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PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.
  • Load image into Gallery viewer, PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.

PUBLII VIRGILII. Carmina Omnia. Ex Typographia Firminorum Didot, Paris. 1858.

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CARMINA OMNIA. Paris: F. Didot, 1858. 12mo. 90 x 145mm. Publisher's cloth.  xiv, 470 pages, 27 photographic plates. First edition.  The typography mimicks that of the 15th century habit of placing voluminous footnotes in an arrangement that was problematic for the printer- with text in a larger type being framed all round in red, with commentary printed in smaller type than the text, also framed in red. This is rare in printing of this era apart from Bibles, some theology and occasional legal texts.[Goldschmidt, The Truthful Lens, 179]. The  very slightly faded albumen photographs are among the first to reproduce paintings and engravings. Ambroise Didot, in a foreword to the companion work of 1855 by Horace, refers to the photograph as "the marvel of our century." Spine with gilt lettering and date, lower front hinge slightly split, partially unopened copy. Original pale yellow endpapers. Occasional slight foxing. Contemporary ink ownership inscription on front free endpaper and later printed sticker. Provenance: Michel Gfeller 13 , Rue de l'Hopital, Bienne.