version of Book 6 of the Odyssey). While several other versions of the Iliad and the Odyssey had appeared earlier, Divo's Latin translation of both works together, with life of Homer by Herodotus in Latin version by Konrad Heresbach, and with the Batrachomyomachia and Homeric hymns in Latin versions by Aldus Manutius and Georgius Dartona, came to greatly dominate Homeric reading in the 16th century and became one of the very most influential versions of the Homeric corpus ever to appear. This came to be the standard Latin version of Homer for centuries to come. It was this version of the texts that Chapman for his translation into English in 1598, and it was used directly by Ezra Pound in his long poem ""The Cantos"" more than three centuries later. ""The first half of the sixteenth century witnessed an explosion of Homeric texts in print, including the influential Hervagius editions by Joachim Camerarius and Jacobus Micyllus (Basel, 1535 and 1541) and four Strasbourg editions (by Johannes Lonitzer and Wolfgang Capito) between 1525 and 1550 alone. But it was the production of Latin, as well as bilingual Greek-Latin, editions during this period that helped to broaden familiarity with Homer among learned humanists and lay readers alike. [...) Sebastian Castellio' s 1561 Greek-Latin edition of Homer was clearly intended for educational purposes, as were Crispinus' s editions (Geneva, 1560 ? 1567), which advertise on their title pages that they contain a "" literal Latin version set against [the Greek]"" (Latina versione ad verbum e regione apposita). Yet it was another ad verbum Latin translation of the Iliad and Odyssey, by Andreas Divus, that came to dominate during the sixteenth century. First printed in two Venice editions of 1537, one by Melchior Sessa and the other by Jacobo Burgofranco, both with a preface by Divus' s fellow Capodistrian humanist Pier Paolo Vergerio, this Latin crib was later reprinted by the jurist Obertus Giphanius (Hubert van Giffen, 1534 ? 1604) and then used (via Crispinus' s 1570 Geneva edition) as the foundation for Johannes Spondanus' s (Sponde, Jean de, 1557 ? 1595) Latin text in his 1583 Homeri Quae Extant Omnia, a bilingual edition with extensive commentary whose Greek text was the 1572 Strasbourg edition of Giphanius (Sowerby 1996). Although Divus' s translation was the first complete Latin text of the Iliad and Odyssey available in print, its originality has been questioned, given the many close parallels it shares with the much earlier translation by Leontius Pilatus (d. 1366), a translation produced at Boccaccio' s request and subsequently sent to Petrarch."" (Pache, edt.: The Cambridge Guide to Homer, 2020, p. 495). Each volume is scarce in itself, but it is extremely rare to find both volumes together and fully complete. Adams H770 Hoffmann II: 333 Graesse III:332‎

‎Les dix premiers livres de l’Iliade. traduictz en vers françois par M. Hugues Salel. - [THE FIRST SUCCESFUL VERSION OF THE ILIAD IN MODERN FRENCH VERSE]‎

‎Paris, (Jehan Loys, for:) Vincent Sertenas, 1545. Small folio. Nice eighteenth century full calf binding with six raised bands to richly and elegantly gilt spine (matching the style of the illustration-borders) and triple gilt line-borders to boards., spine richly gilt with seven raised bands. A bit of wear ti extremities. Title-page has been professionally restored and re-enforced, and the upper 3 cm with the first line of the title has been reinstated. Otherwise, the copy is in excellent condition, with only very mild, light brownspotting, clear, bright paper, and good margins. CCCL, (1) ff. Roman type, italic side-notes, translator's note to the reader in verse and errata on final, unnumbered leaf. Colophon on verso of last leaf, with Loys' large woodcut device, title woodcut of Homer as the Fountain of Poetry (14,2 x 10,4 cm.), ten woodcuts, one at the beginning of each book (the first the same size as the title-llustration, the rest ab. 8,6x8,6 cm.) and all set within the same four-piece ornamental border, the upper border containing the French royal arms, the lower a small coat-of-arms (possibly Salel's), lovely large initials.‎

