[Vancouver, B.C.:]: Heavenly Monkey, 2020. One of thirty regular copies bound by Natasha Herman at Heavenly Monkey (out of a total edition of fifty numbered copies and eight hors commerce copies). The biography section on Griffo included here was issued in an earlier form as Millroy’s Fragments and Glimpses (1999). With seven illustrations. Text set in Bembo and printed with a handpress by Rollin Milroy on Golden Hind, an English laid paper made in the 1950s. With initial letters adapted from the ones attributed to Griffo in Paulus de Middelburgh’s Paulina de recta Paschae (1512). With original prospectuses for Rollin Milroy’s Fragments and Glimpses: A Biography of Francesco Griffo da Bologna (A Lone Press, 1999) and Barbara Hodgson’s Good and Evil in the Garden (Heavenly Monkey, 2003). Verso of the latter is inscribed by Millroy. Also with the original blue tissue wrapping (with printed paper label numbered in ink). A fine copy, as new. Quarter dark blue cloth with metallic blue painted paper over boards. Off-white endpapers. Octavo. 112 pp. Item #16970
The first half of this book is a biography of Griffo’s life and work, assembled from quotations taken from over four dozen sources spanning the 15th to 20th centuries, structured both thematically (i.e. The Roman Types, The Greek Types, After Aldus) and chronologically…The second half contains translations of four 19th century texts at the heart of Griffo’s rediscovery, after being lost to history and then misidentified as the artist Francesco Raibolini. These translations, by Emma Mandley, were commissioned by HM, and we believe it is the first time these texts have been published in English,” (Heavenly Monkey website).
“The leaf included here is from the second of three volumes collecting Ovid’s works, published by Aldus in late 1502 and early 1503…The majority of leaves available come from the end of Heroidvm, with the balance coming from Liviam Episotla de morte Drvsi. The set, as Firmin-Didot states, is highly esteemed for the care Aldus took to present the most authoritative texts possible. Henri Estienne declared the Aldine Ovid preferable to that of the later editions and even superior to that of all the other poets published by Aldus,” (p. 62).