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  • Plutarchus (ca. 45-120)

    Editore: Venice Gabriele Giolito de' Ferrari and Brothers 1555, 1555

    Da: PrPh Books, New York, NY, U.S.A.
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    Valutazione venditore: 4 stelle

    EUR 60.836,91

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    Two volumes, 4° (256x168 mm). I. Collation: *4, A-Z8, AA-ZZ8, AAA-PPP8. [8], 973, [3] pages. Roman and italic type. Woodcut printer's device on the recto of fol. PPP8. II. Two parts. Collation: †4, a-z8, aa-kk8, ll4; aaa-fff8, ggg4. [8], 535, [1]; [104] pages. Roman and italic type. Woodcut printer's device on both title-pages, and a smaller version at the end of each part. Woodcut animated initials, and headpieces. Handsome Venetian bindings, executed around 1555 by Anthon Lodewijk. Gilt-tooled red morocco, over pasteboards. Gilt and blind fillet borders. Central medallion with radiating tongues-of-flame within lobed panel, the two volumes slightly differently tooled with solid outline and azure tools. The central medallion of the first volume overstamped with forged Apollo and Pegasus plaquette. Spines with five double raised bands, decorated with one, and outlined with two gilt fillets. Compartments gilt, open circle border at the head and foot of the spines. Edges of the boards decorated with a double vertical line in blind. Edges gilt and gauffered with double dotted-line frame. Missing four ties, probably in red silk. Vol. 1 with minor repairs to the corners, rebacked preserving most of the original backstrip, some gilding renewed. Skilful repairs to the corners and joint of vol. 2, a little worming in flyleaves. In modern cloth solander cases, in brown for vol. 1 (on the spine 'PLUTARCHIS VENEZIA 1555 CANEVARI'), and in green for vol. 2 ('PLUTARCHA [SIC] LA SECONDA PARTE DELLE VITE, VENETIAN BINDING VENICE 1555'). A fine copy, some spotting. Minor ink stain in the first volume, a few leaves uniformly browned. On the recto of the front flyleaf of the first volume, the inked note 'Reliure Canevari Iere moitié du XVime S. Genes'.Provenance: Pietro Benincasa (ownership inscription on the title-pages 'Pietro Benincasa', partly removed from the first volume); Curtio Bertini, from Colle val d'Elsa (sixteenth-century ownership inscriptions on the title-pages, 'Di Curtio Bertini' and 'Di Curtio Bertini da Colle' partly removed from the first volume). By the early twentieth century the two volumes became separated: Vol. 1: the bookseller in Florence Tammaro De Marinis (1878-1969), 1911; early twentieth-century ex-libris engraved by Stern on the front pastedown, eradicated; Cartier library (sale Sotheby's Monaco, 28 November 1979, lot 1366); GDV (monogram blindstamp on the title-page); Rossignol (sale Paris, Valleriaux expert, 27 February 2003, lot 557); Michel Wittock (see The Michel Wittock Collection. Part I: Important Renaissance Bookbindings, Christie's London 2004, no. 97). Vol. 2: Baron de Sant'Anna (sale Brussels 16 May 1925, lot 105); Michel Wittock (ex-libris on the front pastedown; see The Michel Wittock Collection. Part i: Important Renaissance Bookbindings, Christie's London 2004, no. 97). A remarkable copy, in its original Venetian binding, of the first edition of Domenichi's Italian translation of the Vitae by the Greek historian Plutarch. The two volumes have only recently been reunited after a century's separation; they were bound around 1555 by the famous Flemish craftsman Anthon Lodewijk or Lowies, who was active in Venice between 1553 and 1557. Anthon Lodewijk "seems to have arrived in Venice not later than 1553. In his mature work he imitated the style of the 'Mendoza Binder' or the 'Fugger Binder', but using his own kit of Italian tools. These are found in presentation copies of books printed by Giolito in 1554, 1556 and 1557, for his distinguished clientele, which included among others Jakob Fugger and Antoine Perrenot de Granvelle. Lodewijk probably left Venice soon afterwards and is next found in Augsburg binding Greek manuscripts and printed books for Johann Jakob Fugger and decorating them with the Italian tools brought from Venice" (Hobson-Culot, Italian and French 16th-Century Bookbindings, p. 43). These volumes demonstrate his more mature, elaborate Venetian style; in all likelihood the binding. Book.

  • Immagine del venditore per La prima [- seconda] parte delle Vite di Plutarco Tradotte da M. Lodovico Domenichi. Con gli suoi Sommarii posti dinanzi a ciascuna Vita. venduto da PrPh Books

    Plutarchus (ca. 45-120)

    Editore: Venice Gabriele Giolito de' Ferrari 1560, 1560

    Da: PrPh Books, New York, NY, U.S.A.
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    Valutazione venditore: 4 stelle

    EUR 51.024,51

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    Two volumes, 4° (225x161 mm). I. Collation: *4, A-Z8, AA-ZZ8, AAA-PPP8. [8], 937, [3] pages; II. Two parts, each with separate title-page. Collation: †4, a-z8, aa-kk8, ll4; aaa-eee8, fff10 (fol. fff5 signed 'ggg'). [8], 535; [101] pages. Roman and italic type. Woodcut printer's device on title-page of both volumes, on the recto of fol. PPP8, on the title-page of the Tabulae (fols. aaa1r), and on the verso of fol. fff10. Nearly contemporary uniform Roman binding, brown morocco over pasteboards. Covers within blind fillets and narrow gilt roll, at the outer corners the Cesi 'seven hills'. At the centre small floral tools and fleuron in gilt. On the upper cover of the first volume the gilt inscription in a cartouche '.VITE. DI. PLUTARCA. I. PARTE'; on the upper cover of the second one "".VITE. DI. PLUTARCA. 2. PARTE', likewise in gilt lettering. Spines with seven raised bands, underlined with gilt fillets, rebacked; title and volume numbering in gold. Original, handsome gauffered and painted edges, the fore-edge showing the Cesi coat of arms, a tree above seven hills. Good copies, foxing in places, trace of old stamps, now illegible, on both title-pages.Provenance: from the library of the Cesi family (armorial binding). A magnificently bound copy of the Italian edition of Plutarch's Vitae, translated for the Venetian printer Giolito by his collaborator, the polymath Lodovico Domenichi (1515-1564). The two-volume publication is a substantial re-issue – introduced with a newly recomposed title-page bearing the printing date '1560' – of the first edition, which had appeared in 1555 (see no. 118). As their fine armorial binding stamped with the seven-hills coat of arms attests, the volumes presented here were once preserved in the library assembled by the aristocratic Cesi family which was highly connected in Rome and the Papal States. The most outstanding member of this family was undoubtedly the naturalist, scientist, and Duke of Acquasparta, Federico Cesi (1585-1630), founder of the Accademia dei Lincei (Lincean Academy) in 1603, and one of the most influential patrons of Galileo Galilei. The entry relating to a copy of the Giolitine Plutarch of 1560 is included in the inventory of Federico's books located at Acquasparta, the Cesi palace, listing also volumes owned by other members of the family, which never entered the Lincean Academy. The inventory Libri diuersi dell'Heredita sudetta, held in the Academy Archives (ms Archivio Linceo XXXII) was compiled between February and April 1631, in order to divide the inheritance among Frederico's heirs – his second wife, Isabella Salviati, sister of the mathematician Francesco Salviati, and his brother, Giovanni Federico Cesi. Plutarch's Lives is listed among the volumes put in a case filled with moral and historical books ("Cassa N, Morali et Historici'): "P.a parte delle vite di Plutarco tradotte da Lod.co Domen[i]chi con li suoi Sommarij con la dichiarat.ne dei paesi [pesi] in Venetia 1660. [i.e. 1560] del Giolito".STC Italian 528 (describing a slightly different issue); M. T. Biagetti, La Biblioteca di Federico Cesi, Roma 2008, p. 172, no. 748; Eadem, "Dispersed Collections of Scientific Books. The Case of the Private Library of Federico Cesi (1685-1630)", F. Bruni - A. Pettegree (eds.), Lost Books. Reconstructing the Print World of Pre-Industrial Europe, Leiden-Boston 2016, pp. 386-399; Philobiblon, One Thousand Years of Bibliophily, no. 125. Book.

  • SCAINO DA SALO, Antonio (1524-1616).

    Editore: Gabriele Giolito de'Ferrari and brothers,, 1555

    Da: Arader Galleries - AraderNYC, New York, NY, U.S.A.
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    Valutazione venditore: 5 stelle

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    EUR 41.212,10

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    Hardcover. Condizione: Fine. 1st Edition. 3 parts in one, 8o (141 x 94 mm). 6 double-page woodcut engravings of equipment and court plans inserted in signatures K and L with starred page numbers, text on the verso of the illustrations continuing the text of the regular signatures, woodcut grotesque and historiated initials, printer's device on title, larger version on verso of colophon leaf, V8 blank (a few plates slightly cropped at edges). (Some occasional pale spotting, a few leaves cropped close at headlines.) Fine modern calf binding to a 16th-century style, spine gilt, by Trevor Lloyd. FIRST EDITION OF THE THE FIRST BOOK ON THE GAME OF TENNIS, dedicated to Alfonso d'Este (1535-95), last Duke of Ferrara, grandson on his mother's side of Louis XII of France, and on his father's side of Lucrezia Borgia. Scaino, a priest and theologian, was apparently prompted to write his book after a dispute arose during a game of court tennis. In it he establishes rules and a scoring system for the game, sets the standard court sizes, and mentions some principles of etiquette to be practiced between players. It also covers many forms of tennis, his definition of "ball-game" in W.W. Kershaw's English translation (London, 1951) being: "a contest between at least two players who, placed one on one side and the other on the other as adversaries, do battle together with a solid and round instrument made from the skin of an animal and capable of bouncing, called a ball, each doing his utmost to obtain victory for himself by striking the ball as far as possible towards his adversary, striking it sometimes at the volley in mid-air, sometimes after the first bound, and sometimes at the half-volley ." (ch. iii, pt. II). The key differences in the varieties of the game depend on whether it is played with a solid or air-filled ball, with the open hand or a clenched first, with the fist without an instrument or with the fist with an instrument, and in the open or with a cord (ch v, pt. II). Two chapters in part II (xvi and xvii) describe the larger and smaller court for the cord game with the racket and are followed by two chapters (xviii and xix) on the closed and open court for the cord game with the hand. Scaino admits to being a player of "il guioco della corda", the closest equivalent to present day real tennis and lawn tennis, describing it (ch. xx) as "the rarest and most valued" form of ball-game because it is confined to a limited space, making it less subject to chance as well as requiring a greater degree of art and skill. Tennis historians have all emphasized the enormous value of Scaino's book, serving as an accurate foundation for the history of the sport. Adams II, S-547; Brunet V, 178, Supplement II, 606; Mortimer/Harvard Italian 465; Garnett p. 288; Henderson p. 176.