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‎Very rare first edition of Salel's groundbreaking translation of The Iliad, constituting the first serious attempt at a modern verse rendering of either the Iliad or the Odyssey and one of the most important Homer-translations ever made. This first successful version of the Iliad in modern French verse served as the basis for other early vernacular translations, perhaps most famously the first English (Arthur Hall, 1581), which is a direct translation of Salal's. This splendid work is furthermore renowned for its beauty and is considered ""one of the handsomest books printed at Paris"" (Fairfax Murray). The translation includes the first 10 books of the Iliad. Salal died, before he could finish the remaining books, which were translated by Amadis Jamyn and published in 1577. ""Hugues Salel was a compatriot of Clement Marot, Eustorg de Beaulieu, and Olivier de Magny. He was born, according to the Abbé Goujet, toward the end of 1504, in Casals, Quercy, in P6rigord (Cahors). He is therefore, like several of the poets of the first half of the century, a man of the South. Salel began writing verse at a very early age. At the order of the king, Francis I, he undertook a translation of the Iliad. As a reward he was made ""valet de c hambre'"" of the King, and in 1540 we find him as the first ""abbé commendataire"" of the abbey of Saint-Chéron of the diocese of Chartres. From letters of the King, dated from Fontainebleau in 1544 (January 18), we learn of the permission granted to Salel to publish his translation of the Iliad""… (Hugues Salel, Poet and Translator (uchicago.edu)) ""The history of the first translations of the Homeric poems into the main European languages is fascinating, for it often reveals both the political and cultural mood of the recently created European nations. With the multiplication of printed editions of the poems, an increasingly larger pool of scholars made enthusiastic attempts to translate an ancient language into a new idiom. These new versions were not only philological achievements at that time but also a reason for national pride, since an ancient epic could be made alive within the context of new national exploits. The second half of the sixteenth century represents the high point in the assimilation of Homer into French humanist culture. Unlike England… France, and particularly Paris, quickly followed Italy's example to provide its own Homeric texts... This trend was particularly strong after the founding of the Còllege de Lecteurs Royaux by François I in 1530. This institution was established to teach the three ancient languages-Greek, Latin, and Hebrew-and to provide its students with editions and commentaries of ancient texts. Moreover, French translations also contributed to the awareness of the Homeric epics. The first successful version in modern French verse was made by Hugues Salel who translated the first ten books of the ""Iliad"" (From the exhibition ""Translating Homer"", Curated by Pablo Alvarez, Special Collections Library). Ezra Pound in his essay on Salel calls this translation of Homer ""delightful… he has authenticity of conversation as would be demanded by an intelligent audience not yet laminated with aesthetics"" capable of recognizing reality. He has the repetitions of the chanson de gestes. Of all the French and English versions, I think Salel alone gives any hint of some of these characteristics' (Homer: Printed editions of the Iliad and Odyssey in Greek and in Translations and Landmarks in Homeric Scholarship). ""The first serious attempts at a modern verse rendering (of the Iliad and Odyssey) were made in France by Hugues Salel, with his 1545 version of the Iliad"" (Gilbert Highet, The Classical tradition: Greek and Roman Influences on Western Literature, p. 114). The book is renowned for its splendid woodcuts, one at the beginning of each book. These woodcuts are set within magnificent ornamental borders containing the French royal arms and ""are clearly influenced by Geoffrey Tory with their lack of shading and outline depiction of the figures, and may be the work of the Maître à l'F gothique (Brun's appellation), Mortimer's F artist (sometimes identified as the Lyonese printer François Fradin), whose woodcuts illustrate several of Denys Janot's imprints. The italianate style introduced into the French book by Tory, and continued in volumes from the press of Denys Janot, reaches its height in these illustrations."" (Mortimer). The work is very rare, and we have only been able to locate three complete copies sold at aution over the last 50 years. Brunet III, 290Harvard/Mortimer 293‎

‎Odyssea, Das seind die aller zierlichsten und lustigsten vier vnd zwantzig buecher des eltisten kunstreichesten Vatters aller Poeten Homeri von der zehen jaerigen irrfart des weltweisen Kriechischen Fürstens Vlyssis beschriben unnd erst durch Maister ... - [THE FIRST TRANSLATION OF THE ODYSSEY TO ANY MODERN LANGUAGE]‎

