Ariosto, Lodovico
Orlando Furioso
In Venezia: Antonio Zatta, 1772
- $5,003
In Venezia: Antonio Zatta, 1772. 4 volumes. 4to. 265 x 195 mm., [10 ½ x 7 ½ inches]. I: [2] ff, LX pp., [162 ff]. II: [228] ff. III: [223] ff. IV [260] ff. Illustrated with numerous copper engravings, mostly after Pietro Antonio Novelli, comprising 58 full-page engravings including frontispiece, author's portrait, and 6 engravings of Ariosto relics, tailpieces, borders, and illustrative initials; engraved by Tomaso Baratti, Giuseppe Danioto, F. Fanbrini, Jacopo Leonardis, Giacomo Malosso, G. Zuliani and others. Bound in full contemporary vellum, title in gilt on spine, edges sprinkled red and blue ink; endpapers and preliminary leaves with some light foxing, vellum light soiled with age. A very good, unsophisticated set in contemporary vellum. With the bookplate of Eugenio Scalfari and the bookseller's label Il Polifilo.
Highly regarded edition, with a sixty page "Vita" of Ariosto by Giovanni Andrea Barotti in volume one and "I cinque canti" (five poems) of Ariosto at the end of volume four. Volume four also contains Orazio Toscanella's "Osservazione" on the text of Ariosto; Giambattista Pigna's notes on the changes in the text as Ariosto made revisions ;and finally, a synopsis of each canto by Girolamo Ruscelli. The work ends with a detailed index referring to characters and events from the text.
This is also an important illustrated edition of Ariosto's Orlando Furioso, with engravings by Pietro Antonio Novelli and a score of artists and engravers, who represent a veritable who's who in the Venetian art world of the period. Both Brunet and Gamba consider this an important edition by editorial standards but were not enthusiastic about the illustrations. Gamba in particular states that it is a deluxe edition but not in good taste, ("Lusso ma niun buon gusto").
More recent scholarship has recognized the art work as representative of a school of artists working together in Venice for Antonio Zatta during the later years of the 18th century. The art historian Maria Teresa Caracciolo calls Zatta's Ariosto "The masterpiece of venetian book illustration in the 18th century. Anne Palms Chalmers, curator of Prints at the Metropolitan Museum of Art states it this way:
"The Antonio Zatta edition of Orlando Furioso, 1772-73, clearly represents the difference between eighteenth-century book design and that of the seventeenth century, and, in fact, its similarities to that of the sixteenth. Once again, the format is harmonious in composition, with bordered illustration facing cartouche, initial adding emphasis, and the type nicely set. Once again, the nature of the ornament is unified by style, quality of line, and tone of printing. The difference from the editions of the sixteenth century simply lies in the difference between sixteenth- and eighteenth-century taste."
A look at Zatta's list of book for sale, Catalogus librorum omnium of 1780 lists his 1772-73 edition of Ariosto in five formats. This edition described as above was priced at Lira 130; a large paper copy lists for Lira 220; a copy printed on Imperial Holland paper with decorative borders enclosing each page of text was the most expensive copy and was priced at Lira 500; a copy on Holland paper without the borders lists at Lira 400; and finally a copy on "Biava" or blue paper with decorative borders was also priced at Lira 400.
Giuseppe Agnelli and Giuseppe Ravegnani, Annali delle Edizioni Arioste, Bologna, 1933, pp. 202-204. Jacques Charles Brunet, Manuel du Libraire I, p. 437. Bartolomeo Gamba, Serie del testi di lingua Italiana, no. 57. Giuseppe Morazoni, Il libro illustrato Veneziano del Settecento, p. 213. Candida Visco Romiti, Mostra Bibliografica Ariostea nel v centenario della nascita di Ludovico Ariosto. Rome: Biblioteca Angelica, 1974, no. 65, "Pregevole edizione" (Valuable edition). Anne Palms Chalmers "Venetian Book Design in the Eighteenth Century" Metropolitan Museum of Art Bulletin, pp. 226-235, New Series Vol. 29, no. 5 (January 1971). Maria Teresa Caracciolo, "Lectures de l'Arioste au xviiie siècle du livre illustré au cycle peint" Gazette des Beaux-Arts, 1502 (March 1994) pp. 123-46. Antonio Zatta, Catalogus Librorum Omnium, [Venice], 1780, pp. clxxi-ii. .
More from De Simone Company, Booksellers
Esther Taggart’s Manuscript Work Book
Middletown (CT.?), 1814. Folio. 320 x 200 mm., [12 ½ x 8 inches]. 424 leaves. Textblock sewn with original drab paper wrappers. Wrappers with a few tears and folds at the edges, some staining, and a few ink marks; otherwise, a remarkably well preserved manuscript work book. Fine example of an early American arithmetic work book, filled with examples applicable to the mercantile or dry goods trade. Includes exercises in simple addition, addition of Federal Money, simple subtraction, subtraction of Federal Money, simple multiplication and the application and use of multiplication in making out bills, determining quantity and finding the value of goods. This part includes examples of establishing the cost of paper, pairs of men's shoes, bushels of oats and other grains and food commodities. This is followed by exercises in division, compound addition, Sterling money, weights and measures, Troy weight, Avoirdupois, apothecaries, cloth, wine, and the measurement of land. Of the examples we especially note math problems, concerning distances on the East Coast, including New York to Philadelphia; a wine merchant's dwindling quantity of 'pipe wine'; and a tailor's bill for materials and making of a silk coat, vest, and buttons." A final question to be solved reads as follows: "The war between England and America commenced April 19, 1775, and a general peace took place January 20th 1783, how long did the war continue?" Miss Taggart's calculations break down the problem into years, months, and days to arrive at the correct answer. The contents of the manuscript suggest that Ms. Taggart may have been training to work in a commercial setting, selling goods such as the one listed in the fictional Bill of Parcels. Although it is well known that women, especially wives of the owners of general stores, managed the business side of a mercantile enterprise, it is very rare to have an exercise book, penned by a woman that documents the method of learning complex mathematics and business practices. In this case Esther Taggart was very proud of the work she was doing, and she signed the book four different time; once on the inside cover; once on p. 9 "Esther Taggart's Manuscript"; once on p. 45, again signing it "Esther Taggart's Manuscript", and finally on the inside rear wrapper. Although we are not sure which New England town named Middletown was Esther's home, we think it was Connecticut. On the sample "Bill of Parcel" that appears on the verso of leaf 11, the example cites New London as the origin of the invoice. . Cahier d’Ecriture á Mademoiselle Marie Perrine Cloizec
Vannes, 1851. Folio. 410 x 270 mm., [16 x 10 ¾ inches]. 5 leaves, 1 blank. Manuscript in ink on rectos only. Highly legible and decorative. A charming calligraphic manuscript by a young female student from Vannes during the middle of the 19th century. . Bluettes et souvenirs poétques
