Opera chirurgica (in the Latin translation by Jacques Guillemeau).”
- $6,413
"Folio (335x204 mm.), attractive contemporary blindstamped pigskin tooled on boards with multiple roll-borders, with small figures depicting the seven virtues and a central medallion showing the allegory of the Justice, red edges (lower corners of boards a bit work, edge of upper board ink spotted at top), for else in genuine condition, with a bookplate and stamps of a priv. collection on pastedowns, ms. ownership entries on flyleaf (one dated 1647). Large woodcut device on title and at the end, half-page woodcut portrait of Paré on leaf (:)4v, pp. [12], 851, [28 nn, of which last 3 are blanks], extensively illustrated with 317 text woodcuts of anatomical subjects, surgical instruments and procedures, monsters and freaks of nature, etc. Second collected edition in Latin of Paré's writings. Guillemeau's translation first appeared in 1582. Doe 48; Durling 3532."
More from Mayfair Rare Books & Manuscripts Ltd
Britannia, Lathmon, Villa Bromhamensis.”
"Folio (445 x 288 mm.), a very fine copy (with the rare errata in 4to) bound at end in contemporary red morocco gilt on boards, gilt spine with raised bands, golden dentelles at edges of boards, and golden edges. Engraved portrait medallion of John Trevor on title, ff. prel. 10 (including 2 of the 3 orig. blanks), pp. 231, 1 blank, with the final 4to leaf of errata tipped in at the end, as described by Giani and Brooks. First edition of this very elegant book, which contains three Latin poems by the diplomatist Robert Hampden-Trevor, first Viscount Hampden (1706-1783). His second son John Hampden-Trevor, third Viscount Hampden (1748-1824) arrived in Turin in October 1783 as British envoy extraordinary, remaining there until 1797. A friend of Horace Walpole, he commissioned from Bodoni this edition of his fathers poems, "intended for the gratification of a few friends." This edition was printed in 130 copies only. Brooks 470."- $5,772
- $5,772
Komoediai ennea (graece). Aristophanis comoediae novem cum commentariis antiquis.”
"Folio (338 x 225 mm.), attractive contemporary brown calf, finely blind tooled on boards with fillets and a roll-border, corner tools, central plaque, spine with raised bands, the binding all in very genuine condition, internally a very clean, bright copy with wide margins. Text entirely printed in Greek, in two fonts (text within comment), woodcut initials and headpieces (one headpiece dated 1545), woodcut printer's device on final leaf, at verso. Pp. (12 nn.), 571, 1 blank, (24 nn. for index). Ownership inscription of Matthias Floderus (1766-1821) dated Uppsala 1789, another earlier annotation on the first flyleaf, and a small recent stamp of a private collector. First Greek edition by Froben with extensive comment, edited by the Bohemian scholar Sigismundus Gelenius, and based on the Aldine editio princeps (even including the original preface by Marcus Musurus from the Aldine edition, possibly because Gelenius had been a pupil of Musurus). VD16 A-3268; IA 107.659; Adams A-1715; Ebert 1086; Schweiger I, 46."- $3,848
- $3,848
De rerum natura iuxta propria principia, liber primus, & secundus, denuo editi. [bound with, of the same author:] De his, quae in aëre fiunt; & de terraemotibus, liber vnicus. [bound with, of the same author:] De colorum generatione opusculum. [bound with, of the same author:] De mari, liber vnicus.”
"4to (222 x 157 mm.), 4 works bound together in a good 19th cent. vellum binding, with manuscript title at lower edge, a clean copy, with wide margins; a very light touch of color at printers devices. Each work with title-page and printers device, leaves 95, (1 orig. blank); 14 [i.e. 13], [1 orig. blank]; leaves 7, [1 orig. blank]; leaves 12, [2]. A fine Sammelband with four works by Telesio, the first is the scarce second edition of his major work De rerum natura, which had been already appeared in Rome, printed by Blado in 1565, whereas the three other works by Telesio are first editions, incl. his scarce work on atmosphere and earthquakes. T. was, unwittingly, helping to contribute to the breakdown of the barrier that Aristotle had set up between celestial and sublunary physics, the breakdown triumphantly announced by Galileo in his 'Dialogue Concerning the Two Chief World Systems'. T. also introduced concepts of space and time that anticipated the absolute space and time of Newtonian physics (DSB). Bernardino Telesio (15091588) belongs to a group of independent philosophers of the late Renaissance who left the universities in order to develop philosophical and scientific ideas beyond the restrictions of the Aristotelian-scholastic tradition. Authors in the early modern period referred to these philosophers as novateurs and modern. In contrast to his successors Patrizi and Campanella, Telesio was a fervent critic of metaphysics and insisted on a purely empiricist approach in natural philosophyhe thus became a forerunner of early modern empiricism. He had a remarkable influence on Tommaso Campanella, Giordano Bruno, Pierre Gassendi, Francis Bacon, Thomas Hobbes and on free thinkers like Guillaume Lamy and Giulio Cesare Vanini [.] He was perhaps the most strident critic of metaphysics in late Renaissance times. It was obviously due to his excellent relationships with popes and clerics that he was not persecuted and was able during his own lifetime to publish his rather heterodox writings, which went on the index shortly after his death. His principal work is the aforementioned De rerum natura iuxta propria principia (On the Nature of Things according to their Own Principles), which in the last augmented edition of the author's hand appeared in Naples in 1586. The De rerum natura is a huge treatise in nine books which deals with cosmology, biology, sense perception, reason and ethics. (These) Smaller treatises deal with a variety of themes such as colours, dreams, geology and meteorology, (De iis quae in aere fiunt et de terremotibus; De colorum generatione; De mari).», Stanford Encyclopedia of Philosophy. I. Adams T 292; Houzeau-L. 2641; Riccardi I/2, 512, 4. II. Adams T-290, Poggendorff II, 1077; Riccardi I/2, 512, 1; III : Adams T-289; Riccardi I/2, 512, 2; IV. Adams T-291; Riccardi I/2, 512, 3."- $19,240
- $19,240
Relatione intorno l’origine, solennità, traslatione, et miracoli della Madonna di Reggio.”