‎Augsburg, Alexander Weissenhorn, 1537. Folio. Bound in a late medieval liturgical manuscript-leaf of vellum with handpainted capitals in blue and red, over cardboard-binding, and housed in a vellum-box. Title-page with a small paper-restoration to the blank, outer margin, far from affecting printing or illustration. Light brownspotting throughout, but overall a truly excellent copy with no significant flaws. The woodcuts are all clear bright. (6), CII ff. Large woodcut title-illustration and 18 large woodcut illustrations in the text (measuring 10,8x14,3 cm.).‎

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‎Extremely scarce first edition, first printing (with the 1537-title-page), of the very first translation of the Odyssey into any vernacular language. This monumental work represents a milestone in the history of classical literature and marks the beginning of the dissemination of the Homeric works to a wider Renaissance-audience. Not only is this the first German translation, in the exceedingly scarce first printing, and the first translation into any vernacular language, of one of the most important works in the history of literature, antiquity, and Western culture - one of the oldest extant works of literature still read by contemporary audiences -, it is also the very first edition of any Homerian work to appear in any language other than Greek or Latin, and as far as we can see, also the first illustrated edition of this masterpiece to appear, containing the very first printed illustrations of Homer's Odyssey. Together with the Bible, Homer's Odyssey constitutes one of the most influential texts in world history, and the present edition constitutes the forerunner of the thousands of translated editions available today. ""This is the first modern-language translation of the ""Odyssey"". Thirty printings of Latin translations of the Odyssey and Iliad had been produced in German-speaking territories before it, and Schaidenreißer's translation represents the Humanist push for the dissemination of ancient texts to an audience beyond traditional learned circles.Translators feared that the less educated could misunderstand or misuse classical thought, but believed the benefits were great enough to attempt the undertaking. For these reasons, 16th-century translators took steps to ensure a 'proper' understanding of classical authors. Schaidenreißer (ca. 1500-1573) employs a contextualizing introduction and illustrations that highlight the most pedagogically useful content to make the story relevant to readers of Reformation-era Germany and to downplay morally ambiguous content."" (From the exhibition at the Beineke-library, Yale). The book is wonderfully printed, on large paper of excellent quality, and with many large woodcut illustrations. The illustrations, which are of enormous importance in the history of the reception of the Odyssey, are attributed to the school of Hans Weidiz (Röttinger) or Jörg Breus. ""The ""Iliad"" and the ""Odyssey"" have inspired artists in all periods and mediums. The dramatic scenes and detailed descriptions invite visual representation and stimulate creative interpretation. Ancient artists depicted scenes from the Homeric epics on vases, wall paintings at Pompeii, and miniature marble Roman tablets. A handful of surviving illustrated manuscripts suggest the possibilities for illustrating and decorating the texts.Since the sixteenth century, artists and sculptors have portrayed many scenes and characters from the Iliad and the Odyssey as both narrative and allegory. Giulio Romano, Peter Paul Rubens, Angelica Kauffmann, Nicolas Poussin, Claude Lorrain, Eugène Delacroix, Auguste Rodin, Georgio de Chirico, Henri Matisse, and Andy Warhol (after de Chirico) are just a few examples.Early printers of Homer focused on making the texts of the epics available for study rather than producing expensive illustrated editions. It didn't take long, however, for printers to discover that illustrations could expand their audience and potential profits."" (University of Chicago Library). The present edition represents the earliest example of this endeavor considering the Odyssey and inscribes itself in an ancient tradition that goes back to early Greek vases. The philologist, author, and humanist Simon Schadenreisser (1497-1572) is today primarily remembered as the seminal first translator of the Odyssey into a modern language and thus as the founder of the tradition of translating Homer. ""Schaidenreisser's prose translation of the ""Odyssey"" represents an obviously important landmark in the reception of the literature of antiquity in German sixteenth century"" (""Odyssea. Zu Teütsch transsferiert durch Simon Schaidenreisser. Faksimiledruck der Erstausgabe Augsburg 1537"", ed. by Günther Weydt and Timothy Sodmann (Book Review)). ""In German-speaking lands, the Odyssey initially fared much better than the Iliad, perhaps because Odysseus’ s adventures could be packaged as a hybrid of travel narrative and popular romance. A 1570 reprint of the 1537 German translation of the Odyssey by Simon Schaidenraisser promises its readers ""a beautiful, useful, and funny description of the life, luck, and misfortune"" (ein schone nutzliche und lustige Beschreibung von dem Leben, Gluck und Ungluck) of its hero, while the original 1537 translation advertises the poem as ""very delicate and funny"" (aller zierlichsten und lustigen), phrasing that accords with the common tendency (stemming from Aristotle [Poetics 1453a]) to view the Odyssey as a comic poem, or at least as a ""tragedy with a happy ending"" (tragedia a fin lieto), as the Italian literary critic Giraldi Cinzio termed it (Cinzio 1554, 220 - 4)"" (Jessica Wolfe in: Cambridge Guide to Homer, p. 497). The first edition of this landmark printing is of the utmost scarcity. We have not been able to locate one single complete copy for sale at auctions within the last 50 years anywhere in the world. OCLC lists three copies worldwide, two in the US, one in the UK. Goedeke II: 319,3Graesse III: 334 Moss: I, 542 (""This is by no means of common occurrence"") Not in Adams" not in STC (merely second issue)‎