8vo. 186x 119 mm., [7 ¼ x 4 ½ inches]. [1]-14, [1], 15-19, 21-24, [1], 25-29, [1], 30-36, [1], 37-90; folios 74 and 83-90 blank except for page numbers and 4 lines on fol. 85 verso; plus 18 blank leaves at the end followed by [1] leaves containg 3 index pages, and 1 final blank leaf. Manuscript section tiles in outline capitals on separate leaves, included in foliation. Complete (the gap between folios 19 and 21 is a foliation error). Ruled borders throughout. Text in brown ink in a flowing cursive hand, varying lines, numerous insertions, and deletions. The manuscript on wove paper is illustrated with 20 pen-and-ink drawings, of which 7 full-page, on rectos with verso blank (the first five not included in the foliation), and 13 half-page or smaller, plus 2 small ornaments. Bound in black straight-grain morocco, covers gilt paneled, central panel with arabesque tooling at corners, smooth spine with gilt title cartouche lettered "Bluettes" from which extend triple gilt fillets, terminating in ornaments at head and tail, gilt edges, with moiré satin endleaves; binding a bit rubbed with corners bumped. A manuscript of poems and short prose pieces, all in a romantic vein, illustrated with quite accomplished pen-and-ink drawings, presumably by the author, whose name and the date of the manuscript are supplied on the verso of the front free endpaper: "Le Baron Achille de Cholet / Officier á l'Etat-Major / 1836". In the first poem, (Aux Dames), the poet calls himself a "novice Ecolier" implying youthfulness, and the date of 1836 on the front fly leaf is probably at the time of writing, although some of the many corrections and deletions may have been added later. The titles of the other poems or groups of poems, are : Le Rin, Le Déserteur, L'Isolement, L'Impiété, Un Croix, sur la Montagne, La Mère du Prisonnier, L'Avenir / á Melle Francine d'Hurbal, Rheyms, Séparation L'Enfant perdu, L'Adieu au Plaisir, La Campagne / á Mr le Vicomte Alfred de R. . ., Le Cloches du Soir, La Neige, Les Pauvres, and Le Jour des Rois . . . These stolid sentimental poems and prose impressions reflect the prevailing Romanticism of the period, as do the far more skillfully executed pen-and-ink drawings that illustrate them. Somber or dreamlike, with dark cross-hatching contrasting with lighter areas, the drawings show a dark tunnel under a rocky mountainside, a soldier in a garret or prison, a cloaked barefoot man, an emblematic trophy with musical instruments and weaponry, a raven perched on ruined tombstones and columns, a domestic scene of father and daughter, a women on her knees, the façade of Reims Cathedral surrounded by swirling clouds, architectural details of cathedrals, several surrounded by decaying facades, and vignettes of crumbling chateaux, pastoral churches, and snow-covered gatehouses, all of which reflect the vogue for l'ancienne France and the "pittoresque", as notably popularized by Nodier and Taylor in their Voyage pittoresque et romantiques dans l'Ancienne France (23 volumes, 1820-1878). Achille de Cholet was descended from an ancient Anjou noble family, according to his obituary in 1888 in the Bulletin héraldique de France (vol. 7, 235-6). He became an officer in the Légion d'honneur, and was well known for his important topographic researches in the south of France. A few of the pieces in the manuscript are dedicated to aristocrats, mainly female. It seems likely that the Baron shared his family's Royalist views: his father had died in exile, and his brother (whose first name is not given in the obituary) was an "ardent champion of the Royalists press" and author of a book title Madame en Vendée (relating the attempted coup in 1832 of the duchesse de Berry, mother of the Prentender the Comte de Chambord), which was pursued and effectively banned by the tribunals (indeed, the work appears not be recorded in OCLC or other online OPACs). Thanks to Nina Musinsky for this description. . Dissertazione sopra il quesito se vi siano mezzi opportuni di migliorare I vini Mantovani
Mantova: Per l'Eredi di Alberto Pazzoni, Regio-Ducale Stampator, 1781. Large 8vo. 280 x 200 mm., [11 x 8 inches]. 74 pp. Illustrated with a large printer's ornament on the title-page. Bound in modern stiff, green decorated boards, new endpapers; some minor soiling to margins but otherwise a very nice copy, printed on very good paper with large margins. The initials "GM" are embossed on the lower cover, perhaps the initials of the papermaker for the decorative wrappers. Rare first and only edition of Eraclio Landi's study of the wines of Mantua, an ancient city in the Lombardy region of Northern Italy. Adopting scientific criteria and referring in particular to wine chemistry, Landi carefully describes the various wines of Mantua: its characteristics, its quality, the fermentation process used, as well as the market for the wines. Included isa description of fourteen different grapes that can be cultivated in this region of Italy. There is also a section on how to conserve the wines and to transport and export them by sea. The work was written for presentation to the Reale Accademia di Scienze, e Belle Lettere di Mantova, and academic society, which was founded by Maria Terese, Empress of Austria in 1768. Landi was a Franciscan from Siena who was appointed by the Austrian government to be the royal agrarian inspector in Milan and the surrounding area. Vittorio Niccoli, Saggio Storico e Bibliografico della Agricoltura Italiano, p, 546. Maria Paleari Henssler, Bibliografia Latino-Italiana di Gastronomia, p. 413. OCLC cites one copy in North America at U C Davis and two locations at the British Library. Not cited in NUC. . West Indian Illustrations of Shakespeare
Georgetown, Demerara: James Thomas, 1885. Oblong 4to. 260 x 345 mm., [10 ¼ x 13 ½ inches]. Titlepage and contents leaf, followed by fifty half-one plates. Bound in original half diced morocco and printed paper boards, expertly rebacked with matching diced morocco back strip. Boards soiled, rubbed, and scraped, corners and edges worn. Free endpapers mended, rear endpaper torn at edges. Title-page tanned, else quite clean internally. About very good overall. A scarce work of illustrations celebrating Black life in Demerara, a region of Guyana. The illustrations, based on quotations from Shakespeare's plays, depict humorous scenes in the daily life of the Black population. Included are scenes of courtship, cricket, fighting, cooking, bathing, dressing, shaving, fishing and much more. While the illustrations are designed for broad comic effect, the overall result is an interesting depiction of life in British Guiana, with men and women dressed in fine garb and everyday clothes, portrayed in scenarios both dignified and stereotypical. One illustration depicts a bride and groom on their wedding day with the quote from Midsummer Night's Dream, "This is some satire keen and critical, not sorting with a nuptial ceremony." Another from Comedy of Errors, "My wife is in a wayward mood to-day", shows a man suffering the consequences of a domestic argument. Others show people banking, at the pharmacist, going to the dentist, snacking on sugar cane, and engaged in any number of everyday occupations. The illustrations appear to be half-tones of original charcoal drawings, and were printed in the office of The Argosy, one of British Guiana's chief newspapers from 1880-1907. OCLC records nine copies in the United States and thirteen worldwide. A note in the description of the New York Public Library copy states, that this is the earliest Shakespeare work produced in Jamaica. . Traités Élémentaires de Calcul Différentiel et de Calcul Intégral. Traduits de l’Italien de Mademoiselle Agnesi; avec des Additions
Paris: chez Claude-Antoine Jombert, 1775. 8vo. 195 x 120 mm., [7 ¾ x 4 ¾ inches]. iv, 500 pp. Illustrated with 6 folding plates with numerous diagrams. Bound in contemporary mottled calf, lightly rubbed at the edges. A sound and attractive copy. First in French, originally published in Milan in 1748 in two quarto volumes under the title Instituzioni analitiche ad uso della gioventù italiana,. It is considered the first book on differential and integral calculus written by either a man or a woman and its publication brought Agnesi international recognition. Although the title suggests that the book was written for the "use of Italian youth" it was a highly sophisticated and detailed presentation including algebraic equations, and thermos of finite and infinitesimal quantities. The six plates illustrate her ideas. This French edition was translated by P. T. d'Antelmy, with additions by Charles Bossut. It was followed in England in 1801, translated by John Colson, the Lucansian Professor of Mathematics at Cambridge. Maria Agnesi (1718-1794) was born into a wealthy family in Milan. She was identified as a child prodigy and her father encouraged her to study and introduced her to many of the most prominent thinkers in Milan. By her teen years she was fluent in seven languages. While maintaining her father's household, she pursued her studies at the University of Bologna, where after the publication of her book was the first women appointed to the faculty. After the death of her father in the 1750's she dedicated herself and her income to the poor of Milan and was recognized by the city fathers for her contributions. Dictionary of Scientific Biography I. pp. 75. Essay by Edna Kramer. Riccardi, Biblioteca mathematica Italiani, I, p. 83. . Liber utilissimus de quatuor hominis novissimis. Nempe I. Morte. II. Judicio. III. Inferni poenis. IIII. Gaudiis Coeli. Eiusdemde particolari judicio animarum. Modus optimus subieniendi. .