"4to (232 x 162 mm.), good 18th cent. speckled brown calf binding, gilt spine with raised bands, golden fillets, title on orange label (hinges, head and foot of spine carefully repaired), nice colored paper of the time at flyleaves and pastedowns, colored edges, generally a clean copy with wide margins (small marginal spots to first leaves). Engraved allegorical frontispiece, pp. (24, incl. the front.), numb. 237 (i.e. 229, misnumb.), and 3 nn. at the end, of which 2 original blanks. Dedicated to Cesare d'Este, duke of Modena and Reggio. e Modena, this work is finely illustrated with 11 folding engraved plates, of which 8 (engraved by Giovanni Luigi Valesio, 1583-1650, a pupil of Ludovico Carracci) depicting the beautiful triumphal chariots of the local religious brotherhoods for the feast of the translation of the image of the Madonna, and 3 plates illustrating the façade, the interior and the plan of the new church built and devoted to the Madonna of Reggio. This church was built thanks to the offerings of the faithful following a miracle linked to an image of the Virgin that once stood in the area and replaced a simpler construction erected by the friars to whom the place had belonged since 1313. In early times there was an image of the Madonna, painted on the wall of the garden of the friars, which was copied on paper by the painter Lelio Orsi (1569) and repainted by another called il Bertone (in 1573) and eventually in 1596 moved to a small chapel. The chronicles of the time report the story of a deaf-mute, who would have regained the use of speech and hearing following a miracle of the Virgin. Six days later, on 5 May 1596, another miracle would take place, being the sudden recovery of a woman, Margherita, who had been ill for eighteen years, so in a short time the place became a pilgrimage destination and, thanks to the offerings of the people, it was decided to build a new temple that could contain the painting linked to the miracle. The first stone of the building was placed on 6 June 1597 - when the first edition of this work was edited - in the presence of the Duke and Duchess Margherita Gonzaga, demolishing part of the previous convent. In 1619 the church was already well finished and on 12 May it was consecrated, and the present book edited to celebrate such event. The author describes the history of the cult paid to the Madonna, the feasts and records as many as 175 alleged miracles. Cat. Ruggieri 776; Vinet 810; Lipperheide 2790; Berlin Kat. 3199; Cat. Vinciana 218; Lozzi 4000."- $6,413
- $6,413
Aminta”
"Folio (438 x 295 mm.), a fine copy with wide margins in contemporary red morocco gilt on boards, spine with raised bands, tooled in blind and with gold fillets, title in gold decorated in gilt, internally very clean. This issue without the small oval portrait on frontispiece, with engraved head-piece by Lucatelli, pp. XXXV, 1b. 117, 3 blanks. Brooks 514. Provenance: Il Polifilo, Milan (bookseller's label)."- $4,489
- $4,489
Supplementum chronicarum.”
"Folio (307 x 210 mm.), early venetian carta rustica pasteboard, a very clean, bright copy (the outer border of last 5 leaves lightly repaired). Verso of first leaf comprising woodcut vignettes of the six days of Creation enclosed within woodcut border, same border used on first text page, 46 woodcuts from 39 blocks, woodcut initial on a2r, printer's device at the end, initial spaces with guide-letter. Third illustrated edition, with additional entries bringing the chronicle up to 1490. In reporting the invention of printing, Jacobus dates it to 1458 and attributes it to either Gutenberg or Fust. Many of the woodcuts were taken from the first illustrated edition of 1486, but Rizus for his 1490 previous edition improved several of the city views, notably Rome, Venice, Genoa and Verona, and added building the Tower of Babel. In this, his next edition, Rizus also added the woodcut borders which had appeared earlier that same year in the Italian Legenda Aurea printed by Bonellis, and the frontispiece of Creation and a small woodcut of Noah's ark, both from the Malermi Bible of 1490. HC *2809; BMC V, 404; BSB I-125; IGI 5079; Essling 343; Sander 919; ISTC ij00212000; Goff J-212."- $15,392
- $15,392
Orationes Quatuor contra Philippum a Paulo Manutio latinitate donatum. (Bound with, of the same author:) Demosthenis Orationes tres olynthiacae; et prima, et secunda contra Philippum, in latinum ab Iacobo Grifolo Lucinianensi conuersae. Xenophontis rhethoris Hieron, vel Tyrannicus ab eodem conuersus. Florence, Laurentius Torrentinus ducalis typographus, 1550. (Bound with:) GREGORIUS NAZIANZENUS, St. De pauperibus amandis et benignitate complectendis oratio. Petro Francisco Zino interprete. Venice: s.n.t. [Giovanni Griffio the elder], 1547.”