‎Il primo libro de la Iliade d'Homero, tradotta di Greco in volgare per M. Francesco Gussano. - [THE EARLIEST KNOWN VERSION OF ANY PART OF THE HOMERIC CORPUS TO APPEAR IN ITALIAN]‎

‎Venice, Trino di Monferrato, 1544. Small 8vo (15x 10 cm.). Bound in a late 17th century manuscript leaf of vellum, with neat decorative handwriting. Title-page with a closed tear, affecting the ""R"" in the title, but with no loss. Small, restored marginal wormhole to outer blank margin of all leaves, far from affecting text. Title-page a little dusty, otherwise very nice throughout. A well preserved and charming copy. Old owner's signature (""Giovanni de Brignoli"") to verso of title-page. Large woodcut device to title-page. 23 ff. + 1 blank leaf at end.‎

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‎Exceedingly scarce first edition of the very first translation of any part of the Odyssey or the Iliad to appear in Italian translation. This slim volume constitutes a milestone in the history of the Homer-reception and is the earliest known version of any part of the Homeric corpus (naturally not counting the Batracomiomachia) to appear in Italian. The Italians had to wait another 20 years for another part of the Homeric corpus to see the light of day in their own language. ""There is no doubt that Italy played a central role in the diffusion of the Homeric text among Italian humanists and the rest of Europe. It seems, however, that at the end of the sixteenth century, French scholars and publishers were the ones to take over Italy's leadership and advance Homeric studies in Europe. The first translation of Homer into Italian is the version of book 1 of the Iliad by Francesco Gussano, published in Venice in 1544. The first edition of Lodovico Dolce's translation in octaves of both the Iliad and the Aeneid was published posthumously in 1570. "" (Translating Homer"", Curated by Pablo Alvarez, Special Collections Library). ""In Italy, Homer's entry into the vernacular was far slower: partial translations of the ""Iliad"" dribbled out in 1544 (Gussano), 1564 (""Iliad"" 1-5, Paolo la Badessa), 1570 (""Iliad"" I, Luigi Groto Cieco)... But a complete Italian Iliad did not appear until ... 1620."" (Jessica Wolfe in: Cambridge Guide to Homer, pp. 496-97). The work is of the utmost scarcity, and we have not been able to trace a single copy at auction anywhere in the world within the last 50 years at least.According to OCLC, only six libraries worldwide own a copy, four being in the US, and two in the UK. Moss: I, 534 (""A very rare edition"").‎

‎De Iliaden: Of Beschrijving von d'Oorlog tusschen de Grieken en Trojanen, om de Schaking en wechvoering van Helena. Nieuwelijks door J.H.Glazemaker vertaalt en met Kopere Platen verciert. - [FIRST COMPLETE EDITION OF THE ILIAD IN DUTCH]‎