  • Two parts in one volume, 4° (215x149 mm). Printed on blue paper. Collation: A-Z8, AA-KK8; *8,**8, ***8, ****6. 264; [30] leaves. The second part bearing on its separate title-page the imprint date '1547'. Roman and italic type, the cantos printed in two columns. The first title-page within an elaborate architectural border containing Giolito's phoenix device; imprint set in type in a cartouche in the lower part of the border; in the second part different printer's devices on the title-page, and at the end. Medallion portrait of Ariosto on fol. *8v. Forty-six woodcuts (ca. 47x87 mm), one at the beginning of each canto. The argumenti within a woodcut border. Woodcut historiated initials in two different sizes. Seventeenth-century Italian limp vellum, gilt tooled (probably a remboîtage). Covers framed within double fillets, small floral tool at each inner corner. At the centre, large gilt coat of arms of an unidentified bishop. Traces of ties. Spine with three raised bands, emphasized by gilt fillets. On the first and last compartments the early inked shelfmark 'K V 2'. A good copy, light foxing. A few spots on the title-page, the verso of the last leaf somewhat soiled. Fols. A4v and A5r lightly discoloured. Wormholes repaired to the lower margin of the last quires. Minor loss to the outer upper corner of fol. HH2. Small early ink stains, the upper margin of some leaves lightly trimmed. A few early marginal annotations and reading marks.Provenance: early seventeenth-century ownership inscriptions on the verso of fol. *2, 'Jo. Pompilio mano propria', repeated twice, and 'Io Domenico [?]'. The rare Giolito 1546 quarto edition of Orlando, in an extraordinary copy printed on blue paper: one of the finest illustrated books produced in the Italian Cinquecento. Gabriele Giolito de' Ferrari printed his first Furioso in 1542, a publication which goes far beyond previous editions by other printers: for the first time the text of the poem is supplemented with commentary, and each canto is introduced by a woodcut vignette, as well as an argomento. The success of this innovative publication was immediate and unprecedented, and the Furioso became the 'symbol' of the printing house itself. From 1542 onwards the poem was constantly re-issued, both in quarto and, as of 1543, in the cheaper and more popular octavo format, thus proclaiming Giolito's success as a printer and businessman, and transforming the Furioso into a 'classic' of modern literature. The 1546 edition opens – like that of 1542 – with Giolito's dedicatory epistle to Henri II de Valois, then Dauphin de France, who had married Catherine de' Medici in 1533. The text was edited by the Venetian Lodovico Dolce (1508-1568), one of the closest collaborators of the Venetian house, and was additionally supplemented by his Espositione di tutti i vocaboli et luoghi difficili, che nel Libro si trovano, which soon became the most frequently reprinted commentary to the Furioso. Furthermore, in the edition of 1546, Giolito includes – in response to the Cinque Canti first published in 1545 by the rival Aldine printing house – his 'novelty', i.e., eighty-four stanzas dealing with the history of Italy, which he had in turn obtained from Ariosto's son Virginio. Another remarkable aspect of the Giolito Furioso is the illustrative apparatus that accompanied the cantos: forty-six woodcuts comprising a cycle whose stylistic quality, refined design, and abundance of detail represents a significant step in the illustration of the poem. Each vignette shows multiple scenes pertaining to the canto at hand, thereby visually capturing the multifarious and ever-changing narrative structure of the poem. The various episodes diminish in size in the receding planes of the woodcut, and are thus conceived as separate but simultaneous actions: the majority of the vignettes depict two or three scenes from the related canto, although two woodcuts each include four episodes, and one – the vi. Book.

  • Capelloni, Lorenzo (1510-1590)

    Editore: Venice Gabriele Giolito de' Ferrari 1565, 1565

    Da: PrPh Books, New York, NY, U.S.A.
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    Valutazione venditore: 4 stelle

    EUR 17.662,33

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    4° (226x160 mm). Printed on blue paper. Collation: *8, **6, A-M8. [28], 188, [4] pages. Complete with the last blank. Roman and italic type. Woodcut printer's devices on the title-page and on the verso of fol. M7. Two engraved full-page portraits depicting Andrea Doria on fols *8v and **1r: the first showing the prince as civic hero and father of the homeland, placed within an elaborate medallion bearing the motto 'VT CIVIS PATRIAE PATER ET LIBERTATIS RESTITVTOR', the second depicting him as a condottiero, within a medallion with the motto: 'VT DVX ET PRINCEPS PRELIORVM VICTOR', and enriched by his coat of arms. Woodcut animated and decorated initials, headpieces. Early eighteenth-century French red morocco; covers framed with a double gilt fillet and narrow dotted frieze. Smooth spine with title in gilt lettering and richly decorated with ramages in gold. A very good, wide-margined copy, small repair to the upper margin of the title-page, a few insignificant spots. On the title-page, a manuscript note written in French with brown ink, attesting to the rarity of the work and the peculiarity of its printing on blue paper, "Ce Livre est rare; C'est un des premiers ouvrages qui ait été imprimé sur du papier bleu. Cette vie est bien ecrite; L'italien est très pur; Ce qui me ferais presque croire que l'ouvrage a été imprimé plus tard que ne le comporte la date 1565". On the recto of the front flyleaf the early shelfmark 'V.2. n° 74'.Provenance: erased ownership inscription on the title-page ('Antonio' ?), preserving only the date '1738'. Rare first edition – presented here in a fine, and possibly unique copy printed on blue paper – of this biography of Andrea Doria (1466-1560), written by his secretary Lorenzo Capelloni. It is the first sixteenth-century biography of the celebrated Genoese nobleman, admiral, and patron of arts. The work is dedicated, on 1 April 1562, by the author to the great-nephew and heir of Andrea Doria, Giovanni Andrea (1539-1600), who had commissioned Capelloni to write the biography. The Venetian Senate granted a fifteen-year privilege for the work, giving Giolito exclusive rights to printing it. A second edition appeared in 1569. Capelloni's Vita del Principe Andrea Doria is also famous for the double illustrations bearing, on facing pages, two engraved profile portraits of Andrea Doria which had an important role in establishing the political iconography of this pivotal Genoese figure. The first portrait shows the prince as a civic hero and father of the homeland and is set within an elaborate medallion with the motto 'VT CIVIS PATRIAE PATER ET LIBERTATIS RESTITVTOR' (fol. *8v); the second portrait depicts him as a condottiero within a medallion bearing the motto "VT DVX ET PRINCEPS PRELIORVM VICTOR', enriched with his coat of arms (fol. **1r). A copy of the work "printed on Carta Grande Azzurra, red morocco" is listed in the Catalogue of Printed Books and Manuscripts sold by London booksellers Payne and Foss in 1837 for the sum of 3 pounds and 3 shillings. Probably this copy.Adams C-587; Bongi Annali, II, 287 ("rara [.] quasi mai s'incontra nei cataloghi"); Philobiblon, One Thousand Years of Bibliophily, no. 135. Book.

  • Pigna, Giovanni Battista (1529-1575)

    Editore: Venice Gabriele Giolito de' Ferrari 1561, 1561

    Da: PrPh Books, New York, NY, U.S.A.
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    Valutazione venditore: 4 stelle

    EUR 11.774,89

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    4° (210x152 mm). Printed on blue paper. Collation: A-M4, N6, *4, **4. 105, [19] pages. Complete with fol. N6 blank. Roman and italic type. Woodcut printer's device on the title-page, a different device on fol. N5v. Woodcut animated initials, head- and tailpieces. Fol. L4v within woodcut architectural border. Nineteenth-century cardboards, covered with brown paper. Spine with title in gilt lettering. A good copy, a few repairs to the lower gutter, not affecting the text.Provenance: from the library of Count Henry Chandon de Briailles (1898-1937; ex-libris on the recto of the front flyleaf). First and only edition of this famous heroic poem, exceptionally presented in the only-extant copy printed on blue paper. The Heroici was composed by the renowned humanist Giovan Battista Nicolucci, better known as Giovanni Battista Pigna, secretary to Alfonso II, Duke of Este, historian at the Ferrara court and great commentator of Ariosto's Orlando Furioso. The work is dedicated by Pigna to his illustrious patron, and narrates, over forty-nine ottava rima stanzas, the true event of the duke's fall from his horse during a tournament. The poem is introduced by three books in prose, in which Pigna expounds his theory on tragic poetry and the heroic epic and provides an analysis of the peculiar features of these poetic genres. Bongi states that of Pigna's Heroici "se ne trovano copie in carta grande ed in carta turchina", one of which is in the hands of the "cav. Andrea Tessier di Venezia", referring to the library of Andrea Tessier, sold in Munich in 1900 by Rosenthal, which contained a copy "tiré sur papier bleu" (lot 534), possibly purchased by Henry Chandon de Briailles. A copy on blue paper was also sold in London in 1783, at the sale of the distinguished library collected by Thomas Croft. The catalogue Bibliotheca Croftsiana lists the entry "Pigna (Gio. Batt.) gli Heroici 4° perg. Vineg. per Gab. Giolito 1561. printed upon blue paper".Adams P-1208; Bongi Annali II, p. 121; Olschki Choix, 18620; Nuovo-Coppens, I Giolito e la stampa nell'Italia del XVI secolo, Genève 2005, p. 423; Bibliothek Tessier. Katalog eins grossen Theils der Bibliotheken des verstorbenen Chevalier Andrea Tessier und des Marchese de***. Versteigerunge in München vom 21.-23. Mai 1900 durch Jacques Rosenthal, München 1900; Philobiblon, One Thousand Years of Bibliophily, no. 126. Book.

  • MUZIO, Girolamo

    Editore: Gabriele Giolito De Ferrari e fratelli, 1551

    Da: Sokol Books Ltd. ABA ILAB, London, Regno Unito
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    Valutazione venditore: 2 stelle

    Libro Prima edizione

    EUR 11.365,61

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    Hardcover. Condizione: Good. 1st Edition. FIRST EDITION. 8vo, ff. 186 (misnumbered 185) (ii). Elegant italic letter, printer s device to t-p and verso of penultimate leaf, three woodcut initials, one depicting a game of pallacorda (precursor of tennis; this is one of the earliest representations of this sport). Blank margins of t-p a little marked, light age yellowing, small spot to lower blank margin of first gathering, very light waterstain to a few fore-edges, wormholes to blank margins of a couple of initial and final ll. (just affecting one letter on Aii verso). A handsome copy in exquisite contemporary Venetian morocco, covers double blind ruled, tooled in gold to a panel design, outer border filled with interlinked-circle tools, fleurons at corners, inner panel tooled in gilt forming a design of interlacing lines with small star and leaf tools, gilt fleurons and six-pointed star centrepiece inside a circular frame with stars and small triangular tools. Spine with raised bands, blind stamped decoration of curving leaf branches, different in upper and lower compartment, former possibly restored, all edges richly gilt and gauffered. Partly erased C17 ms. ex libris and early h. j. 3j to t-p, Left to me by Captain C. Lindsay 1925 Rutland CLL. Cat: n° 39 , circular stamps Charles Ludovic Lindsay and Belvoir Castle Library 1926 , and ms. acquisition note in pencil Bought Sotheby £ 2.2.0 C.L.L. all to fly, label of Max Cointreau (1922-2016) to front paste-down. First edition of this polemic by Muzio against the protestant reformer Ochino, handsomely bound in Venetian gilt morocco in very good condition. Venice was the first city in Europe to produce gold-tooled bindings, introducing new styles and methods from the Islamic world of the Near East. Fine borders of interlinked-circles and star-shaped centrepieces as these are typically found on Venetian bindings in the first half of the 16th century (see De Marinis II, 2243-2244), and a similar designs of interlacing lines forming borders containing identical tiny flower, star and leaves tools appear on two examples illustrated by De Marinis (II, 2220-21). Girolamo Muzio (1496-1576) was an Italian polygraph and courtier born in Padua. His family was originally from Koper, or Iustinopolis (Slovenia), from which he took the name Iustinopolitanus appearing on the title page. He was at the service of several dukes and marquises, including Guidobaldo II della Rovere at Urbino, where he was preceptor to the celebrated poet Torquato Tasso. Muzio wrote collections of poems, treatises on grammar and duelling, and several tracts against the Italian Reformers. Le mentite ochiniane (Ochinus lies), is a polemic against the theologian Bernardino Ochino, a friend of Valdes and Calvin who converted from Catholicism to Protestantism and became minister of the Italian Protestant congregation at Augsburg. Le mentite is a compilation of 50 lies , or errors, which Muzio found in Ochino s Prediche , treatises about his conversion. In this work, Muzio reproduces quotes from Ochino s writings (e.g. extracts in which Ochino denies the doctrine of Purgatory and confession, or rejects the authority of the Church) and argues that in every instance he misinterpreted passages from the Bible. This copy was in the library of Captain Charles Ludovic Lindsay (1862 1925), cousin of the great bibliophile Sir James Ludovic Lindsay, 26th Earl of Crawford, and collector of antiquities and books. After his death, it was bequeathed to the Duke of Rutland at Belvoir Castle. The note on fly might be by Charles sister, Violet Manners (1856-1937), duchess of Rutland, painter and sculptor. USTC 843988; EDIT 16 CNCE 47052; BM STC It. C16, p. 459; Graesse IV, p. 638; Brunet III, p. 1967. Not in Adams.

