Quinti Horatii Flacci Opera.
London: John Pine, 173337. 2 vols., 8vo, , 264, ; , , [13, explanation of images] pp. Contemporary red morocco, covers with gilt borders, backstrips divided in six compartments with gilt lyres, raised bands, green and black morocco labels, turn-ins gilt, gilt edges. Without the List of Antiquities in Vol. I, as always; engraved text and illustrations throughout. Bookplate of Thomas Roper in both vols., a lovely copy just as it should be. First edition, second issue, with the reading potest in the left hand medallion on p. 108, vol. II. A tour-de-force of bookmaking, Pine's Horace is entirely engraved, both text and illustration, and liberally supplied with initials, head- and tailpieces and vignettes. Pine's pages have a unity and delicacy reminiscent of the best French printing of the period. John Pine (1690-1756) may well have been the pupil of Bernard Picart, the great French engraver at Amsterdam; he was the best English engraver of the century. His edition of Horace is engraved throughout ... The results are a unity between decoration and text which at times suggests Didot's Horace of 1799; a contrast between thick and thin strokes in the letters which naturally follows from the engraving process but which foreshadows the type design of Baskerville, Bodoni, and Didot; and the wide 'leading' between the lines of text which did so much to give their pages a brilliant effect. (Printing and the Mind of Man, Exhibition of Fine Printing, no. 105 - a very exquisite performance). Updike II, p. 138; Blumenthal, Art of the Printed Book 72; Ray, England p. 3; Rothschild 1548.
(Item Id: 5761)