‎Amnsterdam, Rieuwersz, 1658-54. 12mo. Bound in one contemporary full vellum with yapp edges. Slight soiling to spine, but otherwise completely fresh and clean copy, both in- and ex-ternally. Engraved frontispiece (portrait of Homer), (22), 454 pp. + 1 blank leaf" 480 pp. + 24 engraved plates. An excellent, completely fresh and unsophisticated copy in its first binding. ‎

‎Scarce first complete edition of Homer's Iliad in Dutch, being the first edition of Glazemaker's monumental translation. Before the present edition, books 1-12 had appeared in a translation by Karen van Mander. Glazemaker undertook the task of translating books 13-24 to complement van Mander's unfinished translation. Glazemaker's translation of books 13-24 appeared in 1654, before his translation of books 1-12, which he published in 1658. Jan Hendriksz Glazemaker (1619/20-1682) was a famous Dutch translator, particularly noted for his translations of the writings of Spinoza and Descartes, but also renowned for his excellent translations of classical masterpieces, like the Iliad. He is considered the first professional translator into Dutch. Glazemaker was arguably the most famous translator of his time and must be credited with spreding much knowledge among the non-scholarly Dutch-speaking audience. ""He was a close friend of Spinoza, as was his other friend, Jan Rieuwertsz, the publisher of most of Glazemaker's translations. Both Glazemaker and Rieuwertsz were members of the so-called Flemish Doopsgezing Singelkerk congregation, generally called ""near the lamb"". Rieuwetsz's reputation too was deeply suspect in the eyes of the Calvinist clergy. It was a public sectret that in his bookshop - ""the meeting place of all sorts of heretics and other riff-raff"" - all writings could be freely purchased there, even those which God, Calvin or the old Menno abhorred and prohibited: if not in the open, then at least from underneath the counter."" (P. Visser: L'Honneste Femme, in ""Sisters. Myth and Reality of Anabaptist, Mennonite. And Doopsgezind Women"" p. 190). ‎

‎C. Cornelii Taciti opera omnia. Suivi de : Index in C. Corn. Taciti opera omnia.‎

‎ 1790 London, M. Ritchie & J. Sammells, 1790, 4 tomes en 4 volumes, in-8 de (4)-XLIV,316 pp. (portrait gravé de Henry Homer en frontispice) ; (2)-356 pp.; (2)-339-(1)-55-(20) pp. ; le 4e tome d'index chez le même éditeur mais à la date de 1794, il n'est pas paginé mais contient environ 500 pages, relire de l'époque de plein veau fauve glacé, dos à nerfs soulignés de filets à froid et ornés de fers dorés, encadrements de double-filets dorés sur les plats, tranches jaspées, belle impression du texte sur papier velin fort, très bon exemplaire.‎

‎Rare édition des oeuvres de Tacite donnée par l'érudit et éminent universitaire de Cambridge, Henry homer (1753-1791). Ex libris arorié gravé : William G. MACK L. L. B. surmonté de la devise : "IN ESPERANZA ". ‎

‎Ilias. Adjicitur in Calcem Interpretatio Latina. Duo volumina.‎

‎London, J. & F. Rivington, T. Longman, T. Cadell, & E. Johnston, 1774. 12mo. Bound in two contemporary full calf bindings with gilt spines. Gilt title labels and five raised bands to spines. Edges of boards gilt. Insignificant wear to capitals and edges. Ownership signatures to front free endpaper. Engraved frontispiece portrait of Homer. Title pages printed in black and red. A few scattered marginal notes in pencil, otherwise clean. (8),248,176249-511,(13),177-367,(1) pp. ‎

‎A neat copy of a later revised edition of Joshua Barnes's edition and Latin translation of Homer's Iliad. The book is presumably a slightly altered pirate edition of Tonson and Watts's 1722 edition, indicated by their printer's device on the title page. ‎

‎The graphic art of Winslow Homer‎

‎New York, The museum of graphic art 1968 In-4 relié. Illustrations en noir. Livre en anglais. Très bon état d’occasion.‎