  • Alighieri, Dante

    Editore: Librairie de L. Hachette et Cie, Paris, 1861

    Da: Raptis Rare Books, Palm Beach, FL, U.S.A.
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    Valutazione venditore: 5 stelle

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    EUR 8.634,92

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    First Hachette edition with French text of Dore's magnificently illustrated edition of Dante's Inferno. Folio, bound in full morocco by Antoine Chatelin with elaborate Grolieresque gilt-decorated morocco onlays to the spine and panels, gilt turn-ins and inner dentelles, full gilt-decorated morocco doublures, watered silk endleaves stamped in gilt, marbled endpapers, illustrated with 75 full-page engravings by Gustave Dore including his striking frontispiece portrait of Dante. French translation by Pier-Angelo Fiorentino, accompanied by the text in Italian. In near fine condition. Housed in a custom clamshell box. An exceptional presentation linking two great artists of the 19th century. Widely considered the most important work of Italian literature and one of the greatest works of world literature, Dante's Divine Comedy takes as its literal subject the state of the soul after death and presents an image of divine justice meted out as due punishment or reward. The work was originally simply titled Comedà a (so also in the first printed edition, published in 1472), Tuscan for "Comedy", and was later adjusted to the modern Italian Commedia. The adjective Divina was added by Giovanni Boccaccio, in reference to the work's subject matter and lofty style, and the first edition to name the poem Divina Comedia was that of Venetian humanist Lodovico Dolce, published in 1555 by Gabriele Giolito de' Ferrari.

  • Immagine del venditore per La Hecuba, Tragedia. (with) Didone, Tragedia. venduto da Sokol Books Ltd. ABA ILAB

    DOLCE, Lodovico

    Editore: Venice, Gabriele Giolito, 1543. (with) Venice, in casa haer. Aldo I Manuzio, 1547., 1547

    Da: Sokol Books Ltd. ABA ILAB, London, Regno Unito
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    Valutazione venditore: 2 stelle

    Libro

    EUR 8.075,56

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    Hardcover. Condizione: Good. FIRST EDITIONS. 8vo. Two works in one, ff. 47, 42, separate t-p to each, first with blind stamp of Wigan Public Library (sold). Printer s device to titlepages and recto of last. Occasional very light age browning, outer margins of titlepages and a few ll. a bit thumbed, slight marginal foxing to a couple of gatherings, the odd small marginal mark. A very good, well-margined copy in C18 red morocco, marbled pastedowns, covers bordered with gilt dentelles and palmettes, centrepiece with gilt arms of Doge Marco Foscarini to covers, fronds surrounding, coronet above. Spine in six compartments, gilt double-ruled dentelle border, cornerpieces and acorn tools to each, joints a bit worn and cracked at head, minor loss to corners. Bookplate of Sir Philip Mansfield and C19 label G FS 3 to front pastedown, C19 bibliographical inscriptions in ink tracing the copy to William Beckford s library to verso of first and in pencil to recto of second front ep, the odd early annotation. The handsome binding was produced for the bibliophile Marco Foscarini (1696-1763), a poet and diplomat who served as 117th Doge of Venice between 1762 and 1763, when his office was cut short by illness and death. The binding is an almost exact match with Folger PA6278 A3 1575, dated 1761, except for the gilt cornerpieces on the spine and decoration on the raised bands. The provenance can be traced to William Thomas Beckford (1760-1844), famous author of an important Gothic novel, Vathek (1786). A great art collector, Beckford amassed an enormous library at Fonthill Abbey. This copy was part of the Hamilton Palace sale run by Sotheby s in 1883 (n.708). Very good copies of the first editions of these two important Renaissance tragedies in Italian. Lodovico Dolce (c.1508-68) was a Venetian humanist and prolific author of essays, historical biographies of classical and contemporary writers, dozens of translations and editions of classics, and literary works of all genres. In the 1540s and 1550s, Dolce wrote several successful verse tragedies in the vernacular on subjects adapted from the works of classical authors. Following the example of ancient drama, the tragic world of the protagonists is populated by shadows of murdered characters, unreliable and often absent gods and a choir lamenting the evils of fate. Inspired by Euripides s namesake play, translated into the vernacular by Matteo Bandello in 1539, Hecuba tells the story of King Priam s wife, once Queen of Troy and now enslaved by the Greek victors, and her revenge for the death of her son Polydorus. It was published by Gabriele Giolito, with whom Dolce collaborated as editor and translator for some time. Didone narrates the Queen of Carthage s star-crossed love for Aeneas and her tragic death, famously told in Virgil s Aeneid . In the dedicatory letter, Paolo Manuzio explained how he had wanted to be the first to publish the play so that people could enjoy reading it as much as he had enjoyed performing in it as a boy in the role of Ascanius (Cupid s clever disguise). I) USTC 827058; BM STC It. p. 239; Brunet II, 791; Annali di Giolito I, 51. Catalogue of the Beckford Library (London, 1882). II) USTC 827065; Rénouard 141:8; BM STC It. p. 220; Brunet II, 791. L2876.

  • Immagine del venditore per Orlando Furioso venduto da Librairie Le Feu Follet

    L'ARIOSTE Ludovico Ariosto (dit)

    Editore: appresso Gabriel Giolito de Ferrari, 1547

    Da: Librairie Le Feu Follet, Paris, Francia
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    Libro

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    Couverture rigide. - appresso Gabriel Giolito de Ferrari , In Vinegia (Venise) 1547, in-8 (10,5x16cm), 227 ff. (29f.) - Sig.A-Z 8 Aa-Ff8 *-***8, relié. - Belle édition illustrée et l'une des premières que donna Gabriele Giolito de Ferrari, dédiée au dauphin de France. Elle est ornée d'un superbe titre frontispice avec la marque typographique de Giolito (un phoenix renaissant de ses cendres sur un globe aux initiales de l'imprimeur), de 46 jolies figures gravées sur bois et d'autant de grandes lettrines ornées, du portrait de l'Arioste d'après le Titien placé en médaillon à la fin du poème, et de la marque de l'imprimeur en deux variantes. La fin de l'ouvrage se constitue d'un vocabulaire des mots obscurs et de l'explication des passages difficiles de l'ouvrage, non compris dans la pagination, avec titre particulier, compilé par Lodovico Dolce. Giolito donna plus de vingt éditions en treize années d'activité, celle-ci est la troisième édition; la première a paru en 1542, la seconde en 1543. Impression en lettres rondes sur deux colonnes. Reliure postérieure de la fin du XVIIème ou du début XVIIIème en plein maroquin rouge. Dos à cinq nerfs richement orné, l'un des caissons contient la mention "lettres rondes". Triple filet doré en encadrement des plats. Roulette dorée en encadrement des contreplats. Toutes tranches dorées. Quelques frottements sur la reliure et mouillures pâles en fin de volume. Précieux exemplaire parfaitement habillé en maroquin rouge. [ENGLISH TRANSLATION FOLLOWS] (Venice), bound. A handsome illustrated edition and one of the first printed by Gabriele Giolito de Ferrari, dedicated to the Dauphin of France. It has a superb engraved title with Giolito's printer's device (a phoenix being reborn from its ashes on a globe marked with the printer's initials), 56 attractive woodcuts and numerous large ornate capitals, as well as a portrait of Ariosto after Titian in a medallion at the end of the poem, and two states of the printer's device. The end of the work is made up of a vocabulary of obscure words and an explanation of the difficult passages in the work compiled by Lodovico Dolce, with a separate title and not included in the pagination. Giolito published more than twenty books in thirteen years of printing - this is the third edition of this work, the first appearing in 1542 and the second in 1543. Printed in round Roman type, double column. Late 17th or early 18th century red morocco, spine richly gilt in six compartments, one compartment marked with "lettres rondes [round Roman type]". Covers with a frame of triple gilt fillets, gilt roulette frame to insides of covers, all edges gilt. Binding a little rubbed, faint dampstaining to end of volume. A handsome copy in a lovely red morocco binding. 227 ff. (29f.) - Sig.A-Z 8 Aa-Ff8 *-***8.

  • Immagine del venditore per Disegno ., partito in piu ragionamenti, ne quali si tratta della scoltura et pittura; de colori, de getti, de modegli, con molte cose appartenenti a quest' arti: & si termina la nobiltà dell' una et dell' altra professione. .Venice, Gabriele Giolito de Ferrari, (colophon: February) 1549. Small 8vo (16 x 10 cm). With the imprint in the base of an elaborate woodcut on the title-page, with Ferrari's motto, initials and phoenix device, a different woodcut phoenix device on last page, and 21 woodcut pictorial initials (3 series) plus 1 repeat. Italian sheepskin parchment (ca. 1700?). venduto da ASHER Rare Books

    63, [1] ll.First and only edition of six Italian essays on painting and sculpture by the many-sided Italian writer Anton Francesco Doni. Before the essays he gives a list of the painters and sculptors he discusses in the book and after them the texts of his letters to Italian painters, sculptors and other notable persons. The extensive index that concludes the work includes the various subjects discussed. The first five essays concern the principles and practices of sculpture and painting as art, also discussing details of techniques and materials, such as the manner of achieving the brightest colours in the mixing of oil paints. But the sixth gives advice on dealing with patronage, though also discussing the relation between sculpture and painting and the proportions of the human head. It has been suggested that this last essay may have been written by Doni's friend Baccio Bandinelli (1493-1560).Book and binding in very good condition, with only some minor and mostly marginal spotting. First and only edition of a 1549 Italian series of essays on sculpture and painting, mixing theory with practical information on techniques and materials.l Besterman, Old art books (1975), p. 31; Landau-Parshall (1994), p. 293; Ricottini Marsili-Libelli, Anton Francesco Doni . bibliografia (1960), 19.