"4to (205x140 mm.), 3 works bound together in one volume in contemporary brown morocco with border of thin fillets on boards, small central fleuron tooled in gold, as well as fleur-de-lys corner tools, gilt spine with raised bands, tooled with golden rosettes in compartments, bleu edges, generally a good, well-margined copy (light marginal foxing, careful repairs to corners and head/foot of spine). Ist work: Aldine device on title, text printed in roman type, leaves nn. (52). II. Printed in roman type, pp. 114, 2 blank. III. Half-page woodcut device, and a different one at the end, printed in roman type, leaves (24) nn., sign. A4-G4, last original blank preserved. Nice sammelband of 3 works, all of them rare on the market, the first one an uncommon edition of the latin translation by Paulus Manutius, of the four Philippics of Demosthenes (384-322 BC), orations made to rally the Athenians against Philip of Macedon who was beginning his conquest of Greece. Renouard 146.6, BMC STC It. p. 213, Adams D-288. The 2nd work is a rare translation of three orations on the same topic, by Jacopo Grifoli, who had published 2 years before with Paulus Manutius in the aldine printery a collection of orations. Rare, not in Adams, BMC STC it. suppl. p. 33; Moreni Ann. Torrentino n. XVII, p. 67. 3rd work, first edition of this translation, not in Adams and in BMC STC It, Edit16 CNCE 21743."- $2,565
- $2,565
Sphaera mundi seu Cosmographia demonstrativa, ac facili Methodo tradita: in qua totius Mundi fabrica, una cum novis, Tychonis, Kepleri, Galilaei, aliorumq[ue] Astronomorum adinventis continetur. Accessere I. Brevis introductio ad Geographiam. II. Apparatus ad Mathematicarum studium. III. Echometria, idest Geometrica tractatio de Echo. IV. Novum instrumentum ad Horologia describenda.”
"Folio (290x196 mm.), contemporary vellum with manuscript title on spine, a good genuine copy. Two parts in one volume, each with title-page, and printers device/vignette, 1st part has: pp. [12], 232 pp., with 2 folding tables, the woodcut plate at pp. 112/113 has been mounted (as part of) in the volvelle at p. 113; 2nd part has pp. 24, [2], with 1 double-page woodcut table and [3] leaves of plates, containing 18 engraved illustrations. Text illustrated throughout with almost 120 woodcut illustrations and diagrams. Collation: (*6), A-S6, T8; A-B6 [*1]. The unnumbered text leaf in the 2nd part, bound after p. 16, contains the Apparatus ad calculandas altit. singularum horarum ab occasu in utroque Tropico ad latit. 44. Third, last and according to Cinti (Bibl. Galileiana) best edition of this influential astronomical work (first published in 1620), which showed a slight movement of the church towards the acceptation of recent astronomical discoveries by Galileo, Kepler and Brahe, although authors expressed support for Galileo's ideas never managed to pass the censorship of the inquisition. Biancani was perhaps the first to suggest, in this book, that comets may return (Thorndike VII, p. 51). Riccardi I, 127; Biancani's Sphaera includes three appendices on various topics only loosely related to cosmology. The first, on geography, contains a discussion on the origin of mountains that influenced Bernhardus Varenius' Geographia generalis (1650). The second appendix, Apparatus ad mathematicarum studium, is an introduction to mathematical disciplines addressed to students. The third appendix to the book, Echometria, is devoted to acoustics. Carli-Favaro 83; Cinti 95 (third ed.)."- $4,104
- $4,104
Ciriffo Calvaneo. Libro intitolato Ciriffo Calvaneo, et il povero aveduto; nel qual si tratta il loro nascimento: & tutte l’aspre battaglie da loro fatte. e tutte le guerre fatte al tempo di re Luigi figliuolo di re Carlo Magno re di Franza contro al’infedeli 1535.”
"4to (210 x 150 mm.), nice 19th cent. stiff vellum with titles on double label at spine, a good copy (light browning to some leaves at the end, for own quality of the paper, the upper corner of a few leaves stained). Title within full-page woodcut border, with a small woodcut illustration, text in roman type, on 2 columns, in ottava rima, illustrated with 77 woodcuts illustrations, with final blank leaf. Fifth edition, the third in the 16th cent. It was first printed in around 1490 and regularly reprinted through the sixteenth century. Luca Pulci (1431-1470) began writing this chivalric poem in ottava rima towards the end of his life, and only the first book had been completed at the time of his death, so it was then completed by Bernardo Giambullari and Luca's younger brother Luigi; Luca died at the age of only 49 in prison in Rome in the Stinche prison, where he had been locked up following a bankruptcy (from 1458 he practiced the art of the money changer). Edit16 CNCE 32741; Sander 5997."- $5,131
- $5,131
Note overo Memorie del museo del conte Lodovico Moscardo.”