Paris: Carola Guillard, via ad divum Jacobum sub Sole aureo, 1543. 8vo. 170 x 105 mm., [6 ½ x 4 inches]. [8], 180 leaves. Bound in contemporary stiff vellum, upper joint with expert repair; title-page with cotemporary scratch outs and graffiti in ink; some browning to paper stock from age. Sound and not unattractive copy. Only edition printed by Charlotte Guillard (1488?-1557), the notable women printer whose printed under her own name after the deaths of her two husbands, also printers. "Between 1537 and 1557 Charlotte Guillard printed or published158 different titles or an average of 8 books per year at her print shop and home Soleil d'Or or Sole Aureo. She catered to the student and professional trade as well as monasteries and religious houses with libraries. He concentrated on theological and religous works as well as civil law, canon law, dictionaries, and titles printed in Greek. "To sum up, she concentrated on critical editions of the Church Fathers and Roman legal texts, and thus established herself in the main stream of French humanism." For the next twenty years after her second husband's death (Claude Chevallon d. 1537) Charlotte took charge of her life and continued to build a business and during a short period of time was the second largest producer of printed book in Paris. She managed a books shop, a printing company with 4 or 5 presses and about 25 workers, she owned land and properties in Paris and the surrounding countryside, she loaned money, collected rents, and provided marriage dowries for her nieces, the children of her brother, and a number of unrelated girls. She is considered one of the most successful and influential women printers in 16th century France. In 1539, two years after her husband's death, Charlotte published along with Jean Loys, Jean Petit and Jean de Roigny and edition of Denis the Carthusian's commentaries on the Psalms of David. The same year Guillard in partnership with Jean Loys : Jean Petit : Jean de Roigny printed an edition of the letters of Saint Paul, which appeared again in 1540. In partnership with many of the same printers Guillard continued to issue editions of the works of Denis the Carthusian's work, which was a testament to her position in the Parisian book trade. According to OCLC all of these editions are known in one or two copies only, in U S libraries. The title of this work by Denis the Carthusian reads in English, A very useful book about four stages of the later life of man. I. Death. II. Judgment. III. The punishments of hell. III. The joys of heaven . . . It was published in numerous editions, but this edition appears to be quite rare. Not cited in OCLC or NUC. A similar edition was published in Paris the same year by Jean de Roigny, also rare in U. S. libraries. Susan Broomhall, Women and the Book Trade in Sixteenth Century France p. 55. Beatrice Beech, Charlotte Guillard Sixteenth Century Business Women, Renaissance Quarterly, 36 n. 3 (1983), pp. 345, 367. Contemporaries of Erasmus, p, 387. Alex Erdman, Glorious Silence, pp. 140, 247. Not cited in Brunet or Ebert. . Collection of Original Woodblocks Used to Illustrate French Culinary Classics
France, 1880. One hundred eighty-seven (187) original woodblocks (see photos 1 - 4) for illustrations of various dishes, surtouts, kitchen equipment, etc., that appeared in works by Urbain Dubois (1818-1901). Information provided on back labels of single blocks (more on this below) identifies the following sources: La Grand Livre des pâtissiers et des confiseurs La Cuisine de tous le pays La cuisine d'aujourd'hui La Cuisine artistique, étude de l'école moderne La Cuisine classique Given that each of these titles typically contained hundreds of illustrations and that identification of all of the woodblocks has not been achieved, it is unlikely that this group constitutes a complete set for any single title. It is possible that some were used in multiple works, but that remains to be verified. Dubois is a pivotal figure in the history of French cuisine and certainly one of the most prolific culinary authors of the Belle Epoque. He is credited with introducing service à la russe to Western Europe, and some scholars attribute the usage of the term chef, as we intend it today, to his publications. Some of his works were translated into English, initiating an important cross-channel exchange of culinary methods. The general condition of the blocks is quite good. Only three present damage (photo 5), perhaps due to the wear and tear of printing many editions. Many present traces of the solution of zinc white in gum Arabic that provided the ground for the artist's design before sculpting (photos 6 - 7). In these cases, the image is clearly visible. Others bear heavy traces of ink, making it more difficult to discern the carved image (photo 8). A few of the blocks bear the trademark of the company that provided the boxwood: W. Güldenstein - Brandenburgstr 55 - Berlin or [Gül]denstein Fabrik fur Buxbaumpiatten - Berlin S - Brandenburgstr - 35 (photos 9 and 10). Many (but not all) of the blocks bear back labels that appear to be recycled bits of stationery from the historic Librairie Salet in Paris (subsequently Salet & Soete and finally Flachard). These labels, applied with cello tape, are hand-written and contain the following information with some variations: title, date, and edition of the book where the illustration appeared as well as the name of the particular dish. Many also contain numbers written in various hands (Photos 11, 12, 13). Calligraphic numerals also appear on some blocks, peeking out from below the paper labels. My tally is 136 blocks with labels and 51 without. The woodblocks offer a unique view of a particular printing period and of gastronomical history. A motivated researcher could take this material in many different directions. How many times were the blocks reused? What impact did such a rich iconographic apparatus have on the price of the books at the time they were issued? Why were the woodblocks imported from Prussia? Perhaps it was due to the author's connection to the crown. For a time, Dubois was chef de cuisine to Wilhelm I, Emperor of Germany. What was the relationship between Dubois and the artist (unidentified as far as I know) who carved the blocks? Catherine Slessor has examined Dubois' works in relation to architectural history: Dubois's fame spread through his widely disseminated culinary manuals, featuring an immense repertoire of designs with precise instructions for their manufacture. He was familiar with every style of architectural ornament down to its smallest detail and insistent on the correct application of various styles, scrupulously categorizing them according to the demands of particular materials. 'It is the unquestionable truth that ornaments in icing sugar are best compatible with the Gothic style of architecture', he writes, while 'designs in fat' are recommended for Classical subjects. He provided detailed drawings of the various architectural orders which could be formed into porticoes 'used for monuments and fancy buildings and applied indifferently to ornament cold meats or pastry'. See Catherine Slessor. "Let them East Cake, Urbain Dubois." Architectural Review, 2018. https://www.architectural-review.com/essays/let-them-eat-cake-urbain-dubois More images are available upon request. . Series of 101 Festival Broadside Mostly Dedicated to the Virgin Mary but also to Local Saints and Religious Leaders