  • Immagine del venditore per SACRA BIBLIA acri studio ac diligentia emendata. Rerum atque Verborum permultis & perquamdignis Indicibus aucta. venduto da Libri Antichi e Rari di A. Castiglioni

    EUR 3.800,00

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    Rilegato. Condizione: buone condizioni. 2 parti in un volume cm. 15 x 20,5. Pagine (16)-679-199-(201). Legatura professionalmente restaurata in pergamenta rigida antica stupendamnete miniata e manoscritta in elegante grafia cinquecentesca, titolo e data manoscritti al piatto superiore. Elaborato frontespizio con titolo incorniciato da ricco fregio xilografico animati da alcune figure bibliche. Testo su due colonne. Celeberrima edizione dei Giolito impreziosita da notevole apparato iconografico costituito da centinaia di fini ed eleganti xilografie nel testo, da testatatine, capilettera e finalini. Testo disposto su 2 colonne. Dalle notizie pervenuteci da una serie di privilegi registrati si evince che alcuni progetti editoriali di Bibbia volgare non andarono a buon fine: tra questi il più clamoroso è di certo quello relativo a "una serie di intagli" che fu concesso il 21 aprile 1543 (su questa vicenda si veda anche Coppens-Nuovo). La notizia è ignota a Bongi, al quale pure era sfuggita la relativa registrazione archivistica, ma è certo che a tale concessione, di durata decennale, non segui alcuna stampa della Bibbia con il marchio della Fenice la quale la presentò ai torchi solo nel 1588. Che il progetto di stampare una Bibbia fosse stato seriamente perseguito dai Giolito già dal 1540 non vi sono dubbi. E' lo stesso Gabriele Giolito a dichiarare in una lettera ai lettori, pubblicata alla fine del Furioso del 1547, ed esattamente in fine delle Espositioni, la sua intenzione di pubblicare una serie di opere latine tradotte in italiano, tra cui la Bibbia in volgare. Di per sè, nè la concessione, a volte sollecitata prima che il vero e proprio apparato produttivo si mettesse in moto, nè la promessa ai lettori che costituiva una manovra pubblicitaria più che un impegno editoriale, provano con sicurezza la programmata edizione di una Bibbia negli anni quaranta. Gabriele Giolito aveva a quell'epoca realmente approntato illustrazioni silografiche, chiamate con lo stesso termine usato per i legni del Furioso e quindi a essi simili. Dunque, una parte cospicua dell'investimento editoriale aveva già avuto luogo. Si è infatti appurato che la serie delle 135 illustrazioni del vecchio testamento (incluse le 24 ripetizioni) utilizzata per la Bibbia del 1588 era in realtà stata creata decenni prima: nove di esse infatti sono stampate nell'edizione di Boccaccio del 1552, e altre sei, differenti dalle precedenti, sono utilizzate nel corredo illustrativo delle Trasformazioni di Dolce da Ovidio del 1553. Un esame stilistico di tali pregevoli legni (di circa 57x80 mm) non fa che confermare una loro datazione ad almeno quarant'anni prima delll'uso effettivo e appropriato, giacchè si tratta di uno dei più interessanti apparati illustrativi veneziani ispirati alle Icones di Hans Holbein il Giovane. Beninteso, non di imitazione è il caso di parlare, ma di ispirazione ed assimilazione in uno stile proprio e diverso: il risultato è in grado di rivaleggiare con il modello in termini di espressività, integrità stilistica e virtuosismo, ma lo supera in termini di incisività drammatica, raggiunta grazie ad una spiccata monumentalità delle figure e una maggiore espansione del gesto (si vedano ad esempio le fig. 51 e 56). Si è proposto perciò di attribuire tale ciclo di silligrafie alla mano di Johann Britt, l'incisore in più stretto rapporto con Tiziano. Grazie alla fonte dei privilegi, è ora possibile datare la serie degli intagli al 1543, quindi in un periodo appena successivo alla diffusione delle Icones, e a ben 45 anni prima del loro utilizzo. Alla stessa epoca, ovviamente, deve essere collocata la Bibbia che Gabriele Giolito non realizzò, ma per la quale aveva già investito grandi somme. Naturalmente, si direbbe, che la Bibbia della Fenice doveva essere in volgare, sia per il prevalente carattere linguistico del catalogo (e quindi del pubblico) della casa, sia per la presenza delle "espositioni" (apparati di ausilio alla lettura) rivolti di norma al pubblico largo dei lettori delle traduzioni.

  • Immagine del venditore per Le trasformationi, . . In questa quarta impressione da lui in molti luoghi ricorrette.Venice, Gabriele Giolito de Ferrari, 1557. 4to. With title in a richly designed architectural woodcut frame, a half-page woodcut hemispherical map of the Americas, Europe and Africa and 82 large woodcut illustrations (plus 2 repeats) with fine ornamental and grotesque borders at either side. Contemporary(?) Polish(?) blind-tooled calf. 17th- or 18th-century endpapers. venduto da ASHER Rare Books

    [16], 309, [3] pp.Early Venice edition, richly illustrated, of Lodovico Dolce s complete translation, in 8-line verses, of Ovid s Metamorphoses, first published in 1553, with a second edition in the same year. Mortimer discusses both 1553 editions extensively and adds some information on the 1555 and present 1557 editions. The first has 83 woodcuts plus 11 repeats, but 6 were originally intended to illustrate a Bible, not an Ovid edition. The second edition adds 4 new blocks but omits 5 of the 6 Bible illustrations to make 82 plus a few repeats. The second edition also added ornamental woodcut strips on the sides of some woodcuts to fit the space better. Mortimer notes that the third edition of 1555 and the present fourth of 1557 contain the same woodcut illustrations and decorations as the second 1553 edition. As noted above, all but one of the present 82 woodcut blocks had been especially designed for Dolce s Ovid translation. Giolito s artist chose a number of subjects that had not been illustrated before, and the blocks were carefully cut. The diagram of the winds that appears in many early Ovid editions, has here as in the first edition grown into a hemispherical map covering the Americas, Europe and Africa, with what is now the United States labelled "Nueva Hispania". The historiated initials of various sizes are also of interest, the two largest series being especially finely cut. Our copy is bound in an interesting and very attractive, if somewhat crude, binding. Armorial bookplate on the front paste-down: bird standing on a mound, supported by two stags, the whole with a marquis s(?) crown. In good condition. Binding rubbed and slightly damaged, re-cased with new endpapers; interior spotless.l BMC STC Italian, p. 482; Brunet II, 789; ICCU CNCE 64382; Mortimer, Italian 342 note; USTC 845814; cf. Adams O508 (1553 1st Dolce ed.).

  • Immagine del venditore per ORLANDO FURIOSO [and] I CINQVE CANTI venduto da Phillip J. Pirages Rare Books (ABAA)

    ARIOSTO, LODOVICO

    Editore: Vincenzo Valgrisi, Venezia, 1568

    Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.
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    Valutazione venditore: 5 stelle

    EUR 3.061,47

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    257 x 178 mm. (10 1/8 x 7"). 8 p.l., 654 pp., [16] leaves (index). Two (continuously paginated) works in one volume. Edited by Girolamo Ruscelli. Inoffensive 19th century Italian calf over paper boards, flat spine with gilt titling. With woodcut historiated initials, headpieces, full-page architectural title border with a portrait of Ariosto and the Valgrisi device, and WITH 51 FULL-PAGE WOODCUTS WITHIN BORDERS (46 for "Orlando Furioso," five for "I Cinque Canti"). Front pastedown with bookplates of Albert Hooper, Jules Pardonneau of Tours, and James William Ellsworth. Graesse I, 198; Mortimer Italian 29 (citing the 1562 edition). Corners quite worn, joints and edges somewhat rubbed, but the binding solid and perfectly adequate; very top of title page frame trimmed away, blank corner of one leaf restored, bottom half of one engraving with very faint yellowing, intermittent minor foxing of no consequence, other trivial imperfections, but an excellent copy internally, with fresh leaves and pleasing impressions of the woodcuts. This is the great sprawling romantic epic by Ariosto (1474-1533), 50,000 lines long, 26 years in the making and refining, and one of the most influential works of literature ever produced (among those writers indebted to Ariosto being Tasso, Cervantes, Spenser, Shakespeare, Milton, Byron, and Shelley). The story of "Mad Orlando" takes places against the background of the war between Charlemagne and the Saracens, when Orlando, one of Charlemagne's finest knights, neglects his duty out of love for the pagan princess Angelica. When she falls in love with a Saracen and elopes, Orlando goes mad, and is only restored to sanity when another knight flies to the moon in Ezekiel's chariot and obtains a magic potion to break the spell. Our copy comes from the Venetian printer Valgrisi, the first to add full-page illustrations to the work in his edition of 1556, this enhancement meant as a stratagem to outsell rival publisher Gabriele Giolito's editions. The fascinating woodcuts, full of intricate detail, depict a number of scenes at once, and Mortimer tells us that "the upper part of the block often becomes a map, offering . . . a tour of the canto." In any case, each of 51 cuts has more than enough action and detail to reward protracted viewing. There were a number of 16th century printings of Ariosto (Valgrisi himself printed it at least half a dozen times between 1556 and 1586), and repeated use of the woodblocks means that the strength of impressions from copy to copy and even from canto to canto within a copy will vary significantly. While this variation is evident to some extent in the present volume, the great majority of the cuts are rich, and even the least-strong impressions here are excellent. While "Orlando Furioso" is certainly available in one early edition or another, the vast majority of copies have now perished from avid use or have been left noticeably injured, and finding an agreeable copy is not very easy.

  • Immagine del venditore per Successi del viaggio d Henrico III Christianissmo re di Francia, e di Polonia. venduto da Sokol Books Ltd. ABA ILAB

    LUCANGELI, Niccolò

    Editore: Venice, appresso Gabriele Giolito de Ferrari, 1574

    Da: Sokol Books Ltd. ABA ILAB, London, Regno Unito
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    Valutazione venditore: 2 stelle

    Libro Prima edizione

    EUR 2.990,95

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    Hardcover. Condizione: Good. 1st Edition. FIRST EDITION. 4to. pp. 64. Italic letter, with Roman. Printer s device and decorated headpiece to t-p, fine full-page woodcut of Cardinal Ferdinando de Medici to t-p verso, decorated initials, head- and tailpieces. Light age yellowing to first few gatherings, t-p with tiny ink spots towards head, slight marginal foxing. A good, well-margined copy in patterned boards c1800. Scarce first edition of this fascinating pamphlet describing the journey of Henry III of France from Cracow to Turin, and the celebrations prepared for his progress. Henry of Valois (1551-89), king of the Polish-Lithuanian Commonwealth 1573-75, was elected after the late Sigismund II Vasa in exchange for concessions to the Polish nobility. Soon after the death of his brother Charles IX, and to the chagrin of the Polish Senate, Henry returned to France becoming king in 1574 the last French ruler of the House of Valois. Dedicated to Cardinal Ferdinando, fifth son of Cosimo I de Medici, the pamphlet begins with Henry s departure from Poland at night time and focuses on the numerous entertainments organized for his stay in Venice. Lucangeli superbly portrays the protracted Venetian celebrations, with cannons echoing through the city at Henry s passage on the Bucintoro decorated with fine gold. He also describes the architectural pageants erected throughout the city, with Latin mottos, political emblems like a dragon treading over human heads, ancient deities and heroes. Regattas organised in his honour through the canals were followed by lavish banquets adorned with sugar statues representing classical and biblical figures. Like other similar contemporary pamphlets faithfully reporting celebrations for royal progresses, Successi fed the appetite of the Renaissance elites for wondrous entertainments, intricate political emblems and the mirabilia of luxury. Yale, UPenn, Getty and Harvard in the US. BM STC It., p. 394; Annali di Giolito II, 340-41: assai raro e di qualche valore ; Watanabe-O Kelly and Simon, Festivals and Ceremonies, p. 233. Not in Brunet.

