OVIDIUS NASO, Publius (43 B.C.-17? A.D.) -- SAINT-GELAIS, Octavien de, translator (1466/68-1502). Sensuyt les xxi epistres dovide: translatees du latin en francois par reverend pere en dieu maistre Octovien de saint gelaix evesque dangoulesme xxiii . Paris: 20 February 1525.
OVIDIUS NASO, Publius (43 B.C.-17? A.D.) -- SAINT-GELAIS, Octavien de, translator (1466/68-1502). Sensuyt les xxi epistres dovide: translatees du latin en francois par reverend pere en dieu maistre Octovien de saint gelaix evesque dangoulesme xxiii . Paris: 20 February 1525. Small 4° (192 x 130mm). Title printed in red and black, 21 large woodcuts in the text, title vignette and one on the colophon page, woodcut initials. (Very short marginal tear just into a few letters, but without loss to B1, light waterstain on upper corner of last 6 leaves.) 18th-century citron morocco, covers with gilt triple fillet frames, spine richly gilt 'à la grotesque', red morocco gilt lettering-piece, gilt turn-ins, marbled and gilt edges (extremities faintly rubbed). RARE EDITION PRINTED IN GOTHIC TYPES OF THE 21 EPISTLES OF OVID, ILLUSTRATED WITH 23 WOOD-ENGRAVINGS. A VERY FINE COPY BOUND IN 18TH-CENTURY CITRON MOROCCO. The interest of the humanists in antiquity and their desire to familiarise themselves with the classic texts are defining features of the Renaissance. Octavien de Saint-Gelais's translation of Ovid fitted into this dynamic, and booksellers quickly sought to satisfy the demand for the text. M. Bechtel lists four Parisian editions of the XXI épî tres d ’ Ovide produced by Jean Trepperel and his widow between 1505 and 1525. The colophon states that the present edition was printed in Paris on 20 February 1525, but without specifying the name of the bookseller: it seems likely that the edition is by Philippe Le Noir who profited from the end of activity of Jean I Trepperel’s widow. Tchemerzine compared the present edition with the undated edition by Trepperel veuve alone (p. 641 and p. 642 fig I and II), of which the BnF holds one copy (cote Rés. M-Yc-533[3] = NUMM-71774); but he is incorrect in stating that this edition is 'identical to the edition of Trepperel’s widow, printed with the same characters and most likely originating from the same workshop.' Whilst the two editions do have the same number of leaves (118), they are different editions, one a close reprint of the other. Moreover, the illustrations differ, those employed by Trepperel’s widow being noticeably archaic. The present edition is remarkable for the beautiful title woodcut depicting a harpist seated at the water’s edge. This woodcut, as well as those on leaves B4r, M4r, S4v (the latter is repeated on V3r), originates from the collection of Gabriel Salmon used for the first time in 1521 to illustrate the Menus propos de Gringore . This supports assigning this edition to Philippe Le Noir, who published his own edition of Menus propos on 25 October 1525 and in which appear the four celebrated woodcuts of Gabriel Salmon (see: BnF cote Res-Ye-1325). Brunet IV, 290.
OVIDIUS NASO, Publius (43 B.C.-17? A.D.) -- SAINT-GELAIS, Octavien de, translator (1466/68-1502). Sensuyt les xxi epistres dovide: translatees du latin en francois par reverend pere en dieu maistre Octovien de saint gelaix evesque dangoulesme xxiii . Paris: 20 February 1525.
OVIDIUS NASO, Publius (43 B.C.-17? A.D.) -- SAINT-GELAIS, Octavien de, translator (1466/68-1502). Sensuyt les xxi epistres dovide: translatees du latin en francois par reverend pere en dieu maistre Octovien de saint gelaix evesque dangoulesme xxiii . Paris: 20 February 1525. Small 4° (192 x 130mm). Title printed in red and black, 21 large woodcuts in the text, title vignette and one on the colophon page, woodcut initials. (Very short marginal tear just into a few letters, but without loss to B1, light waterstain on upper corner of last 6 leaves.) 18th-century citron morocco, covers with gilt triple fillet frames, spine richly gilt 'à la grotesque', red morocco gilt lettering-piece, gilt turn-ins, marbled and gilt edges (extremities faintly rubbed). RARE EDITION PRINTED IN GOTHIC TYPES OF THE 21 EPISTLES OF OVID, ILLUSTRATED WITH 23 WOOD-ENGRAVINGS. A VERY FINE COPY BOUND IN 18TH-CENTURY CITRON MOROCCO. The interest of the humanists in antiquity and their desire to familiarise themselves with the classic texts are defining features of the Renaissance. Octavien de Saint-Gelais's translation of Ovid fitted into this dynamic, and booksellers quickly sought to satisfy the demand for the text. M. Bechtel lists four Parisian editions of the XXI épî tres d ’ Ovide produced by Jean Trepperel and his widow between 1505 and 1525. The colophon states that the present edition was printed in Paris on 20 February 1525, but without specifying the name of the bookseller: it seems likely that the edition is by Philippe Le Noir who profited from the end of activity of Jean I Trepperel’s widow. Tchemerzine compared the present edition with the undated edition by Trepperel veuve alone (p. 641 and p. 642 fig I and II), of which the BnF holds one copy (cote Rés. M-Yc-533[3] = NUMM-71774); but he is incorrect in stating that this edition is 'identical to the edition of Trepperel’s widow, printed with the same characters and most likely originating from the same workshop.' Whilst the two editions do have the same number of leaves (118), they are different editions, one a close reprint of the other. Moreover, the illustrations differ, those employed by Trepperel’s widow being noticeably archaic. The present edition is remarkable for the beautiful title woodcut depicting a harpist seated at the water’s edge. This woodcut, as well as those on leaves B4r, M4r, S4v (the latter is repeated on V3r), originates from the collection of Gabriel Salmon used for the first time in 1521 to illustrate the Menus propos de Gringore . This supports assigning this edition to Philippe Le Noir, who published his own edition of Menus propos on 25 October 1525 and in which appear the four celebrated woodcuts of Gabriel Salmon (see: BnF cote Res-Ye-1325). Brunet IV, 290.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