Printed in Catalan, Valencia, and Zaragoza, 1850. 101 folio half sheets. 315 x 215 mm., [12 ¼ x 8 ½ inches]; nine are full folio sheets size printed two up. A few stained, and some with repair, but generally in very good condition. "GOIGS' (from Catalan; 'joys') are poetic compositions of a popular nature , which are sung to the Virgin Mary, to Christ or to the Saints. They are sung collectively, within the framework of a religious act of a major event, such as a festival, a mass, a religious meeting, or a procession. The purpose is to give a collective thanks from a congregation for blessings received, a prayer answered, or to ask for the physical or spiritual health of the community." (Grup Encyclopedia Catalana) Since the 16th century goigs have been printed in folio format and distributed by religious communities, churches, monasteries, and convents in Catalonia, especially the cities of Barcelona (45), Figueres (7), Girona (6), Lleida (3), Manresa (10), Mataró (1), Olot (2), Puigcerdà (1), Reus (3), Tarragona (1) Valencia (1), Vic (14), Zaragoza (1). This collection includes 67 broadsides printed in Catalan and 34 in the Spanish language. Most were printed in the 18th century, and only one from the 17th century. The texts are poems or songs, written to celebrate an event and to honor the Virgin, the Trinity, or Saints, both living and dead. The poetic form evolved from the songs of the Troubadours and were written to stimulate both song and dance and present an important source of entertainment for a mostly illiterate public. The goigs were also important educational tools as they helped conserve and standardize the language and were sources of knowledge for the local populations. Some were used for political purposes and others were a bit satirical and bawdy and provided a bit of good-natured comic relief. Some of the authors of the poems have been identified, and include the names of Pere Serafi, Francesca Vincent Garcia, Rafael Bover. Sixteen of the goigs were printed by women, the widows of established printers who died and their business were continued by their wives. The list includes Teresa Piferrer Viuda, Tecla Pla Viuda, Viuda y Fill de Sierra of Barcelona and Eulalia Piferrer all printers in Barcelona, and Viuda Compte of Reus. This collection of 101 Goigs, were all printed in cities of Catalonia, with the exception of one in Valencia and one other in Zaragoza. The oldest was printed in 1674, and the majority of them during the 18th century. The design of these broadsides was consistent through the centuries, and this demonstrates the success with which this format had with the public. More images are available upon request. {The above description is a loose translation of the Wikipedia Article on Goigs and edited for clarity.} . Le dodici gemme dell’antico Efod sacerdotale e le virtù in esse simboleggiate e riscontrate . . .da Monsignor Federico Maria. Giovanelli Patriarca in Venezia e primate della Dalmazia. Poesie per il suo solenne ingresso
Bergamo: Per Francesco Locatelli, 1766. Folio. 355 x 250 mm., [14 x 9 ¾ inches]. [2], lvii pp. Illustrated with a full-page engraved portrait of Giovanelli, engraved title-page with ornamental border, large cartouche signed "Wagner", six engraved tailpieces and a full-page engraving on the final leaf. Bound in contemporary Venetian paste-paper boards, decorated paper covers with the coat-of-arm of Cardinal Giovanelli on both boards; paper covers showing some rubbing at the edges and spine; strange water stain to front free endpaper but nowhere else does this light stain appear. Very nice copy printed on very good paper, with wide margins. This gratulatorio is illustrated with beautifully designed and crafted engravings from the shop of Giuseppe Wagner (1706-1780), a German artist who studied painting and engraving in Venice, Rome Paris, and London. Wagner became part of the coterie of the most skilled engravers of the period and set up a highly regarded school of engraving in Venice in the 1760's that became a center for the trade in that city. His was a transitional style of engraving that blended baroque and rococo taste that resulted in a deep tones and soft flourishes. His engravings produced for this festival book reflect his Venetian training and mid-century taste for vignettes of pastoral scenes, putti, and young women of virtue. The full-page portrait of Giovanelli is sensitively rendered and the final full-page engraving of the 'chronicler and his muse' demonstrates his light touch adding some etched lines to create detail and emphasis, an innovation that was copied by many of his peers. Wagner's students included Francesco Bartolozzi and Giovanni Volpato. This festival book documents the celebration of Federico Maria Giovanelli's (1728-1800) election as Patriarch of Venice in 1776. From a wealthy Bergamo family, Giovanelli's visit to his home town was a highly anticipated and the quality of this publication is a testament to the esteem in which he was held by other noble families of Bergamo. With poems by Lorenzo Mascheroni, Abbate Giuseppe Pasta, Bernardino Sarazetti, Gio. Battista Ghidini, the Arcadian Egiro Pallenio, Antonio Gavazzeni, all member of the Accademia degli Eccitati of Bergamo and colleagues of Giovanelli. Giovanelli's family made its fortune manufacturing silk in Bergamo and its ownership of mines in Austria. The family was recognized by the Holy Roman Emperor and in 1688 the family was elected to the Venetian Patriarchy. Federico was educated by the Jesuits he became well known as a young man for his piety, a quality of character which was to serve him well throughout his career. Through family connections he was made Bishop of Chioggia in 1773 and became a confidant of Pope Clement XIII. His tenure as Bishop of Chioggia was highly successful as he was engaged as the leader of the diocese and used his personal wealth for the benefit of the local clergy and parishioners. In 1776 he was elected as Patriarch of Venice. He conducted his ministry in Venice with both zeal and devotion and in 1797 was involved in negotiations on behalf of the Church which brought an end to the Republic of Venice and establishment of French then Austrian control over the city. He died in Venice in 1800. Rare: OCLC cites at Biblioteca Comunale di Trento, and the Plantin-Moretus Museum in Antwerp only; no copy in the United States. Arthur Hind. A History of Engraving and Etching, p. 208. Alberta Pettoello, Libri Illustrati Veneziani del Settecento, p. 5 note. G. Morazzoni, Il libro illustrato Veneziano del settecento, p. 114-115. Michela Dal Borgo - Dizionario Biografico degli Italiani - Volume 55 (2001). . Tableau de Calligraphie