"Folio (300 x 200 mm.), two parts in one volume, nicely bound in late 19th cent. half morocco with large corners, golden fillets and title on spine, marbled paper on boards, cailloutè paper at endleaves, internally a very good, clean copy. Engraved allegorical frontispiece, printed title-leaf, many large woodcut floral initials and typographical ornaments throughout the text. Pp. (16 nn. incl. front. And title), pp. numb. 488, widely illustrated with more than 200 engravings and woodcuts in the text, mostly half-page. Second edition, partly original, much increased by a second part (which almost doubled the work), dedicated to his new acquisitions (these last mostly illustrated by woodcuts). The original edition was published in Padua, by Paolo Frambotto, in 1656. The illustrations, engraved by the Veronese artist Alberto Pasi, consists of remarkable mix between fauna, natural curiosities, minerals, precious stones, archaeological objects, votive figures, early marbles with ancient inscriptions, etc. A Veronese collector, Count Lodovico Moscardo (1611-1681), acquired a large part of the collection of Francesco Calzolari which considerably enriched his own. He passionately collected medals, various natural oddities and artifacts, many ancient objects (especially Egyptian), amulets, etc. The reputation of this museum was such that it aroused the curiosity of many visitors during the second half of the 17th century. Nissen, ZBI, 2898; Grinke, From Wunderkammer to Museum (this edition), n. 23; Cicognara, 3412 (quoting the 1656 1st edition); Graesse IV, 613 (quoting this 1672 edition): Lib. Vinciana, n. 1733; Olschki, Choix, 19651."- $7,055
- $7,055
Illustrium imagines, ex antiquis marmoribus, nomismatibus, et gemmis expressae. Quae exstant Romae, maior pars apud Fulvium Ursinum [bound with:] Ioannis Fabri in imagines illustrium ex Fulvii Ursini bibliotheca, Antverpiae à Theodoro Gallaeo expressas. Commentarius.”
"4to (215x165 mm.), 2 parts in 1 vol. in attractive contemporary red morocco gilt on covers with central golden fleuron and corner tools, raised bands on spine, gilt in compartments, internally some browned for the quality of the paper, but a genuine copy. Engraved allegorical frontispiece at part I, pp. 8 (incl. front.), (4 nn. of index), then 151 numbered engraved plates; part II has pp. (2, half-title), 17 engr. plates (numb. A-R); text with own title-page and printers device, pp. (8), 88, (6) with woodcut printers device on last leaf. Second, enlarged edition (the first in 1598, but without commentary) of this very interesting collection of 168 engraved portraits of historic characters and authors from classical Antiquity, after sculptures, coins and gems (mostly) held in the Roman collection of Fulvio Orsini. The Flemish engraver Theodore Galle (1571-1633) had been introduced, during his stay in Rome, in 1596, to the famous antiquarian Fulvio Orsini (1529-1660). He returned to Antwerp with an album of nearly 250 drawings of the objects forming this extraordinary collection, a kind of wunderkammer. In 1598, he engraved a series of 151, which he had printed at his own expense, at Plantin's, without commentary. This second edition published eight years later, at the request and at the expense of Orsini, joined to these 17 additional engravings, gathered in the appendix, and a commentary by Giovanni Faber, forming the second part.BL Low Countries, 1601-1621, p. 218; Imhof, G-14; Brunet, V, 1019; Funck 403; Ebert 23217."- $5,131
- $5,131
Tutti li libri d’Orlando inamorato, del conte de Scandiano Mattheo Maria Boiardo al vero senso ridutti et ultimamente stampati.”
"8vo (152x100 mm.), early 19th cent. red morocco with title and golden fillets at spine, and on boards (spine carefully restored), marbled endpapers, upper margin a bit short (headline sometime shaved) but a good copy, from the renowned library of the bibliophile Giuseppe Cavalieri (1834-1918) whose library was dispersed. A catalogue edited in 300 copies was published in 1908 in Florence by Tammaro De Marinis, the present book listed as n. 272. Text printed in roman type on 2 columns, in ottava rima, ff. 415 nn. [of 416 lacking last blank], illustrated with 6 half-page woodcuts, placed at beginning of each canto. The colophon at verso of the penultimate leaf. Extremely rare. The text (for the 3 cantos by Boiardo) derives from the 1528 Zoppino edition, while the woodcuts and the layout follow the 1525 edn. Cat. Cavalieri: 'Cette edition peu connue, contient six livres, mais le 6 livre nest pas celui dAgostini, qui na que sept chants; cest un autre ouvrage en seize chants et qui a pour titre: il Sesto libro delo inamoramento di Orlando, dove si narra del figlio di Rugiero et Bradamante'. Harris, Bibl. dellOrlando Innam. n. 21; Brunet I, 1048; Melzi/Tosi (1865) p. 91; Essling 1537; Sander 1125, Edit16 CNCE 6605 (1 copy only listed in Italy)."- $8,979
- $8,979
L’idea dell’architettura universale.”