‎ Très bon état d’occasion ‎

‎Spectrum. Volume IV Winter 1960 Number 1‎

‎Santa Barbara University of California 1960 in-8° Agrafé ‎

‎Samuel Beckett, Hugh Kenner, Lee Gerlach, Homer Swander, Edward W. Loomis, Alan Stephens, harles. Tomlinson, Russell McClain, Barbara Hull. Très bon 0‎

‎The Gandhi Reader. A source book of his life and writings, edited by Homer A. Jack. ‎

‎Bloomington Indiana University Press 1956 Un volume in-8 pleine toile jaune, tranche de tête noire, titre noir à l'oser, 532 pages, texte en anglais. Bon état, envoi d'Homer A. Jack. ‎

‎ La librairie est ouverte du mardi au samedi de 9h30 à 12h30 et de 13h30 à 19h00. Commandes par courriel ou téléphone. Envoi rapide, emballage soigné. ‎

‎Hsüntze : The Moulder of Ancient confucianism‎

‎Londres, Arthur Probsthain, 1927, in-12, 308 pp, Cartonnage éditeur bleu, dos long, Édition originale de la thèse pour le doctorat d'Homer Dubs relative à la vie et l'oeuvre de Xun Zi, un penseur confucéen ayant vécu au IIIe siècle avant J.C. Diamétralement opposé à Mencius, il pense que la nature de l'homme est mauvaise et que seule l'éducation peut y remédier. Éducation qui se fait par imitation des actions, des gestes de l'homme sage et non tant de sa parole. C'est donc une philosophie rationaliste et réaliste dont l'influence se fera particulièrement ressentir sous la dynastie Han avant de progressivement disparaître sous les Tang. Coins et coiffes frottés, petites taches. Couverture rigide‎

‎Bon 308 pp.‎

‎The Complete Films of James Cagney.‎

‎Secaucus Citadel Press 1989 1 vol. broché in-4, broché, couverture illustrée, 253 pp., nombreuses photos en noir. Texte en anglais. Tirage de 1989, coupure restaurée à la couverture, sinon en bon état. Exemplaire provenant de la bibliothèque d'Alain Resnais.‎

‎The Complete Films of Marlene Dietrich.‎

‎Secaucus Citadel Press 1992 1 vol. broché in-4, broché, couverture illustrée, 222 pp., nombreuses photos en noir. Texte en anglais. Tirage de 1992, en très bon état. Exemplaire provenant de la bibliothèque d'Alain Resnais.‎

‎The Films of Ginger Rogers.‎

‎Secaucus Citadel Press 1984 1 vol. broché in-4, broché, couverture illustrée, 256 pp., nombreuses photos en noir. Texte en anglais. Tirage de 1984, en très bon état. Exemplaire provenant de la bibliothèque d'Alain Resnais.‎

‎THE LITTLE BOOK OF HERM S ‎

‎, Welbeck , 2022 Hardcover, 160 pages, ENG, 185 x 130 mm, NEW, full of coloured pictures . ISBN 9781802790115.‎

‎The iconic bags, the instantly recognizable packaging, the celebrity fans - H rmes is the last word in luxurious accessories. Through the generations, Herm s have created innovative and exquisite accessories for the most glamorous customers. From their nineteenth-century saddlery workshop to 1960s Paris and beyond, Herm s has graced the arms and wardrobes of style icons from Grace Kelly and Jane Birkin to Victoria Beckham and Kim Kardashian. Little Book of Herm s tells the story of the evolution of the House of Herm s, through beautiful illustrations of the most coveted items and authoritative text by fashion historian Karen Homer.‎

‎Homer Watson 1855-1936 Paintings and Drawings / Peintures et dessins‎

‎ Galerie nationale du Canada Ottawa 1963 in-4 illustré, n.p. Couverture à rabats, illustrée couleurs. :: Catalogue d'expo. Texte en français et en anglais de J. Russel Harper et de l'artiste (Letter to Arthur Lismer). :: Agrafé. Bon état. ‎

‎Homer Odyssee. Die Phaiakengesänge VI-IX. In berndeutsche Sprache übertragen von A. Meyer.‎