Munich: Anton Dreer, 1816. Broadside sheet, large folio. 775 x 590 mm., [30 ½ x 23 inches]. Engraved with calligraphic samples, with five engraved vignettes. Printed on thick wove paper, deckle edge. Fine condition. A splendid and rare type specimen sheet, beautiful printed and fortunately beautifully preserved. The imprint states that it was 'composed, engraved, and published by J. B. Seitz'. Seitz was an engraver for the Royal Bavarian Bureau of Statistics and Topography (Königlichen Bayrischen Statitisch-Topographischen Bureau), which was responsible for the manufacture of official maps, charts, and plans. He was one of the first technicians to work on the trial production of lithographic maps and considered a leader in the field of cartographic design and printing. The present rare specimen-sheet was presumably printed for cartographic institutes, publishers, and mapmakers. The sub-title "Alphabets of Languages the most Customary" is in German, English, French, and Italian, and the remaining captions, all in different ornamental fonts, are in German and French. Included are ornate alphabets in Fraktur, several different italics (dubbed English, Italian, and French Letters), gothic, roman, and Greek alphabets, and German Kurrentscrift. Three of the fine engraved vignettes, arrayed down the center of the sheet, are pictorial. At top is a romantic landscape in which a plaque leaning on a tree bears the (appropriate) motto "Nihil est Simul et Inventum et Perfecturm." The others show a funerary monument in a pastoral glade, and a military trophy with the emblematic initials of Rome (SPQR) and motto below, "Et are vivitur patriae." Unrecorded. No copies found in any of the German national library OPACs and none in OCLC, and NUC. For information on Seitz see, R. A. Winkler, Die Frühziet der deutschen Lithographie, (1975). . Melethemata inauguralia (De fungorum generatione…)
Torino: excudebat Ion. Mich. Briolus R. Sc. Ac. et R. Ag. Soc. Imp. e Bib, 1788. Bound with: Dardana, Giuseppe Antonio. In agaricum campestrem veneno. - Turin, excudebat Ioan. Mich. Briolus, 1788. Two works in one volume. 8vo. I: 205 x 135 mm., [8 x 5 inches]. [iv], 284 pp. 2 folding plates colored by contemporary hand, with 10 diagrams. II: 32 pp. Bound in contemporary wine morocco, gilt triple-fillet borders and corner pieces in a floral motif, spine with title gilt, all edges gilt; original marbled paper pastedowns and endpapers. Very fine copy. Pico's treatise is divided into four parts, including insights into picking mushrooms and the risk involved in consumption of toxic species. Of great importance are the folding plates, engraved by Stagnon from drawings by G. F. Anselmi and Pico himself and hand-colored at the time. The second part of the volume is taken up with the work by Dardana, featuring a letter addressed to Pico about the differences between poisonous and edible mushrooms. It is evident that the truffle has very ancient origins, but the first scientific studies are carried out only since the eighteenth century. More precisely, in 1788 the Latin name Tuber Magnatum was born: it was invented by a Turin doctor Dr. Vittorio Pico, who defined the white truffle as the "truffle of the magnates". The Savoy family, for example, passionate lovers of truffles, sent it as a "diplomatic gift" to all the other European courts and invited friends to their hunts (for truffles) in the Turin hills. For Pico, OCLC cites copies at Harvard and Michigan only, NUC cites Harvard only. For Dardana OCLC cites copies at Oklahoma, Wisconsin, and Michigan only. Rare in the trade; not listed for sale on Via Libri or ABE, two copies of Pico only on Maremagnum. Paleari Henssler, Maria. Bibliografia Latino-Italiana di Gastronomia. 1998., p. 575 for Pico only. .
Scelta di paesi inventati ed intagliaaintingti da Pier Jacopo Palmieri e da altri Bolognesi per uso de pittori dilettanti
Palmieri, Pier Jacopo Bologna, 1760 Bologna: Luigi Guidotti Librajo e Stampatore, 1760. Oblong 4to. 180 x 250 mm., [7 ¼ x 9 ½ inches]. Engraved frontispiece of Valerio Boschi, engraved title-page with an image of the city of Bologna in the background, 2 pp. engraved dedications, 33 engraved plates of countryside villas, landscapes, and country scenes from the environs surrounding Bologna. Bound in contemporary decorated paper wrappers, spine reinforced with old repair, edges rubbed, fore edges of paper brown with age, margins foxed. With faults a rare survival. A charming series of engraved and etched plates, designed in great detail and with considerable skill, which capture the feeling of the pastoral countryside around Bologna. As stated in the title, Palmieri published this work as a type of manual for oil painters, learning how to organize their paintings and create a pleasing compositional structure. Of the 33 plates nineteen are designed by Palmieri and an additional eleven are designed by another Bolognese artists Giuseppe Beruzzi. Two plates are by Bernardo Minozzi and a single image is designed b Gaetano Rapini. All are printed by Luigi Guidotti. Little is known about the author and designer of most of the plates in this little volume. In addition to this work, Palmieri published a series of four plates carrying the title Fuoco, Aria, Terra Acqua, also printed by Guidotti the same years as this work. Palmieri is also known to have contributed to a work by Simoni consisting of battlefield scenes, entitled, Scelta di battaglie inventate e disegnate which also appeared in 1760. Only edition of this rare album of prints, not listed in Cicognara or the Berlin Catalogue. Not cited in OCLC or NUC; and only 3 copies listed in the Italian Union Catalogue (ICCU) (1146) .- $3,752
- $3,752
Le Fort Inexpugnable de l’Honneur du Sexe Femenin, construit par. .