"Folio (350 x 220 mm.), 2 parts in one volume in its contemporary limp vellum with manuscript title (faded) on spine, lower edge of first leaves carefully repaired, occasional marginal foxing and/or signs of use or minimal staining, generally a good, clean copy (flyleaves renewed). Each part with beautiful architectonical engraved title-page, woodcut printer's device on letterpress title-pages, woodcut initials and tailpieces, the work completely illustrated with full- or double-page woodcuts or engravings (all of them by Scamozzi, except one which is thought to be by Titian or his grandson Tizianello), without the blank leaf after p. 90 (which has a rough, old repair in the margin, affecting one word), but with the blank leaf at the end of vol. I; this copy is complete with the rare leaf (often missing) containing the register which is a singleton leaf, not belonging to any gathering, and therefore printed separately (here placed between the two parts). First edition of Scamozzi's detailed architectural treatise (which concluded the theorization of the orders and of architectural rules after Palladio) which contains books 1-3 and 6-8 of his projected ten books; the remaining books were not completed before Scamozzi's death in 1616. It was published at the author's expense and each book was dedicated to a different potential patron in the hope of financial support, which does indeed seem to have been successful with Cosimo II de' Medici, the dedicatee of book 6. Fowler 292. Berlin Kat 2605; Cicognara 651; BAL RIBA 2917."- $9,620
- $9,620
Neovallia dialogo . Nel quale con nuova forma di fortificare piazze s’esclude il modo del far fortezze alla regale, come quelle che sono di poco contrasto.”
"(At colophon: Stampata in Monaco di Baviera: in casa della vedova Anna Berghin, 1617). Folio (325 x 220 mm.), good contemporary vellum gilt with golden fillets and central fleuron, golden edges, some worming in binding and flyleaves, but not going internally, which is in very fresh and bright condition. Provenance: Marcantonio Borghese (1814-1886), Prince of Sulmona, armorial bookplate (some of the library sold by auction in Paris in the 1890s). Engraved frontispiece-title-page, engraved illustrations, 39 inserted double-page plates containing engravings and letterpress text (not included in pagination), woodcut initials and tailpieces; Pp. [10], 128, ff. 129-144; pp. 145-285, [3 of which last 2 orig. blanks]. First and sole edition of this rare work on fortification, whose author was Captain General of Artillery to Maximillian Duke of Bavaria and Master of Munitions. Cockle 808; VD17 23:295381P; ITICCURMLE31657. Marini, Bibl. Fortificazione, pp. 64-65."- $5,772
- $5,772
Opus Merlini Cocaii poete Mantuani Macaronicorum.”
FOLENGO (Teofilo), GIROLAMO "16mo (125x77 mm.), late 19th cent. brown calf with triple border of blind and golden fillets on boards, golden dentelles at edges, spine with raised bands, titles in gold, flyleaves and pastedowns in colored paper (margins a bit short, a few leaves in places, close to the end, with lightly shaved marginal footnotes). Text printed in the characteristic cursive type of Paganini, ff. numb. 272, (8 nn.), finely illustrated by 54 full-page woodcuts. First complete edition, and the first edition to contain the well-known series of woodcuts which are of simple execution, but suit the spirit of the book. Teofilo Folengo, a Benedictine monk, was the best representative of macaronic literature, or a synthetic combination of Italian and Latin. The present work is Folengo's masterpiece, a poem in macaronic hexameters, published under the pseudonym Merlin Cocai. Four versions of Baldus are known, published in 1517, 1521, 1539-40, and many others afterwards. In the present edition the work was extended from 17 to 25 books, and includes the parodic Zanitonella love poetry and fable Moschaea, about the battle between flying ants. The experience of his travelling life makes his poems one of the most important source books on contemporary life and customs. It enjoyed great popularity in the 16th and 17th centuries. In view of the general nature of the work, it is easy to understand its appeal to Rabelais, who found in it the prototype of his 'Panurge' and his 'Gargantua'. Adams F-687; Brunet, II, 1317; Sander 2832; A. Nuovo, Alessandro Paganino 51; Balsamo & Tinto, "I Corsivi dei Paganini" in Origini del corsivo p. 79-101,"independent models, never copied" (tr.), 86 & fig. 24."- $8,281
- $8,281
Problemi d’algebra e di geometria analitica.”
ROVIDA, CESARE" "4to (302 x 212 mm.), 2 volumes bound in green morocco with golden roll-borders on covers, and gilt spine, a fine fresh copy with full margins and deckle edges, endleaves in marbled paper, almost in mint condition, in a dedication binding for Maria Luigia duchess of Parma, with proper gold tooling on upper cover of vol. I: "Cesare Rovida a S. M. I. Arciduchessa dAustria Maria Luigia Duchessa di Parma Ec. Ec. Ec. umilmente consacra il primo lavoro dellanno 1817"; a binding much likely executed by Lodigiani of Milan. Pp. [8], 232; [4], 164, [4], with 4 folding engraved plates. First and sole edition of this work, containing 130 algebra problems in vol. I and 80 problems of analytical geometry in vol. II. The author was a Barnabite friar, who taught physics and mathematics in Milan, member of the Patavina Academy in Padova, of the Universities of Brescia and Treviso, and of the Georgofili Academy of Florence. SBN ITICCUMODE18350."- $3,185
- $3,185
Narrazione delle solenni reali feste fatte celebrare in Napoli da Sua Maestà il Re delle Due Sicilie Carlo . per la nascita del suo primogenito Filippo Real Principe delle Due Sicilie.”