  • DOLCE, Lodovico

    Editore: Venice Giovan Battista & Giovan Bernardo Sessa, 1617

    Da: Sokol Books Ltd. ABA ILAB, London, Regno Unito
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    Valutazione venditore: 2 stelle

    Libro

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    Hardcover. Condizione: Very Good. [MINERALOGY] 8vo. pp. 188, (iv). Roman and Italic letter, printer s woodcut device on title page, small floriated initials. Minor spotting, title page slightly soiled. A very good, crisp copy in 19th century ¼ calf, with marbled covers, title lettered in gilt on spine, a. e. sprinkled green, slightly wormed and rubbed. A later issue of this important work on the virtues of precious stones by the prolific Venetian polygraph Lodovico Dolce (1508-1568). After completing his education, he worked with the press of Gabriele Giolito de Ferrari in Venice. He composed comedies, tragedies and verses on mythology, influenced by Virgil, Ovid and Catullus. He also had a keen interest in art criticism and wrote the dialogue entitled Aretino ovvero Dialogo di pittura (1557) on the comparison of poetry and painting, where he praised the artist Titian. The present treatise is a translation of Camillo Leonardi from Pesaro s Speculum lapidum (1547), and falls into the lapidary tradition discussing origin, appearance and powers of the gems. Precious stones and metals were considered valuable since ancient times but they were also attributed particular qualities. The first treatises on the artificial stones were composed towards the end of the Middle Age. After the dedicatory letter to Giovambattista Campeggio, comparing the virtues of the patron to rubies and other gems, the preface stresses the ancient interest of princes and aristocrats in the gems. There follow three books: book 1 describes physical features of the stones, and how they were created by the action of the natural elements; book 2 their properties and the influence they have on those who wear them. It ends up with an alphabet of the colours of the stones and an index containing names, etymology and species, as well as the place where they are located and the virtue of each gem. The author includes references to precious stones in public collections, particularly the Basilica of Saint Mark in Venice and buildings in Rome. Book 3 is dedicated to the images sculpted into the stones studied by the geomancy, to be interpreted with the support of astrology. Other treatises on the topic were published in the same years, such as Jean de la Taille s Blason de pierres preciouses (1574) and Remy Belleau s Le Amours et nouveaux eschanges des pierres preciouses (1576), however, as his authorities, Dolce mostly mentions only the philosophers Aristotle, Avicenna, Averroes and Albert the Great. BL, 305. Gamba lists earlier editions (1565, p. 403: 1355). Not in Brunet or Graesse. Not in Fontanini.

  • Immagine del venditore per Sette Libri de Cathaloghi a' varie cose appartenenti, non solo antiche, ma anche moderne: opera utile molto alla historia, et da cui prender si po materia di favellare d'ogni proposito che ci occorra. venduto da Libreria Antiquaria Pregliasco

    LANDO, Ortensio.

    Editore: In Vinegia, appresso Gabriele Giolito de' Ferrari, e fratelli, MDLII (MDLIII in fine), (Venezia, Giolito 1552-1553),, Venezia, 1552

    Da: Libreria Antiquaria Pregliasco, Torino, Italia
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    Valutazione venditore: 4 stelle

    EUR 2.900,00

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    Condizione: molto buono. in-8, pp. 567, (1), legatura '700 in p. pergamena, cornice floreale impressa in oro ai piatti, titolo e fregi al dorso. Marca edit. al titolo e altra diversa al verso dell'ultimo foglio, numerose belle iniziali istoriate. Prima ed unica edizione dell'opera del Lando (Milano ca. 1512 - Venezia 1553 ), medico, viaggiatore, scrittore faceto e satirico, noto anche con lo pseudonimo di Philalethes Polytopiensis, fu membro dell' Accademia degli Elevati col nome di Tranquillo. L'opera contiene una quantità di interessanti aneddoti e di appunti storici e bio-bibliografici classificati in sette ''cataloghi'', ciascuno preceduto da una dedica ad un illustre personaggio e da un elenco degli argomenti (ad esempio catalogo dei belli, dei brutti, delle meretrici, dei ricchi, dei poveri.). Le liste sono divise tra narrazioni di fatti e nomi di antichi e di moderni personaggi; il Lando, in una lettera aggiunta in fine alla sua opera indirizzata a Lucrezia Gonzaga, si lamenta però di essere ''stato isforzato di tacere. i traditori, gli ingiusti, i perfidi, i crudeli.'' a lui contemporanei su suggerimento degli editori. Curioso che l'autore si sia registrato in diversi cataloghi tra cui quello degli ignoranti, degli infelici, dei brutti, degli iracondi. Interessante, rara ed unica edizione, Ottimo esemplare. Bongi, Annali Giolito, 371. STC Italian, 377. Manca ad Adams e Gamba. Book.

  • Immagine del venditore per La Poetica venduto da Libreria Alberto Govi di F. Govi Sas

    DANIELLO, Bernardino (ca. 1500-1565)

    Editore: Venezia, Giovanni Antonio Nicolini da Sabbio, Venezia, 1536

    Da: Libreria Alberto Govi di F. Govi Sas, Modena, Italia
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    Valutazione venditore: 5 stelle

    EUR 2.800,00

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    Condizione: Molto buono (Very Good). 0. In pergamena floscia color viola(legato con:)Partenio, Bernardino (ca. 1498-1589). Della imitatione poetica. Venezia, Gabriel Giolito de' Ferrari, 1560.Due opere in un volume in 4to (mm. 200x137). I: pp. 136, [4]. Segnatura: A-Q4 R6. Titolo stampato al verso della prima carta. Colophon e privilegio alla c. R5r, errata alla c. R5V. Carta R6 bianca. Carattere corsivo. Bei capilettera ornati. II: pp. [16], 248, [4]. Segnatura: *8 A-P8 Q6. Marca tipografia al titolo, altra marca alla c. Q6r. Errata alla c. Q5r-v. Bei capilettera istoriati. Carattere corsivo. Pergamena floscia coeva con unghie, piatti colorati in viola, titolo manoscritto al dorso, tagli goffrati e dorati (tracce di legacci in seta verde). Sul primo risguardo libero firma di appartenenza di un certo Galeotto Bernardini datata 1578 e la segnatura “H.2” Seconda opera a tratti un po' brunita e fiorita, ma nel complesso bellissima copia estremamente fresca e genuina.I) PRIMA EDIZIONE elegantemente impressa e dedicata al vescovo di Brescia, Andrea Cornelio, al cui servizio l'autore fu per un certo periodo durante un soggiorno romano. Si tratta del primo lavoro letterario del Daniello, nonché di uno dei primissimi trattati volgari di poetica, preceduto solo da quello del Trissino del 1529.“In La poetica of Bernardino Daniello (1536), one senses an enrichment of the tradition represented by its two predecessors [Trissino and Vida (De arte poetica, 1527)], if no essential change. Horace still furnishes the basic text, and most of the Ars poetica reappears in Daniello's work, translated and rearranged… There are some traces of Plato in the ideas on imitation and on the exiling of the poets, some traces of Aristotle in the discussion of tragedy and in the comparison of poetry to history. The first section is indebted, for its defence of poetry, to the numerous commonplaces of the time; the final section, for its treatment of language and of prosody, to a whole series of theorists of style and versification. Like Trissino, Daniello takes his examples largely from the Italian poets… Daniello's defence of the art of poetry is manifold and extends into variuos theoretical considerations…” (B. Weinberg, A history of literary criticism in the Italian Renaissance, Chicago, 1961, p. 721).Originario di Lucca, il Daniello già nei primi anni venti del secolo era a Padova, dove si inserì nella cerchia di letterati guidata da Trifone Gabriele. Quest'ultimo fu non solo il suo venerato maestro, ma anche una figura paterna sempre benevolmente disposta verso il suo amatissimo discepolo. Visse e si spense a Padova nel 1565.“Il trattato consta di due libri. Nel primo libro, dopo una breve introduzione che serve ad ambientare “bembescamente” il dialogo nella villa di Bassano di Trifone Gabriele, quest'ultimo prende la parola rispondendo a quesiti posti dai suoi giovani discepoli. Si inizia ponendo subito in chiaro la funzione pedagogico-morale della poesia (laddove non sono esistiti i poeti, non c'è stata nemmeno civiltà), distinguendo però nettamente il confine tra poesia e storia. Trifone, sempre incalzato dalle domande dei discepoli, inizia l'analisi delle tre componenti della poesia: invenzione, disposizione ed elocuzione… Il secondo libro è dedicato quasi esclusivamente all'elocuzione (che si divide in grave, mezzana ed umile): è una sorte di compendio delle forme linguistiche che si possono definire poetiche” (D.B.I., XXXII, pp. 608-609, a cura di M.R. De Grammatica).I numerosi esempi poetici presi in esame nell'opera sono tratti prevalentemente da Dante e da Petrarca. Le preferenze del Daniello vanno però a quest'ultimo, essendo Dante più filosofo che poeta. Le note al Canzoniere contenute nella seconda parte del trattato verranno successivamente ampliate e confluiranno nell'edizione petrarchesca del 1541 (cfr. E. Raimondi, Bernardino Daniello e le varianti petrarchesche, in: “Studi Petrarcheschi”, V, 1952, pp. 95-130).Secondo J.E. Spingarn (La critica letteraria del Rinascimento, Bari, 1905, pp. 25-28) si tratta della prima difesa della poesia contro la filosofia che sia stata fatta nel Cinquecento.Weinberg, op. cit., p. 1124; Index Aureliensis, 149.699; Gamba, 1341; Edit 16, CNC 15989. BMSTCItalian, p. 208; L. Carpané, Annali tipografici, Venezia 1521-1551, in: “Il mestier de le stamperie de i libri. Le vicende e i percorsi dei tipografi di Sabbio Chiese tra Cinque e Seicento e l'opera dei Nicolini”, a cura di E. Sandal, Brescia, 2002, p. 184, nr. 16.II) PRIMA EDIZIONE dedicata a monsignor Melchiorre Biglia. “Questa Imitatione poetica è forse l'opera maggiore che Partenio scrivesse; e se ne ha soltanto l'edizione presente. L'autore però la tradusse in latino con non poche aggiunte e mutazioni, e la stampò in Venezia, presso Ludovico Avanzi nel 1565, con una nuova dedica all'imperatore Massimiliano II. Nell'una e nell'altra lingua è compresa in cinque libri, in forma di dialogo; e contiene molti esempi di scrittori latini ed italiani” (S. Bongi, Annali di Gabriele Giolito de' Ferrari da Trino di Monferrato stampatore in Venezia, Roma, 1890-1895, II, pp. 83-84).Il dialogo si svolge in un giardino fiorito sull'isola di Murano fra Gian Giorgio Trissino, Trifone Gabriele, l'udinese Francesco Luisini, Girolamo Ferro, Girolamo Querini e Paolo Manuzio. È un trattato di poetica di impianto ciceroniano, ma nello stesso tempo anche un vero comendio di stilistica.“A number of the literati whose names had appeared in recent years in connection with Horatian criticism appear again as interlocutors in Bernardino Parthenio's lengthy dialogue, Della imitatione poetica, of 1560. Trifon Gabriele, Giovan Giorgio Trissino, Paolo Manuzio, Francesco Louisini, and Parthenio himself gather together to discuss the matter of poetic imitation and h. Book.