Billon, Françoys de Paris, 1555 Paris: Chez Ian d'Allyer, 1555. 4to. 225 x 160 mm., [8 ¾ x 6 ¼ inches]. [6], 257, [3] ff. [A4, e2, A-TTt3]; plus 6 pp. manuscript table of contents bound-in. First two leaves with early paper repairs to lower margins; final two leaves with paper repairs to the lower corners. Illustrated with Title-page portrait of the author, repeated once in the text; a full-page woodcut of a castle showing soldiers at the ramparts and a waving banner of the Virgin and Christ child perched upon a quarter moon, opposite text enclosed within a large woodcut border illustrated with the implements of war and at the bottom a woman firing two canons at once (repeated 6 times in the text); a full-page woodcut of a Goddess of War with symbols of feathers on her uniform addressing a seated conclave of women on version, opposite the woodcut border of the implements of war, repeated twice in the text; the image of the goddess and the woodcut border repeated once as separate images in the text; decorated with woodcut initial letters throughout. This copy is bound in full red 19th century French morocco, flat spine decorated in blind, with the boards decorated in blind with two borders in blind and two fillet borders in gilt, all edges gilt; blue silk moire pastedowns and flyleaves; some minor wear to the joints and rubbing to the edges. First edition of this fundamental text advocating for the rights of women and their equal place under French law and in society. Using the theoretical construct of architecture as a metaphor for society De Billon attacks the "impregnable fort" which constricts the lives and development of women and limits their ability to take their place on equal terms with men in 16th century France. He describes how the structure of society places women in silos where their rights under the law are restricted and act as roadblocks to fulfilling their potentials as free women and equals members of community. De Billon begins his text with the statement that in all things, women are equals to men. He provides proofs by citing from history, women who have achieved great things as mothers and teachers of children, as doctors, as poets and authors, etc. He cites as examples contemporary women from Ferrara, Italy, including Anne and Lucrezia d'Este, daughters of Duke Ercole II and Rene of Lorraine, and the notable Protestant reformer Olympia Morata. He continues citing women from ancient times and focuses attention on the French history and those extraordinary women who through the power of education were able to contribute to society in politics and in war. He advocates for the abolishment of arranged marriages, proposes a new educational system for all ranks of society, and insists that women be viewed as equal to men under the law, in marriage, and in family economy. Not much is known about François de Billon, even his birth and death dates are uncertain. From a short biographical sketch in Nouvelle Biographie Universelle, we know that he "was nephew of Artus Billon, bishop of Senlis. He followed Cardinal du Bellay to Rome, as secretary. B[illon] made himself known by a singular work which he published under the title of: Fort impregnable of the honor of the female sex; Paris, 1555, in-4°; reprinted under this title: The Defense and Invincible Fortress of the Honor and Virtue of Ladies; Paris, 1564, in-4°. Billon still lived in 1566, but the date of his death is unknown." Jacques-Charles Brunet, Manuel des Libraire, I, 945. Nouvelle Biographie Universelle, VI, pp. 90-91. Alex Erdman, The Gracious Silence, Women in the Mirror of 16th Century Printing in Western Europe, p. 159. Not cited in Mortimer's French 16th Century Books. .- $7,004
- $7,004
La Galerie Nouvelle de la Bibliothèque Vaticane à Rome avec le Corniches Ornées des Vases Etrusiens
Nicolas Jean-Baptiste de Poilly Paris, 1760 Paris: Chez Jacques Chereau rue St. Jacques au dessus de la Fountaine St. Severin aux 2 Colonnes no. 257, 1760. Original Copper Plate. Oblong folio. 293 x 439 mm., [11 ½ x 17 ¼ inches]. Numbered 34 at the top right of the plate. Some very light oxidation to the plate, otherwise in very good, usable condition. Rare survival of this copperplate engraved by Nicolas Jean Baptiste and published by another notable engraver Jacques Chereau. Prints from this plate also carry de Poilly's imprint with the address Rue de St. Jacques a l'Esperance. Nicolas Jean-Baptiste de Poilly (1707-1780) was from a family of notable painters and engravers, stretching back to his grandfather Nicolas de Poilly the Elder who worked during the third quarter of the 17th century. Nicolas's father Jean-Baptiste (d. 1727) and his brother Nicolas de Poilly the Younger were highly regarded painters in their youth but both, for different reasons, applied their skills to the trade of engraving. This family of engravers specialized in architecture, landscapes, antiquities and ornaments and worked on many large projects, consisting of hundreds of plates, include Histoire de l'Abbaye Royale di Saint-Denys (1706), Histoire de Ordres monastiques religieux et militaires, (1714-1719), Recueil de Estampes dans le cabinet Roy, (1729-1742) to name a few. While doing research on de Poilly I came across a note by Giacomo Casanova on his use of the Vatican Library that I thought appropriate to this description. "[The librarian] heard me complain about the embarrassment a man of letters found himself in when he went to work in the libraries of Rome, as for example at the Minerva, and even more so at the Vatican [...]. One of the librarians introduced me for the first time to all the subordinates, and since that day, not only have I been responsible for going to the library every day and at all hours, but for carrying home all the books that I might need, doing nothing other than writing the title of the book that I took on a sheet of paper that I left on the table where I was writing. They brought me candles when they thought I couldn't see very clearly, and they went so far as to give me the key to a little door through which I could go to the library at all hours, very often. without being seen." Henri Cohen & Seymour De Ricci. Guide de l'Amateur des Livres a Gravures du XVIII Siècle, p.1235 for index of works. Arthur Hind, A History of Engraving & Etching, p. 465 for an index of their works. Giacomo Casanova, Histoire de ma vie, III, p. 856-857) (1145) .- $6,003
- $6,003
Studi di Pittura già dissegnati da Giambatista Piazzetta ed ora con l’intaglio di Marco Pitteri pubblicati a spese di Giambatista Albrizzi sotto gil auspice de sua Eccellenza Carlo Conte, e Signore Firmian
Piazzetta, Giovanni Battista Venezia, 1760 Venezia: [Giambattista Albrizzi], 1760. Oblong folio. 310 x 430 mm., [12 ¼ x 17 inches]. Engraved frontispiece portrait of Piazzetta as an older man flanked by allegorical images of painting and sculpture; title-page printed in red and black ink with an allegorical engraving illustrating Venice and the Arts; 3 page dedication with coat-of-arm of Count Carlo Firmian with an engraved initial letter and a tail-piece of an angel blowing a trumpet; 1 page dated notice by Albrizzi describing the content of the book and the artists who made the designs and engravings; 2 page "Prefazione"; 4 page Memorie intorno alla Vita di Giambattista Piazzetta by Albrizzi with an engraved initial letter and a second state of an engraved self-portrait of Piazzetta originally made in 1738; 23 pages of text with instructions to the student about the engravings to follow; and 48 engraved plates of designs of the human body by Pitteri after designs by Piazzetta. With an additional 4 engraved plates of pastoral scenes with men and women in local costumes 3 of which are unsigned but designed by Piazzetta and one signed by Piazzetta and the engraver G[iuliano]. Giampiccolo. This copy is sympathetically bound in late 19th century mottled calf spine and tips over original decorative paper boards. Frontispiece previous folded with paper repair to the folds, the leaf with some discoloration to the margins. With the book plate of the founder and publisher of the La Repubblica, Eugenio