DAL RE, Vincenzo" "Folio (570 x 410 mm.), contemporary speckled calf, gilt spine, boards and edges a bit worn in places. Beautiful engraved frontispiece (a bit stained in margins), engraved vignette on title-page, a large engraved headpiece depicting a view of Baia and an engr. initial, and at the end 15 splendid double-page (but 2, which are folding) engraved plates, mostly by Giuseppe Vasi (but also by A. Guiducci, F. Polanzani, N. Desjardins and L. Le Lorrain) after drawings by Vincenzo Rè (2 tears well repaired to the plates, without damage). Pp. (2), 20. First and sole edition of one of the most sumptuous feast books of the Italian eighteenth century and one of the most beautiful examples of Neapolitan rococo, edited to celebrate the birth, on June 13, 1747, of Philip, the first son of the King of the two Sicilies, Charles of Bourbon. Most of the large and elegant engravings depict the Teatro San Carlo, Naples, which burned down in 1816. They include some early representations of the orchestra; one plate shows the orchestra arranged in tiers on the stage, and in another the orchestra resides in the pit during a serenata. "Ce qu'il y a de plus intéressant dans cette publication, c'est qu'elle nous montre dans tous ses détails le théâtre San Carlo, choisi pour célébrer ces fêtes: le plan, la coupe, et toutes les tranformations de ce théâtre en salle de bal et en salle de concert sous la direction de Vincent Ré". (Vinet 604). The whole event was indeed conceived and organized by Vincenzo Del Re, architect and set designer of the court and of the theatre San Carlo, whose original drawings are now kept in the Metropolitan Museum of Art in New York. Cicognara 1515; Berlin Kat. 3078; Lipperheide S, 148; Watanabe-OKelly 616"- $15,289
- $15,289
Pasquillorum tomi duo
CURIO, CELIO SECONDO" "8vo (152x94 mm.), handsome original blindstamped brown calf on wooden boards, with title PASQUILLORUM tooled in blind at head and 'TOMI DUO' at foot of upper board, and on the lower board the motto SOCIETAS M.IA VITANDA. Several early manuscript notes and entries (from German areas) on pastedowns and flyleaves (one dated 1759 at corner of title), bookplate Samuel Szekely de Doba (1704-1779) at foot of last prelim. leaf. Pp. (16 nn.), numb. 537 (recte 637), 1 blank on which has been pasted a leaf with notes; lacking last blank leaf. First edition of this highly polemical work, always attributed to the Italian humanist Celio Secondo Curione, born in Piedmont region in 1503, and died in 1569 in Basel, who had a very adventurous life because of his heretical positions, always fleeing the Inquisition. Curione takes here a stand against the monastic life, priests celibacy and luxury, unlettered bishops, confession, etc. 'Important collection of . over 100 Pasquilla, including 'Pasquillus de ipso', which deals with the origin of the word, also one on the Leipzig Disputation and many others with the most violent attacks on the Pope and monasticism. Because of these attacks, this collection of compositions was eagerly pursued by the Roman Church and the majority of copies destroyed, so that 200 years ago a copy was paid for with 100 ducats. Hutten printed the Latin and German Trias Romana and the epigrams against Julius II. The book is so rare that that Daniel Heinsius already considered his copy to be unique' (Neufforge 346 f.) Barbier IV-1338 ('rare'); Adams P-390; VD 16 C 6433; Benzing, Hutten 2 and 261; Knaake 2, 916 'gehört zu den seltensten Büchern'; not in Machiels."- $3,822
- $3,822
Per la facciata del Duomo di Milano.”
CASTELLI, FRANCESCO" "Folio (310 x 205 mm.), original carta rustica boards, retaining the original sewing. [35 + 1] leaves. THE DRAWINGS FOR THE NEW FACADE OF THE MILAN CATHEDRAL - THE ONLY KNOWN TEXT BY GIAN LORENZO BERNINI PUBLISHED DURING HIS LIFETIME. Collation: [?]2 A4+1, A6, A4, [0]4, [1]8, [2]4, [3]3. Quire 2A and 3A are misbound. Leaf [1]8 is an original blank. With 3 folding (one with extensions), 2 double-page and 1 full-page engraved plates. With also 5 smaller woodcuts in text. An unsophisticated copy. Content: Texts: fol. 1r: title (looking like a half-title, verso blank); fol. 2r: laudatory poem within a typographical border: "In lode della fabrica del duomo di Milano. Del Gia co. Hermes stampa"; fol. 2v: laudatory poem within a typographical border: "Del conte Gioanni Rabbia"; fols. 3r-6v (signed A1-A4 plus one extra leaf of a slightly smaller format, bound between ll. 5 and 6): "Per la facciata del Duomo di Milano, an introduction to the subject and an overview of the recent plans (1634-July 1654); fols. 7r-12v (2A1-2A6, section named "A"): discussions on the facade of the Duomo, including "Oppositione del Richini" by Francesco Maria Richini and "Oppositione fatta dal Butio" by Carlo Buzzi, both accompanied by the replies of Francesco Castelli ("Risposta del Castelli"); fols. 13r-16v (3A1-3A4, section named "B"): commentary on the project of Francesco Castelli by Giovanni Battista Baratteri, "Illustrissimo, & eccellentissimo Sigor mio Sig. Patron Collendissimo", dated Codogno, 15 October 1651; fol. 17r (section "C", verso blank): commentary letter on the projects of Francesco Castelli and Carlo Buzzi by the famous Italian architect and sculptor Giovanni Lorenzo Bernini, undated; fol. 18r (section "D", verso blank): opinion on the same subject by Giovanni Battista Giattini S.J., dated Rome, 23 March 1652; fols. 19r-20r (section "E", leaf 20v blank): geometrical demonstration by Castelli (with diagram) as answer to the fifth opposition of Richini and two similar demonstrations (with diagrams) as answers by Pietro Paolo Caravaggio versus two letters of Castelli, the first dated 11 May 1652; fol. 21r (section "F", verso blank): opinion