  • Hardcover. Condizione: Very Good. Four works in one volume, 8° (155x90 mm). I. Collation: A-H8. 63, [1] leaves. Italic and roman type. Full-page woodcut printer s device. Blank spaces for capitals, with printed guide letters. Title-page and first leaves slightly foxed. II. Collation: A-D8. 32 leaves. Italic and roman type. Printer s device on the title-page and verso of the last leaf, in two different sizes; small woodcut ornament on the title-page. Woodcut animated initials. Some light marginal staining on a few leaves. III. Collation: A-F8. 47, [1] leaves. Italic and roman type. Printer s device on the title-page and verso of the last leaf, in two different sizes; small woodcut ornament on the title-page. Animated woodcut initials. Slightly stained in places. IV. Collation: A-D8. 32 leaves. Italic and roman type. Printer s device on the title-page. Animated woodcut initials. Some light marginal foxing on a few leaves, brown stain of about 20x5 mm to fol. C5. Nineteenth-century calf, covers within triple gilt fillet, the coat of arms of Herbert Norman Evans stamped in gold at the centre of both covers. Spine with five raised bands, compartments decorated with gilt floral tools, title on brown morocco lettering-piece; the date of printing 1543 lettered in gilt at the foot. Board edges decorated in gilt, marbled pastedowns and flyleaves. Marbled edges. Spine and joints slightly rubbed. Provenance: two earlier ownership inscriptions di B[er]nardo di M Cesi [?] and FMC on the title-page of the third bound edition; the English physician and book collector Herbert Norman Evans (1802-1877; armorial binding; see Sotheby, Wilkinson & Hodge sale, Catalogue of the Second and Concluding Portion of the Extensive and Valuable library of Herbert N. Evans, London, 21-29 June 1864, lot 2362, in one volume. calf gilt m.e. ). An Italian drama miscellany, opening with the Paganino edition of four works by renowned Vicenza humanist Gian Giorgio Trissino which were previously printed separately, first by Ludovico degli Arrighi in Rome in 1524. Paganino s collection includes the Sofonisba, a groundbreaking drama whose dialogues represent the first use of blank verse (versi sciolti) in the history of Italian tragedy. This work also introduced certain features for the heroine from Carthage which then contributed to the development of a new iconography, as attested by the frescoes of the Sofonisba Room a sort of pictorial representation of Trissino s tragedy in the Palladian Villa Caldogno at Vicenza. Among the other works included here, special mention must be made for the well-known Epistola, in which Trissino proposes reforming Italian orthography by introducing new letters into the alphabet to distinguish between different sounds of the spoken language. This rare Paganino edition is part of the publisher s famous octavo series and is, like all editions in the series, undated. It may have been printed between 1527, when the series started, and 1529, when Pope Clement VII granted Vicenza printer Tolomeo Gianicolo a ten-year privilege to print all works by his fellow citizen Trissino. Paganino s collection is therefore the last edition of Trissino s four works to appear before 1539, i.e. the end of the privilege, bearing the name of any printer other than Gianicolo. The volume also contains first editions of Thyeste and Hecuba by Lodovico Dolce, close collaborator of printer Gabriele Giolito de Ferrari. Thyeste is essentially an Italian paraphrase of Seneca s play, while Hecuba is an adaptation from Euripides, not based on the original Greek but rather on an intermediary Latin translation. The miscellany ends with the first edition of Progne by Venetian madrigalist Girolamo Parabosco. The volume is in a fine binding bearing the nineteenth-century coat of arms of Herbert Norman Evans, fellow of the Society of Antiquaries in London, whose important library was sold by Sotheby, Wilkinson and Hodge in two parts in May and June 1864. I. Nuovo, Paganino, pp. 97-98 and 191;[.].

  • Immagine del venditore per Del Parto della Vergine del Sanazaro libri tre, tradotti in versi toscani da Giovanni Giolito de' Ferrari. venduto da Libreria Antiquaria Pregliasco

    SANNAZARO, Iacopo.

    Editore: In Venetia, appresso i Gioliti, 1588,, Venezia, 1588

    Da: Libreria Antiquaria Pregliasco, Torino, Italia
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    Valutazione venditore: 4 stelle

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    Condizione: molto buono. in-4 (mm 214x156), ff. 74 n.n. (segn.: * 4, A-R 4, S 2), legatura moderna d'amatore in p. pelle, fregi a secco sui piatti, dorso a nervi. Edizione finemente illustrata e con pregevole veste grafica: una bordura a fregio vegetale inquadra tutte le pagine del testo, impresso in carattere corsivo; titolo con larga bordura e raffigurazioni di Giove, Pallade e Pax tratte dall'edizione delle Trasformazioni del Dolce (Giolito 1557); ciascuno dei tre libri, in cui è suddivisa l'opera, con una figura a piena pagina rispettivamente dell'Annunciazione, della Visitazione e della Natività, iniziali istoriate, testatine e finalini. Prima edizione della traduzione di Giovanni Giolito dell'opera latina del Sannazzaro (1456-1530). Poeta, libraio e stampatore attivo a Venezia nella seconda metà del XVI il Giolito condivise col fratello Giovanni Paolo la ditta del padre Gabriele. Compì studi a Padova, di letteratura e di religione influenzando così l'attività della stamperia. Ottimo esempl. Bongi, Annali, II 428. STC 605. Adams S-332. Book.

  • Immagine del venditore per Miscellany of Italian Renaissance theater bound for Herbert Norman Evan venduto da Libreria Alberto Govi di F. Govi Sas

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    Condizione: Molto buono (Very Good). 0. TRISSINO, Gian Giorgio (1478-1550). Di M. Giovangiorgio Trissino La Sophonisba Li retratti Epistola Oracion al Serenissimo Principe di Vinegia. Colophon: [Toscolano Maderno], P. Alex. Pag. Benacenses F. Bena V.V. (Paganino & Alessandro Paganino), [ca. 1527-1529].8vo. 63, [1] leaves. Collation: A-H8. Italic type. Title page and first leaves slightly foxed.This rare Paganino edition belongs to the typographer's 8vo series issued between 1527 and 1533. As all the volumes of this series, the edition is undated, but according to A. Nuovo it must have been printed between 1527, when the series was begun, and 1529, when Pope Clemens VII granted to Tolomeo Gianicolo a ten-year privilege.The Trissino's four works gathered in this edition had been printed separately first by Ludovico degli Arrighi in Rome in 1524, then by Tolomeo Gianicolo in Vicenza in 1529.Trissino's Sofonisba is a groundbreaking drama in the history of Italian and European theater, as it opened the sources of the Greek theater and adapted the Aristotelian theories of tragedy to the Western stage. With Sofonisba Trissino also introduced for the first time into the Italian tragedy the blank verse (versi sciolti), which soon became standard for the dialogues. Although Trissino's play was not the first one based on the story of Sofonisba, it was the first important Roman tragedy in the Renaissance and, as such, the ancestor of most of the following dramas in Italy, France, and England.Although Sofonisba was completed in 1515, it was first performed in Italy only in 1562, while a French prose version by Mellin de Saint-Gelais was staged in front of Catherine de' Medici in 1559.In the Epistola Trissino proposes a reform of the Italian orthography by introducing new letters into the alphabet to distinguish different sounds of the spoken language. The Ritratti is a collection of portraits of feminine beauty.Edit 16, CNCE53979; A. Nuovo, Alessandro Paganino (1509-1538), Padua, 1990, pp. 97-98 and 191; L.G. Clubb, Italian plays (1500-1700) in the Folger Library, Florence, 1968, p. 229, no. 853; M.T. Herrick, Italian Tragedy in the Renaissance, Urbana, 1965, pp. 54-55.(bound with:)DOLCE, Lodovico (1508-1568). Thyeste tragedia di M. Lodovico Dolce, tratta da Seneca. Venice, Gabriele Giolito de Ferrari, 1543 (Colophon: Venice, Gabriele Giolito de Ferrari, September 1543).8vo. 32 leaves. Collation: A-D8. Printer's device on title page and on last leaf verso. At l. A2r dedication letter by Dolce to Giacomo Barbo dated Padua, 1 August 1543. Italic type. Woodcut historiated initials. Some light marginal staining on a few leaves.First edition. Between 1540 and 1550 Lodovico Dolce, one of the most prolific poligrafi of the mid 16th century and a strict collaborator of the typographer Giolito de Ferrari, wrote 5 comedies and 8 tragedies, mostly adaptations or translations from Seneca and Euripides. His Thyeste is scarcely more than an Italian paraphrase version of Seneca's play, in which Dolce alternates eleven-syllable lines (endecasillabi) with shorter seven-syllable lines (settenari).Edit 16, CNCE17328; S. Bongi, Annali di Gabriel Giolito de' Ferrari da Trino di Monferrato stampatore in Venezia, Rome, 1890, I, pp. 52-53; Herrick, op. cit., p. 160.(bound with:)DOLCE, Lodovico (1508-1568). La Hecuba tragedia di M. Lodovico Dolce, tratta da Euripide. Venice, Gabriele Giolito de Ferrari, 1543 (Colophon: Venice, Gabriele Giolito de Ferrari, July 1543).8vo. 47, [1] leaves. Collation: A-F8. Printer's device on title page and on last leaf verso. At l. A2r dedication letter by Dolce to Cristoforo Canale dated Padua, 16 June 1543. Italic type. Woodcut historiated initials. On the title page are two manuscript ownership's inscriptions: ?FMC? and ?di B[er]nardo di Libri [?]? Some light marginal staining on a few leaves.First edition of Dolce's first adaptation from Euripides, not based on the original Greek but through an intermediary Latin translation. Dolce preserves the Greek plot, making only some minor changes, like omitting some characters.Edit 16, CNCE17327; Bongi, op. cit., I, pp. 51-52; Clubb, op. cit., p. 102, no. 379; Herrick, op. cit., pp. 160-161.(bound with:)PARABOSCO, Girolamo (1524-1557). La Progne tragedia nova di M. Girolamo Parabosco. Venice, Al segno della Cognizione, 1548 (Colophon: Venice, Comin da Trino, 1548).8vo. 32 leaves. Collation: A-D8. Printer's device on title page. Italic type. Woodcut historiated initials. Some light marginal foxing on a few leaves, brown stain of about 20x5 mm on l. C5.First edition of Parabosco's only tragedy, which perfectly fits into the Italian Renaissance theater tradition of blood and revenge tragedies mostly based on Seneca. There is no evidence that Parabosco knew Corraro's Latin version of Progne, but like Corraro he omitted Ovid's metamorphosis of the leading characters into birds and substituted a more realistic ending.Edit 16, CNCE24602; M. Bregoli Russo, Renaissance Italian Theater, Florence, 1984, p. 136, no. 467; Clubb, op. cit., p. 178, no. 662; Herrick, op. cit., pp. 179-180.Four works in one volume (155x90 mm), nicely bound in a 19th-century richly gilt calf, lettering piece on spine, coat-of-arms of Herbert Norman Evan in gilt on the panels, marbled edges and endleaves (spine and joints slightly rubbed). A very nice copy from the library of the book collector and bibliophile Herbert Norman Evans (1802-1877). ?Herbert Norman Evans (M.D. 1824; M.C.S. 1825; and F.R.C.S. 1845) of New Grove House, Hampstead, practiced at Highgate. He was elected a Fellow of the Society of Antiquaries in 1848, and edited a library of Anglo Catholic theology in 83 volumes, which was published by J.H. and J. Parker from 1841 to 1863. His library of books, mostly theological, was sold in two portions by Sotheby, Wilkinson and Hodge 10 May and 21 June 1864. He died at St Leonards on Sea 10 December 1877? (University of Toronto Libraries, British Armorial Bindings, see stamp 1). Book.