Scalfari and the bookseller Fiametta Soave. First edition, 2nd state of this collection of studies of the human body by the master painter and illustrator Giambattista Piazzetta. Created as a manual of the art of drawing, this rare album of images became a guide for Italian and continental painters well into the first decade of the 19th century. Composed of 48 images, 24 of which are in chiaroscuro, Piazzetta's designs and texts was the ultimate representation of the Venetian style of art and are responsible for its dissemination throughout Europe. Beautifully rendered engravings by Marco Pitteri and Francesco Bartolozzi, this is a classic of 18th century Venetian book illustration. In a loose translation in G. Morazzoni's book, Il Libro Illustrato Veneziano del Settecento, he writes of Piazzetta's Studi di Pittori in the following way: "If Piazzetta's art shines in the various frontispieces for Albrizzi's printed collection, it excels in its explanations of design and decoration in the famous album of the Study of Painting. Only Piazzetta was able to interpret the general conventions of the way of pictorially presenting the human figure and it is easy to understand how for forty years the luminous book served as a useful model for students of the Venetian Academy . . ." A very good copy of an important book in the history of western art. Leopoldo Cicognara, Catalogo ragionato dei libri d'arte, 345, citing the importance of the Memorie by Albrizzi. G. Morazzoni, Il Libro Illustrato Veneziano del Settecento, pp. 183-84. 129. See also, George Know, Piazzetta, Washington; National Gallery of Art, 1983, pp. 210-11, 226. For a detailed description of the various editions and states of the work see: Federico Montecuccoli degli Erri, Ánalisi di un Libro Veneziano del '700: Gli Studi di Pittura di Giambattista Piazzetta, con il catalogo ragionato delle edizioni e delle incisioni"; in Saggi e Memorie di storia dell'arte. Firenze": Olschki, 1992, pp. 145. (1144) .- $7,504
- $7,504
La Gerusalemme Liberata. Con le figure di Giambattista Piazzetta. Alla sacra Real Maestá di Maria Teresa d’Austria
Tasso, Torquato Venezia, 1745 Venezia: Stampata da Giambattista Albrizzi, 1745. Folio. 435 x 300 mm., [17 x 11 /34 inches]. [11] p. l., 254 leaves. Bound in contemporary mottled calf; raised bands and gilt spine, decorated endpapers; some minor pitting to the leather boards where the acid used to mottle the calf has deteriorated and very small cracks to head and tail of spine. With the book plate of the founder and publisher of the Roman newspaper La Repubblica, Eugenio Scalfari. An unsophisticated copy in very good condition. The text block includes a half title; engraved allegorical frontispiece of Apollo and the Muses, with a portrait of Tasso in the upper right; title-page printed in red and black with an allegorical engraved vignette representing Venice and Neptune; a full page engraved portrait of Maria Theresa as a mature women by Piazzetta and engraved by Felice Polanzani; 5 page dedication to Maria Theresa by Albrizzi with an engraved initial letter; six page subscriber's list; 6 page essay "Allegoria del Poema" with an engraved initial letter; 2 page "Privilegio" dated March 26, 1745; 20 "Cantos" each introduced by a full page engraved plate, a large decorative engraved design enclosing the "Argomento", a large engraved initial letter and a large engraved tailpiece; on the final leaf is an engraved portrait of Piazzetta and Albrizzi seated in an Arcadian landscape. Celebrated edition, illustrated with engravings by Giambattista Piazzetta, one of the most important Venetian artists of the 18th century. A major collaboration between the artist and the printer/publisher Giambattista Albrizzi, and a culmination of years of working together on illustrated book projects. In a short essay on the book by Eleanor Garvey, Hofer Curator at Harvard, she refers to the illustrations for the canto's as follows: "The canto frontispieces, each framed with a border, are compositions of heroic episodes, depicted in the traditional manner. More interesting are the head-and tailpieces, the former in the shape of elaborate pictorial cartouches framing the engraved canto summaries. They combine the heroic, mythological, and genre, whereas the tailpieces, resting on brackets, are all bucolic genre scenes. They both express Piazzetta's own individual pastoral style, freed from the restraints of the narrative canto frontispieces. Even those are pervaded with his poetic and often melancholy interpretation." This appears to be the second edition published in the same year as the first and Piazzetta was responsible for the changes to the design of the engravings. The coat-of-arms and the dedications have been omitted from the 20 plates and inserted is poem as an introduction to the "Argomento" for each canto. For a more complete information see Andrew Robison's discussion in George Know's Piazzetta p. 231-32, part of which reads: "It used to be thought that this second edition was a pirated one, but it is now clear that its preparation was already in progress prior to 1743, and that Piazzetta himself was responsible for the alterations in the design which it displays. Perhaps Albrizzi realized as the subscriptions came in that his Tasso was going to be a bestseller, and that a second edition with new or completely reworked engravings would be necessary. If he was not prepared to take advantage of the demand, someone else would surely step in to fill the gap." Torquato Tasso (1544-1595), author of the lyrical poems Rinaldo, Aminta , his master work the epic poem Gerusalemme liberate, and numerous love poems, were completed during his tenure in Ferrara as a guest of Cardinal Luigi d'Este and his brother Duke Alfonso II. He became good friends of Alfonso's two sisters, Lucrezia and Leanora, who became his patrons and the inspiration of much of his love poetry during the 1570's. Gerusalemme liberate, written over a period of fifteen years, captured the ethos of the period by intertwining religious fervor and the romance of chivalry into a great epic poem about the capture of Jerusalem during the first Crusade. The twenty cantos are highlighted by the romantic interaction of the crusader and the exotic Saracen women they encounter and the love affairs that ensued. These themes reflected the Italian epic style and were elevated by the lyrical nature of Tasso's poetry. Tasso was considered by many to be the greatest Italian poet of the late Renaissance period and his work was recognized by future generations in numerous editions in Italian, French, Spanish, and English issued well into the 19th century. His biography is complex. Tasso's decline into mental illness severely impacted his writing career and his last twenty year were clouded by doubt, suspicion, and erratic behavior that resulted in a nomadic life, moving from one Italian city to another, until he was embraced by Pope Clement VIII just before his death in 1595. Eleanor Garvey, "Torquato Tasso, La Gerusalemme liberate" in Visions of a Collector, the Lessing J. Rosenwald Collection in the Library of Congress. Washington 1991, no. 52. George Knox. Piazzetta, a Tercentenary Exhibition. Washington: The National Gallery of Art, 1983. pp, 166, 230. Giuseppe Morazzoni. Il libro illustrato Veneziano del Settocento. no. 256. See also Giovanni Aquilecchia's essay in Encyclopedia Britanica, published in 1998. .- $8,004
- $8,004
La Sainte Bible, contenant l’Ancien et la Nouveau Testament, traduite en François sur la Volgate per M. Le Maistre de Saci, ornée de 300 figures gravées par les dessins de M. Maillier