on the drawings of Francesco Castelli and Carlo Buzzi by the Venetian architects Sebastiano Rocca Tagliata and Baldessar Longhena, dated Venice, 14 July 1653; fol. 22r-v (section "G"): commentary on the same subject by Benedetto Giovannelli Orlandi, dated Siena, 9 March 1654; fol. 23r (section "H", verso blank): commentary on the same subject by the architect Vincenzo Paoli, dated 10 June 1654; fols. 24r-25r (section "I", leaf 25v blank): commentary on the same subject by Guido Antonio Costa, dated Urbino, 17 June 1654, "Abozzo di discorso contenente le considerationi fatte sopra duoi dissegni di facciata per linclita Fabrica del Duomo di Milano"; fol. 26r-v (section "L"): opinion on the same subject by Bartolomeo Avanzini, undated, 'Pareri del Sig. Bartolomeo Avanzini intorno alli duoi Disegni'; fol. 27r (section "M", verso blank): idem by Daniele de Capitanei de Scalve Porro; fol. 28r-v blank; fol. 29r/v: anonymous opinion about the two projects, dated 24 July 1653 and signed 'N.N.' on leaf 29v; fols 30r-32v: a commentary dealing with the matter of the costs of building the facade, and the adoption of different styles of construction, Gothic or Roman, and the related costs, with the possibility of reusing marbles taken from other parts of the building; then making a comparison between the different style of the façade and the rest of the building for the charterhouse of Pavia, the Holy House in Loreto, the church of S. Petronius in Bologna, and the church of Jesuits in Rome; fol. 33r: final note by Castelli about the plates that follow in the book; fol. 33v blank; fols. 34r-35v considerations by an anonymous on the inscriptions to be put on the facade of the Cathedral to celebrate the Virgin, to whom the church is dedicated, and a brief historical account on the foundation of the church in the ye- $17,837
- $17,837
Ratio Ponderum Librae et Simbellae”
GRASSI, ORAZIO" "4to (200 x 145 mm.) early vellum à lantique lately rebacked, with fitting manuscript title on spine, generally clean and well-preserved, but with narrow margins (light browning for the quality of the paper, title shaved at bottom margin, with light damage of the privilege note, below the date, small repair in the blank margin of last leaf). Engraved arms of Cardinal Boncompagni on title, and engraved plate at verso of 4th leaf, pp. (4), 201, (3 blanks, being last leaf an original blank). First edition, rare, of this work that forms part of a published debate between Grassi (under the pseudonym of Lothario Sarsio Sigensano), Galileo, Guiducci and Stelluti regarding the comets of 1618. Grassi in fact previously published a pamphlet, the De Tribus Cometis Anni MDCXVIII. disputatio Astronomica, where he asserted that the comets thoroughly discredited the Copernican theory and therefore indirectly attacked the teachings of Galileo, to whom the latter replied (through his former pupil mario Guiducci) with the Discorso delle Comete; Grassi then wrote a most bitter book, the Libra Astronomica Ac Philosophica and Galilei answered with Il Saggiatore in 1623. Grassi was the first to make theology defend the peripatetic physics and attack the Copernican System and its advocate Galileo, thereby compelling him either to ignominious silence or dangerous demonstrations. To answer Grassi and defend the Copernican System was very dangerous, and Galileo hesitated to publish the reply before 1623, when his former friend, Cardinal Barberini, became Pope Urban VIII. In the present work Grassi replies once again pointing out that Galileo is not capable of speaking Latin and doesn't know the good manners; he even asks himself if it was really Galileo who invented the telescope. A second edition of the work was published the following year in Naples. The collation in the Italian OPAC catalogue is wrongly stating p , A-2C4 instead of a (p), A-Z4, Aa4, Bb , Cc4. Carli and Favaro 104; Cinti 80 (first Italian edition); Riccardi I/1, col. 628; see Drake, Stillman & C.D. O'Malley, The Controversy on the comets of 1618 (Philadelphia, 1960). Apparently only 2 copies offered at auction in last 50 years."- $9,555
- $9,555
Nautica mediterranea”
CRESCENZI, BARTOLOMEO" "4to (230 x 169 mm.), 2 parts in one volume, in contemporary vellum, manuscript title on spine (ms. shelfmark at foot), in a modern slipcase (title re-margined at bottom, gutter of Aa1 repaired, Mm4 with long but clean closed tear, light browning, but a good copy. Engraved title, 3 engraved folding plates, one engraved volvelle on p. 201 and another at p. 414, plus a small engraved plate to be cut and mounted as part of a volvelle; 2 woodcut small plates at p. 344/345 to be cut and mounted as volvelles, numerous engraved and woodcut illustrations and diagrams, of which 7 are full-page and many half-page, woodcut initials, head- and tail-pieces, with the blank 4B4. (Lacking as always the map of the Mediterranean). Second edition. A comprehensive work on maritime matters, including ship-building, navigation, mapping and warfare. The treatise is based on the observations of the hydrographer Bartolomeo Crescenzi during his many voyages around the Mediterranean with the papal fleet. The work was first printed in 1602 and reissued in the present edition only with the date on the title-page altered as the colophon still retains the date of the 1st edition. Without the portolan map, missing from most copies of the work. Some copies call for 4 plates because one of the volvelles hasn't been cut out and is therefore counted as a plate. Nordenskiöld, Periplus, pp. 68 and 73; Heinrich Winter, 'A later portolan chart at Madrid and late portolan charts in general', Imago Mundi 7 (1950), 37-46."- $7,007
- $7,007
Pianta e spaccato del nuovo teatro dImola.”