  • Immagine del venditore per Historia degl' imperatori Greci, descritta da Niceta Coniate, gran Secretario, & Giudice di Belo. venduto da Librairie La Jument Verte

    EUR 2.200,00

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    Historia degl' imperatori Greci, descritta da Niceta Coniate, gran Secretario, & Giudice di Belo, il Qvale Comincia dall'Imperio di Giouanni Conneno, doue lascia il Zonara, & segue fino alla presa di Constantinopoli, che fu l'anno M.CCCC.LIII. ( )La dernière partie a pour titre : Historie di Costantinopoli descritte da Nicefero Gregora. E questa è la terza parte.Venise, Gabriele Giolito de' Ferrari, 1569.Trois parties en un volume in-8 de (10) ff.+ 127 pp.+ (10) ff.+ 254 pp.+ (13) ff.+ 302 pp.+ (1) f.Plein vélin, dos lisse orné de frises et de fleurons dorés, pièce de titre de maroquin rouge, pièce mentionnant le lieu et la date d'édition de maroquin noir. Reliure du XIXe siècle.Format : 16,5 x 22 cmMarques de l'imprimeur (GGF) avec le phénix renaissant de ses cendres et la devise " Semper eadem " en début et en fin de chaque partie, vignettes et culs-de-lampe, très belles lettrines historiées. L'ensemble est gravé sur bois.Brunissements des feuillets dans la troisième partie (pp. 80-96), pâles mouillures marginales dans la dernière partie.L'historien byzantin Nicétas Choniatès (vers 1155-1217) est né à Chônai (Phrygie, Asie Mineure et aujourd'hui Honas). Très jeune, il rejoint son frère aîné Michel à Constantinople. Là-bas, il entame une carrière politique, et devient secrétaire impérial sous le règne d'Alexis II Comnène, puis sous Isaac II Ange. Son témoignage est particulièrement intéressant car Nicétas est un témoin oculaire du passage de l'empereur germanique Frédéric Barberousse lors de la troisième croisade en 1189, mais aussi de la prise de Constantinople par les soldats chrétiens lors de la quatrième croisade en 1204. La partie la plus intéressante de son récit est peut-être la description de la prise de Constantinople. Les deux oeuvres ont été essentiellement traduites par Lodovico Dolce (1508-1568), avec quelques ajouts par Agostino Ferentilli. Très belle impression vénitienne réalisée dans les ateliers de Gabriele Giolito de' Ferrari (v. 1508- 1578) à qui l'on doit la célèbre édition de la Commedia de Dante de 1555.Provenance : ex-libris manuscrit C. Koebel au premier feuillet blanc. Un monogramme sur vélin LJ.

  • Immagine del venditore per Sette libri de cathaloghi a' varie cose appartenenti, non solo antiche, ma anche moderne: opera utile molto alla historia, et da cui prender si po materia di favellare d'ogni proposito che ci occorra venduto da Libreria Alberto Govi di F. Govi Sas

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    Condizione: Buono (Good). 8vo (152x9 mm). 567, [1] pp. Collation: A-Z8 AA-MM8 NN4. Colophon at l. NN4r. Printer's device on title page and last leaf verso. Woodcut historiated initials and ornaments. 17th-century mottled calf, gilt spine with lettering piece, sprinkled edges (spine a bit worn and rubbed). On the front pastedown 18th-century bookplate ?Est S. Simpliciani Mediolani ad usum D. Benedicti Antonii [?] Abbatis? Ownership's entry on the title page. Upper margin cut a bit short (on a few pages slightly affecting the current title and the page number), otherwise a very good, clean copy. FIRST EDITION of Lando's last larger work, a series 114 lists (?cathaloghi') of men and women from antiquity and from his own time arranged in seven books, each with its own dedicatory letter (mostly Lando's patrons from Brescia). At the beginning of each book is a table of the various ?cataloghi' contained in it: e.g. Cathalogo di quei, che morirono per soverchia letitia et smoderate risa (Book I); Di quei che amarono le lettere e i letterati favorirono, De i grandi bevitori (Book II), Degli arroganti, superbi, ambiziosi e gloriosi, Degli huomini sprezzatori degli Iddii (Book III); Dei mariti et delle mogli che stremamente si sono amati, Di quei che per se stessi in vari modi si ammazzarono (Book IV), Di quei che furono folminati et dal cielo percossi, Di quei che morirono fra le braccia delle lor amate donne (Book V); Dei più belli horti, De i pittori antichi et moderni (Book VI); Dei più famosi musici, Dei più famosi precettori antichi et moderni (Book VII).At the end of the volume is found a letter by Lando dated December 20, to Lucrezia Gonzaga da Gazzuolo (ca. 1521-1576), his patroness and occasional literary collaborator since his publication of Lettere di molte valorose donne (1548) (cf. M.K. Ray, Textual collaboration and spiritual partnership in Sixteenth-century Italy: the case of Ortensio Lando and Lucrezia Gonzaga, in: ?Renaissance Quarterly?, LXII/3, 2009, pp. 694-747). In it Lando complains that the authorities had forbidden the publication of the lists of adulterers, traitors, cruel and ungrateful persons of his own day which he had intended to include. He also points to the sources he used for the examples from antiquity: ?gli essempi vecchi dal Sabellico, del Volterrano, dal Fregoso, dal Calphurnio, dal Domitio, dal Bergamasco Cronichista, ultimamante dal Testore [Tixier], essendo avisato ch'egli più di ogni altro copioso ne fusse? (pp. 556-567). In fact, many of the ancient examples have been nearly literally translated from the sixteenth century repertory, the Officina (1520) by the aforementioned Jean Tixier de Ravisy (ca. 1470-1542). This consistent sacking of the Officina was viewed by some critics as plagiarism. ?Sull'Officina, che il maestro parigino aveva tanto amorosamente attrezzato per la crescita umana e professionale dei suoi scolari del Collège de Navarre, Lando interviene con tagli che intaccano alla radice il requisito della completezza. Evidentemente per lo scrittore e per i suoi lettori l'abbondanza dei riferimenti non è più un valore. A un Tixier affetto da mania catalogatoria che affastella tutto l'elencabile, succede un Linneo ludico che dice di perseguire né più né meno che un gioco di società: ?opera molto utile alla historia, et da cui prender si po materia fi favellare d'ogni proposito che ci occorra'. Il patrimonio classico che a Parigi era censito come una riserva preziosissima di loci e di exempla da recuperare a fini retorici o parenetici o prosopografici, a Venezia viene manipolato senza nessun timore reverenziale. Da utilia a peregrina et curiosa. I Cataloghi non cercano ? né additano ? né sapienza, né dottrina, né bellezza, ma si propongono appena poco più di uno spunto per la conversazione? (P. Procaccioli, ?? fecerunt Barberini'. Attenuanti generiche e specifiche per Ortensio Lando plagiario di Jean Tixier de Ravisy, in: ?Furto e plagio nella letteratura del classicismo?, R. Gigliucci, ed., Roma, 1998, p. 295; see also P. Cherchi, Polimatia di riuso: mezzo secolo di plagio, 1539-1588, Roma, 1998, pp. 109-111).Although the book was published anonymously, Ortensio Lando included his own name amongst those who were ugly (p. 18: ?non mi è occorso vedere il piu difforme costui, non vi è parte del corpo suo che imperfettamente non sia. ha le labra di Ethiopo, il naso schiacciato, le mani storte, et è di colore di cenere?); irascible (p. 100: ?Credo io fermamante ch'egli non sia come gli altri huomini, composto di quattro elementi, ma di ira, di sdegno, di collera & di alterezza?); ignorant (p. 118: ?non può se non per viva forza leggere alcun libro, & i letterati schiva, come huomini di malo augurio, & di pessimo influsso?); unhappy (p. 343: ?infelice in tutto quello che tenta di voler fare, o dire?), scribbler about trivialities (p. 479: ?ha cantato la morte d'un cavallo, d'un cane, d'un pidocchio, di una simia, d'una civetta, d'una gaza, d'un mergone, d'un gallo, d'una gatta, d'un grillo, & d'altri vili animali?).?Prendiamo il Lando, a mio avviso il più sublime e il più rappresentativo degli autori presenti in questo volume. La fantasia del Lando è surreale: vero uomo ?astratto e fantastico', egli si incanta nell'inventario dello spettacolo mondano, che per ciò stesso ne esce straniato e stravolto. Per questo il suo capolavoro è probabilmente l'opera in apparenza meno ambiziosa  e meno strutturata, quella in cui la forma esibisce provocatoriamente il proprio ?grado zero': mi riferisco ai Sette libri de Cataloghi a varie cose appartenenti (ma che anche il più orizzontale e adiaforo dei cataloghi richieda una profonda sapienza è dimostrato dal confronto con i cataloghi ? qui veramente ?minori' ? di un epigono come Luigi Contarini o dai centoni di ?detti e fatti notabili' compilati da Lodovico Domenichi). Nei Cataloghi landiani tutto è folle perché tutto è svuotato di senso della transitività e dalla continuità degli elenchi (elenchi di uomini brutti o di uomini inghiottiti dalle. Book.

  • In-4 (20 cm) (8) 34 c. (manoscritte corrispondenti alle carte 1-15) 457 (i.e. 451) (1) c. Sul frontespizio xilografia rappresentante. "Uomo sdraiato in terra sotto la luna"in cornice figurata. La copiatura in bella calligrafia che comprende anche testatina, capolettere e fregi, è commissionata dal possessore Bartolomeo Amici che fece rilegare e completare l'opera nel 1737, come si legge nella glossa al frontespizio e alla fine della bibliografia dopo la prefazione ai lettori dell'autore. Sansovino Francesco (1521-1583). Storico, letterato, traduttore, Scrittore, editore e tipografo attivo a Venezia, nato a Roma nel 1521, morto a Venezia nel 1583. Utilizzò lo pseudonimo di Anselmo Guisconi e Giovanni Tatti. Figlio dell'architetto Iacopo. Fu revisore nell'azienda di Gabriele Giolito De Ferrari. Lavorò da solo e con soci non specificati, uno dei quali, secondo Bonora, era Nicola Tinto. Come editore si servì delle tipografie di Francesco Rampazetto, Stefano Zazzera, i Bonelli e Daniele Zanetti. Sposò Benedetta Misocca ed ebbe due figli: Giacomo, che gli successe, e Fiorenza. M. a Venezia il 28.9.1583 (secondo Bonora) o nel 1586 (secondo Ascarelli-Menato). Rampazetto, Francesco: Tipografo ed editore musicale attivo a Venezia. Nel 1573 fu scomunicato per aver stampato un messale coperto da privilegio papale a favore di Giovanni Varisco e degli eredi Faletti. M. nel 1576 o nel 1577. English translated: In-4 (20 cm) (8) 34 c. (manuscripts corresponding to papers 1-15) 457 (i.e. 451) (1) c. On the representative woodcut frontispiece. "Man lying on the ground under the moon" in a figured frame. The copying in beautiful calligraphy that also includes testatina, capolettere and friezes, is commissioned by the owner Bartolomeo Amici who had the book bound and completed in 1737, as can be read in the gloss on the frontispiece and at the end of the bibliography after the preface to the readers of author. Sansovino Francesco (1521-1583). Historian, writer, translator, writer, editor and typographer active in Venice, born in Rome in 1521, died in Venice in 1583. He used the pseudonym Anselmo Guisconi and Giovanni Tatti. Son of architect Iacopo. He was a reviewer in the company of Gabriele Giolito De Ferrari. He worked alone and with unspecified members, one of whom, according to Bonora, was Nicola Tinto. As editor he used the typography of Francesco Rampazetto, Stefano Zazzera, the Bonelli and Daniele Zanetti. He married Benedetta Misocca and had two sons: Giacomo, who succeeded him, and Fiorenza. M. in Venice on 28.9.1583 (according to Bonora) or in 1586 (according to Ascarelli-Menato). Rampazetto, Francesco: Typographer and music publisher active in Venice. In 1573 he was excommunicated for having printed a missal covered by papal privilege in favor of Giovanni Varisco and the Faletti heirs. M. in 1576 or 1577. 16mo secolo.