(Marillier, Pierre-Clément) Paris, 1804 Paris: Defer de Maisonneuve (de Imprimerie de Monsieur), 1804. 12 volumes. 8vo. 230 x 150 mm., [9 ¼ x 6 inches]. Illustrated with 300 engraved plates; 204 [Old Testament] and 96 [New Testament]. Collates complete, both pagination and illustrations agree with Cohen-De Ricci's collation on p. 935. Bound by Bradel, Rue Pierre Sarrazin 8, in full blue straight grain morocco, raised bands, gilt spine, two borders on each board; all edges gilt. Some minor rubbing to heads of bindings and some very minor foxing to the preliminary leaves. With the bookplate of Eugenio Scalfari, founder of the post war Roman newspaper, La Repubblica, and the binder's ticket of Bradel. Near fine copy. Important illustrated edition of the Holy Bible printed and illustrated over a fifteen year period. This enormous project, printed in twelve volumes and illustrated with 300 engraved plates, was begun in the same year as the taking of the Bastille and continued until Napoleon's coronation in Notre Dame Cathedral in December of 1804. In many respects it reflects the epoch of the French Revolution itself by capturing the narrative of the Bible with all of its conflicts and drama in engravings in a neo-classical style by Pierre Clément Marillier (1740-1808) and Nicolas-André Monsiau (1754-1837). Marillier first studied painting in Dijon and came to Paris as a twenty year old to continue his education in the arts. In order to make a living he turned to field of book illustration and became one of France's most renown illustrators of the late 18th century. His first major work was the 1773 edition of Durat's Fables followed in 1775 with an edition of Berquin's Idlles. He was know for his ability to produce numerous illustrations for a printed book and maintain continuity in tone and character of the imagery over a long period of time. In his work on the French illustrated book Gordon Ray summarizes the work of Marillier in this way: "Marillier was among the most accomplished and abundant of 18th century illustrators. His work is seen at its best in his small head pieces and tail pieces. He was a thorough professional, however, and in his extended series of plates for Le cabinet des fées and particularly :La Sainte Bible, he maintained a high level of proficiency. Nearly all of his designs are characterized by grace, liveliness, and firmness of drawing." Numerous engravers were enlisted to produce the images for this set of books and it represents a veritable history of French engraving during the last decade of the century. The engravers who are represented in this work include Armond, Baquoy, Bosc, Courbe, Dambrun, Dulaunay, Delignon, Delvaux, Dupréel, Duval, de Ghendt, Giraud jeunne, Halbou, Hubert, Hulk, Lebeau, Patas, Petit, Ponce, Triére, Varin, and Viguet. The engraved work of Dambrun and Delvaux are especially prominent here with 47 and 38 engravings respectively. This set is also distinguished by the bindings by Alexis-Pierre Bradel, a French binder working for the most part in Germany during the second half the 18th century. Bradel returned to Paris during the revolutionary period and set up shop on the rue Pierre Sarrizin in the 6th arrondissemont . Bradel is known for his technique of refining the hollow backed spine, which allowed the bindings to fully open. The example we have here is bound in full blue straight-grain morocco and each volume opens easily and facilitates easy access to the engravings. Henri Cohen, Seymour de Ricci, Guide de l'Amateur de Livres a Gravures du XVIIIe Siècle, p. 935. Gordon Ray, The Art of the French Illustrated Book 1700-1914, pp. 81-86. Edith Diehl, Bookbinding its Background and Techniques, pp. 182, 256. .- $5,503
- $5,503
Principj della Stampa in Perugia e suoi Progressi per tutto il secolo XV
Vermiglioli, Gio. Battista Perugia, 1820 Perugia: Presso la Tipografia Baduel, 1820. 8vo. viii, 209 pp. Later 19th century cloth spine over marbled paper board, original front wrapper bound-in. With the book label of Tammaro De Marinis. Second edition,originally published in 1806 in only 66 pages. Vermiglioli's Principj begins with a lengthy history of the origins of printing in Perugia, followed by descriptions of 21 books printed during the incunable period. Each entry is well described with considerable annotations referring to these publications. This is the second bibliography of printing in Perugia, Pietro Brandolese published research in 1807 listing 18 incunable editions. The final nine pages of the book contains a list of works published by the author, who was a member of the faculty at Perugia and director of the Museo Antiquario. Giovanni Battista Vermiglioli (1769-1848), was born and educated in Perugia and took degrees in art and law. He was drawn to the history of Perugia and published a number of important works on Etruscan culture which flourished long before the Romans dominated the territory. He was the author of at least nine bibliographical works on early printing in Perugia. "Vermiglioli's culture and production always retained the encyclopedic approach of his eighteenth-century education and the prevailing interest in the most varied aspects and almost all eras of the history of his city" (Polverini). G. Ottino e G. Fumagalli, Bibliotheca Bibliographica Italica, 392-93. Brunet Manuel du Libraire, V, p. 1143. Bigmore & Wyman, Bibliography of Printing, III, p. 47. Besterman, World Bibliography of Bibliographies, III, 3429. See Leandro Polverini's short biography in Dizionario Biografico degli Italiani, V. 98. OCLC lists copies at the Library of Congress and the Folger Library. .- $1,101
- $1,101
Lettera dell’Abate Andrea Zannoni Custode perpetuo della Biblioteca Comunale di Faenza Accademico Italiano al Ch. Sig. Abb. Gio. Battista Zannoni, Secondo Bibliotecario della Magliabecchiana, contenente la relazione di alcune Edizioni del Secolo XV. no conosciute finora dai Bibliografia
Zannoni, Andrea [Faenza], 1808 [Faenza]: presso Michele Conti, 1808. 8vo. 196 x 125 mm., (7 ¾ x 5 inches). 46, 2 pp. Modern wrappers. From the Library of Tammaro De Marinis. Only edition. Rare pamphlet written by the librarian of Faenze and addressed to a young Gio. Battista Zannoni (1774-1832), "Second Librarian" at the Biblioteca Magliabecchiana in Florence, who was to become the Director of the Uffizi Gallery. I have not been able to identify Andrea Zannoni, but based on his date of birth, (1754-1811), he maybe the uncle of Giovanni Battista. In this rare work, Andrea Zannoni examines twenty-three books printed in Italy during the fifteenth-century and provides bibliographical details that helps to identify where a particular edition fits in the publishing history of a given title. For example, the first book that Zannoni describes is Nicolai de Tudeschis edition of Consilia, which he identified as being printed in Ferrara, by Petrus de Aranceyo and Johannes de Tornaco in 1475. He does so by making a detailed description of the type face, the composition of the type on the page, the number lines of type per page, the quality of the paper stock, &c., and then discusses the work of printers work in Ferrara in the 1470's and concludes based on other works printed by Aranceyo and Tornaco, that this unsigned edition is by this pair of printers. Zannoni also cites the bibliographical work of Giovanni Battista Audiffredi and his catalogue of the collections of early printed books in the Biblioteca Casanatense, Rome, which was the copy which he examined. Besterman World Bibliography of Bibliographies, 3343-4. British Library, Incunable Short Title-Catalogue, item ip00029500. Rare: OCLC cites copies at the Grolier Club and the Newberry Library only. .- $750
- $750
Edizione Singolarissima del Canzoniere del Petrarca
Rossetti, Domenico De' Trieste, 1826 Trieste: Dalla Tipografia Marenigh, 1826. 8vo. 56 pp. Illustrated with a facsimile page of incunable printing of Petrarch's poetry. Original blue paper wrappers. Rossetti was a bibliographer of early Italian literature, a founding member of the L'Accademia Minerva in Trieste, and a book collector who left his collection, "Biblioteca Rossettiana, to the public library of that city. His Edizione Singolarissima examines in detail an unidentified edition of Petrarch's works and includes numerous references to Dibdin, Melzi, and Meerman, and their bibliographical work on editions of Petrarch. In 1834 he published one of the earliest bibliographical studies of Petrarch that included descriptions of 1343 items. Besterman, World Bibliography of Bibliographies. 3165. OCLC cites 4 copies in America; Yale Harvard, Cornell, and the Newberry Library. .- $400
- $400