MORELLI, COSIMO" "Folio (428x280 mm.), 19th cent. boards, internally a clean copy (some light browning/foxing in places). Large engraved vignette at title, ff. (6 of text, with 3 engravings in the text), and 6 engraved plates (2 printed at recto/verso in the same leaf), of which 3 concerning the theatre in Imola, and one folding, very long (up to 2.80 metres) depicting the plans and sections of 11 Italian theatres, notably in Bologna (arch. Bibiena), Venice, Turin (arch. Alfieri), Naples (arch. Vaccari), the Vitruvius theatre, then Imola, Vicenza (by Palladio), Milan (by Piermarini), the Argentina theatre in Roma (Teodoli), Genova e Fano (by Torelli). An Extra copy with some material added, bound in: 1) 3 engraved plates showing 3 plans of Morellis project for the Teatro La Fenice in Venice, published in 1789. 2) a transcription of a 5-pages letter by Morelli, dated 1809, to a friend, about his project for the theatre of Forli, with a drawing of the plan; 3) a manuscript leaf containing the description of the plan of the theatre in Cesena, with 2 drawings, one full-page (on different paper) and one small. First edition. Morelli (1732-1812) has a successful career mainly thanks to the protection of Pope Pius VI, who appointed him architetto pontificio, but with the arrival of Napoleon and the death of the pope he went in bankruptcy, and died in poverty. The most known buildings executed after his projects are Palazzo Braschi in Rome, in Piazza Navona, and theatres in Imola (then burnt), Forli, Fermo, Macerata and Jesi "Questo ingegnoso architetto studiò grandemente la linea visuale sui teatri, e vi riuscì meglio dognuno. In questopera pone in confronto con altrettante tavole, undici teatri diversi (a Forlì, Macerata, Venezia, Bologna, Torino, Napoli, Milano, Vicenza, Roma, Genova e Fano), e bello ed utile è il fare questa comparazione. In altre 3 tavole produce il proprio teatro." (Cicognara 768). Berlin Kat. 2811; UCBA II, 1410."- $5,096
- $5,096
Perspectivae libri sex.”
MONTE, GUIDOBALDO DEL" "Folio (305 x 205 mm.), 18ths cent style binding in half vellum with marbled paper on covers, title in gold on label at spine, a clean copy in excellent condition, with some contemporary scattered manuscript marginalia, see i.e. the long manuscript note at p. 101 (a few light marginal foxing). Woodcut diagram on title, woodcut initials, pp. [4], 310, [2], illustrated throughout with numerous diagrams in text (leaf *2 misbound between ff. A4 and B1). - The best renaissance study of perspective - First Edition of this important landmark in the history of perspective science, which provided a definitive analysis of the mathematics of perspectival projection, and established the s.c. vanishing point, discussed at length by Vagnetti, who gives a resume of the text, and Martin Kemp in The science of art (1990), p. 89 ff. "The best renaissance study of perspective" (DSB IX, 488). Berlin Katalog 4703; Cicognara 837; Adams U-8; Riccardi I/2, col.179; Vagnetti EIIb41; Poudra, Histoire de la perspective, Paris, 1864, p. 185, not in Fowler."- $17,837
- $17,837
Le Selvette.”
LIBURNIO, NICCOLÒ" "4to (206x142 mm.), solid 18th cent. stiff vellum, with a floral tool in gold, sprinkled edges, a good copy with capital letters supplied by an almost contemporary hand in red and blue, some rubrication in red, two illuminated initials faded with marginal extension with gold dots preserved (the first leaves possibly delicately washed at an early date). Printed in roman type, ff. 6 nn., 100 numb., 2 nn. (last orig. blank present, with a repair to lower corner). First edition, very rare, dedicated to Isabella dEste (1474-1539), Marquess of Mantova and wife of Federico II Gonzaga, one of the most authoritative women of the Renaissance and of the Italian cultural world of her time, a patron of the arts portrayed by Leonardo and Titian - as well as a leader in fashion, whose innovative style of dress was copied by numerous noblewomen. The Selvette, a prose work with poetic interludes by the Venetian scholar Niccolò Liburnio (1474-1557), canon of the Basilica of San Marco, are placed in the context of the classic opposition between the old and the new vernacular literature, in front of which Liburnio, still recognizing the importance of the ancient 'fathers' of the language (Dante, Petrarch, Boccaccio) leans towards a decisive affirmation of the authority of the moderns (Antonio Tebaldeo, Iacopo Sannazzaro, Pietro Bembo). Parenti, p. 312; BMC STC It. p. 377; not in Adams; Brunet III, 1068; Graesse IV, 202. Apparently, no copy listed at auction on RBH in last 30 years."- $7,644
- $7,644