  • Immagine del venditore per La libraria del Doni fiorentino. [together with] La seconda libraria del Doni venduto da Leopolis

    Doni, Anton Francesco

    Editore: Gabriele Giolito de' Ferrari, Venice, 1550

    Da: Leopolis, Kraków, Polonia
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    Valutazione venditore: 5 stelle

    Libro

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    Hardcover. Condizione: Near Fine. In-12, 70, [2] ff including last blank, bound before Doni, Anton Francesco. La seconda libraria del Doni. Venice: Francesco Marcolini, June 1551. 112, [7] ff, lacking final black). 19th cent. calf backed boards and marbled paper, spine gilt, paper label with number top of the spine, edges painted yellow (title of the first books stained, title of the second frayed at the bottom corner with some loss of paper but without loss of text, some foxing). The first edition of both parts. A list of Italian authors and their works, mostly contemporary including the author himself.?The first bibliography in a vernacular and the first attempt to describe books in Italian, with the special section of printed music. In continuation, ?La seconda libraria?, issued the following year, is somewhat marred by the inclusion of few fictitious titles? (Breslauer & Folter). Both volume printed using (mostly) beautiful but different Italic types by two major 16th century Venetian printers: Gabriele Giolito de' Ferrari and Francesco Marcolini. The book is not in its first binding with margins cut little close (13 cm), but without shaving of the text and overall good copy. Adams D-819, D-822; Fumagalli 604; Breslauer & Folter 18.

  • TOLOMEI, Claudio

    Da: BOOKPRESS LTD., Williamsburg, VA, U.S.A.
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    Membro dell'associazione: ABAA ESA ILAB

    Valutazione venditore: 5 stelle

    Prima edizione

    EUR 1.349,21

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    TOLOMEI, Claudio. DE LE LETTERE.LIB. SETTE. (Venice): Gabriele Giolito de' Ferrari, 1547. 4to. 19th-century boards. (238 leaves. First edition. [Mortimer Italian, 500; Brunet V, 877]. The most important letter in this collection from an architectural point of view, is one written to Count Agostino de' Landi, 14 November 1542. In it Tolomei outlines an eight-point program by the Accademia della Virtu which ha profound impact on the establishing of the selective methodology of later architectural theoreticians from Philander, Vignola, Palladio, to De l'Orme a Barbaro. The book, surprisingly the most complete edition of Tolomei's lette was beautifully printed by Giolito who used his exquisite set of initial woodblock letters throughout, with scenes of sporting and other outdoor activities. The collection of letters is also noteworthy because it includes Tolomei's discussion on typography and Trissino's proposal to add new letters the alphabet. (Trissino was, incidently, the patron and tudor of Palladio.) This is a fine copy of the book with a few marginal notes in a contemporary Italian hand. The pagination, two hundred and thiry-two numbered leaves (the final one misnumbered 234) followed by six unnumbered leaves, conforms to the copy at Harvard as described by Ruth Mortimer. 6339.

  • DELFINO, Domenico.

    Editore: Venezia, Gabriele Giolito de Ferrari, 1556,, 1556

    Da: Libreria Antiquaria Pregliasco, Torino, Italia
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    Valutazione venditore: 4 stelle

    EUR 1.200,00

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    Condizione: molto buono. in-4, pp. (26), 268, (1) bianca.  Al frontespizio marca tipografica, capilettera istoriati e testatine xilografici, frontespizio anticamente restaurato: la porzione  superiore contenente il titolo è stata elegantemente vergata in inchiostro bruno su un foglio antico sulla cui parte inferiore fu applicata la marca di Giolito originale impressa a stampa. Legatura coeva in pergamena floscia, sul dorso liscio titolo manoscritto.  Prima edizione di un'opera resa affascinante dal suo contenuto e dalla sua storia testuale. Si tratta di un trattato sullo scibile umano, i temi spaziano dall'aritmetica, alla filosofia, alla politica, all'economia fino alle arti magiche. Ma l'opera, libera traduzione della Vision deleytable de la philosophia y artes liberales dello spagnolo Alfonso de la Torre, subì accuse di vero e proprio plagio: leggenda vuole che il figlio di Delfino avrebbe trovato il manoscritto originale spagnolo e, dopo averne curato la traduzione, avrebbe attribuito l'opera al padre senza fare alcun riferimento allo scrittore quattrocentesco spagnolo. Gli stessi spagnoli dimenticarono la vera paternità del trattato, ristampando l'opera con il nome di Delfino. Testo sicuramente accattivante, "essendo steso nella forma ora affatto inusitata d'una visione, dove l'intelletto e l'ingegno, percorrono per vie generali tutto lo scibile divino ed umano; con molte altre allegorie e sogni." (Bongi). Buon esemplare, arrossature e fioriture marginali, gore al margine superiore di alcuni ff.  Sul recto del foglio di guardia ex libris mss. di Giovanni Andrea Rovetti (poeta italiano attivo tra il 1600 e il 1637, autore del Mormorio d'Elicona: poesie divise in Vaghezze amorose, Diporti pastorali, Soggetti eroici, Echo supplicante, Pompe nuziali, Teneri affetti, Duelli festini). Al titolo antica nota in inchiostro evanescente; iniziali O.S.  impresse al piatto ant. della pergamena.  Bongi I, pp. 503-5. Riccardi I, 402: «Bella e rara edizione». . Smith, Rara arithmetica, p. 275. Biblioteca magica Casanatense, 1263. Olschki, Coix VI, 6429. Ebert, 23039. Cantamessa, III, n. 8059: ''prima edizione in italiano e prima edizione attribuita a Domenico Delfino''. Bongi I, pp. 503-5. Riccardi I, 402: «Bella e rara edizione». . Smith, Rara arithmetica, p. 275. Biblioteca magica Casanatense, 1263. Olschki, Coix VI, 6429. Ebert, 23039. Brunet V, 887. Cantamessa, III, n. 8059: ''prima edizione in italiano e prima edizione attribuita a Domenico Delfino''.  .

  • Immagine del venditore per Ditte Candiotto et Darete Frigio Della guerra troiana, tradotti per Thomaso Porcacchi da Castiglione Arretino, il quale v ha aggiunto l ordine, che s ha da tener nella Concatenation dell historie, & le Vite di tutti quelli historici antichi Greci, venduto da Symonds Rare Books Ltd

    Hardcover. Condizione: Very Good. DICTYS CRETENSIS [with] DARES PHRYGIUS et Alii. Ditte Candiotto et Darete Frigio Della guerra troiana, tradotti per Thomaso Porcacchi da Castiglione Arretino, il quale v ha aggiunto l ordine, che s ha da tener nella Concatenation dell historie, & le Vite di tutti quelli historici antichi Greci, Venice, appresso Gabriel Giolito de Ferrarii, 1570. £1000 4to, pp. (xxxii) 180, a-d4 A-X4 Y6. Italic letter, some Roman. Large Giolito de Ferrari device on title page, head- and tailpieces, and large historiated initials (printer s initials G G F within vignette of an eagle standing on a round jar emanating flames, mottos in cartouches de la mia morte eterna vita io vivo and semper eadem , the latter repeated also in headpiece on recto of second leaf. Upper corners of first two quires skilfully repaired; little wormholes on a2, repaired, affecting also a3 with minimal affection of a few letters. Tiny worm tracks running through the lower blank margin (reinforced with paper repairs at times, especially on last two gatherings where a few letters are slightly damaged, though still easily readable). Light age yellowing and very occasional mild spotting. Bookplate of the duke of Northumberland with the Percy coat of arms, dated 1867, on front pastedown. Bound in late C18th/early C19th vellum over boards, gilt spine with lettering on two red morocco labels. Overall an excellent copy. First and only edition of this work which is part of an editorial enterprise called Collana historica , or Collana historica dei Greci ( historical series of Greek authors ), sprang from the collaboration of the printer Gabriele Giolito de Ferrari and the humanist Tommaso Porcacchi. Started in 1563 and terminated in 1574, this enterprise produced seven editions of works by Ancient Greek historians translated into vernacular and five contemporary treatises concerning the topic of war. This collection includes first an opening letter of the translator Porcacchi to the nobleman and patron of letters Silvio Torelli, a detailed table of contents, and a text addressing Torelli on the purpose and utility of these histories. It follows a chronological list of the celebrated historians whose works this series deals with: Dictys Cretensis and Dares Phrygius (tr. Porcacchi); Herodotus (tr. Remigio Fiorentino); Thucydides (tr. Francesco di Soldo Strozzi from Florence); Xenophon (tr. Ludovico Domenichi from Piacenza) and a piece by a contemporary author such as Gemistus Pletho (tr. Porcacchi); Polibius (tr. Domenichi); Diodorus Siculus (tr. Francesco Baldelli from Cortona); Dionysius of Halicarnassus (tr. Porcacchi); Flavius Josephus (tr. Incerto , which likely means the author is unknown); Plutarch (tr. Domenichi); Appianus Alexandrinus (tr. Lodovico Dolce); Arrianus (tr. Porcacchi) and lastly Cassius Dio (tr. Baldelli). Before starting off with the War of Troy, the book includes also an explanation of the idea behind the linkage of these historical joys , which is achieved through the use of relevant ring-passages on history. Indeed Dictys Cretensis War of Troy is linked to Dares Phrygius Ruin of Troy via a letter of Cornelius Nepos to Sallust regarding his translation of the work of Dares. The latter s history is followed then by a few declamations by the hand of Libanius and finally the lives of the aforementioned historians.

  • Immagine del venditore per Del parto della Vergine del Sanazaro libri tre : tradotti in versi Toscani da Giovanni Giolito de' Ferrari. Al Sermo. Sigr. Don Vincenzo Gonzaga, Duca di Mantoua, e di Monferrato, &c. venduto da Schilb Antiquarian

    Hardcover. Condizione: Near Fine. 1588 Sannazaro Italian Renaissance Poetry Della Vergine Venice Giolito Woodcuts An exquisite 16th-century printing of the poetry of Italian author Jacopo Sannazaro. Sannazaro, a 15th-century Naples native, wrote in both Latin and Italian, but his Italian prose set the foundation for other poets to use Italian as their preferred literary language. Venetian publisher Gabriele Giolito was, too, an important force in establishing Italian as a primary printing language. In fact, he was the first major publisher to prefer the vernacular Italian to Latin when it came to printing. The pairing of these two individuals makes this work an icon of Italian literature. This 1588 edition was published in Venice and features beautiful text borders and four full-page woodcuts. Item number: #15632 Price: $1095 SANNAZARO, Jacopo Del parto della Vergine del Sanazaro libri tre : tradotti in versi Toscani da Giovanni Giolito de' Ferrari. Al Sermo. Sigr. Don Vincenzo Gonzaga, Duca di Mantoua, e di Monferrato, &c. In Venetia : Appresso i Gioliti, MDLXXXVIII [1588]. Details: Collation: Complete with all pages o [148] References: Adams S 332; STC 605; Language: Italian Binding: Vellum; tight & secure Size: ~8.75in X 6.25in (cm x cm) Very rare and desirable Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 15632 Photos available upon request.

  • Volume in 8° antico, legato in mezza pelle, titolo al dorso, sguardie, frontespizio con marca silografica, 297 pp., tavola delle materie e dei nomi propri, registro, colophon. Importante raccolta delle lettere del famoso filologo, difensore della toscanità della lingua. Epistolario fra i pià curiosi ed interessanti del XVI secolo, con le missive indirizzate a celebri umanisti del tempo, tra gli altri Bernardino Occhino, Paolo Manunzio, Bernardo Tasso, Lodovico Domenichi, Luigi Alamanni, Pietro Aretino, Girolamo Ruscelli, Angelo Firenzuola, Gabriele Cesano, Francesco Guicciardini, Annibal Caro. L'accuratezza tipica delle edizioni giolitiane, la bellezza dei caratteri usati, testatine, finalini e capilettera ornati, arricchiscono vieppià il volume. Carta chiara e frusciante. Opera in ottimo stato e di buona raritÃ.