‎Bern, Schriftenreihe des kantonalen Amtes für berufliche Ausbildung, 1951, in-4to, front. + 85 S., Original-Pappband, mit Schuber.‎

‎The Key of Destiny, A sequel to The Key to the Universe, transcribed by... ‎

‎New York, E.P. Dutton & Company, 681 Fifth Avenue, 1919, in-8vo, 2 ll. (half title, fontispiece with a black & white portrait of F. Homer Curtiss), + X (title, preface, table of contents, list of illustrations, foreword) + 1 leaf (half-title) + 328 p, clothbound‎

‎Marlene Dietrich‎

‎Henri Veyrier 1974 In-4 broché, couv. illustrée en coul., 223 pp. Nb photos en n & b dans le texte. Bon état d’occasion.‎

‎Trad. de l’Anglais par Henri Daussy. “Une biographie abondamment illustrée signée Homer Dickens. Un panorama de tous ses films et une remarquable galerie de portraits.” (Billet du CNC) Bon état d’occasion ‎

‎Homer’s Ilias (übersetzt) von Johann Heinrich Voss von 1ten bis 24. Gesang. 2 Bde. ‎

‎Wien u. Prag, beij Franz Haas, 1800, in-8vo, 406 S. / 448 S. Mit 2 gestoch. Titeln mit Vignette u. 2 gestoch. Frontisp. von Weinrauch nach Kininger, hs. Widmung auf Vorsatz, Hellbrauner Kalbsleder d. Zeit mit Supralibros Familien-Wappen auf alle Buchdeckeln mit Text ‘Bene Meritis’, Goldschnitt.‎

‎ Goedeke IV,1,1069,21.- Nachdruck der bekannten Übersetzung von 1793, zu der neben der 'Ilias' auch die 'Odyssee' gehörte. Image disp.‎

‎Einleitung in die erklärenden Anmerkungen zum Homer, von Johann Heinrich Just Köppen. Nach dessen Tode durchgesehen und verbessert vom D. Friedrich Ernst Ruhkopf.‎

‎3 Teile in 1 Band. Hannover, Hahnschen Hof-Buchhandlung, 1821. 8°. VIII S., (1) Bl., 178 S., (1) Bl. Pappband der Zeit mit Kleisterpapierüberzug.‎

‎Teil I: Über Homers Leben. - Teil II: Über Homers Gesänge. - Teil III: Über die Ilias. - Mit altem handschr. Namenszug auf dem Vorsatz. Durchgehend leicht sockfleckig. Einband berieben.‎

‎The iliads of Homer Volume II‎

‎J.M. Dent. 1898. In-16. Relié. Etat d'usage, Coins frottés, Dos abîmé, Papier jauni. 318 pages. Signet conservé. 2ème plat désolidarisé. Texte en anglais. Frontispice en noir et blanc, sous serpente. Dos frotté, fané.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎ Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Iliada Gomera. 2 Tomos.‎

‎St.-Petersbourg, 1861. Small 8vo. Bound in 2 contemp. full cloth. Gilt spines. Rubbed. Wear to spine-ends. 360390,X pp. Many litographed plates. Scattered brownspots.‎

‎Homer's Iliad in Russian.‎

‎Odyssee oversat af Christian Wilster. 2 Dele. - [THE FIRST FULL TRANSLATION OF THE ODYSSEY INTO DANISH ]‎

‎Kjøbenhavn (Copenhagen, Reitzel, 1836. 8vo. Both volumes together in the original blue paper-wrappers, clearly interim-wrappers that were meant to be replaced/bound and thus extremely scarce. The wrappers are very thin and the spine has thus split down the middle, as there are creases and tears to extremities and spine in general. Internally, the copy is splendid, completely uncut and unopened and with only light occasional brownspitting. A magnificent copy in completely original condition. ‎

‎First edition of the the first full translation into Danish of “The Odyssey”, being Wilster’s magnificent translation, which is an epic classic on Danish hexameters that is still read today, in spite of the appearance of later translations. The translation was extremely popular when it appeared and has maintained its role as the standard translation of Homer's Odyssey to this day. The first edition is uncommon and very rare in completely original condition as here.‎