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Vedute di Roma. [Bound with] PIRANESI, Francesco.: PIRANESI, Giovanni Battista.

PIRANESI, Giovanni Battista.

Published by Rome circa and 1785 (1778)

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About this Item: Rome circa and 1785, 1778. Two works in two volumes, folio (55 x 40 cm. approx.). Vedute: the complete suite as listed by Wilton-Ely comprising double-page engraved title, double-page engraved frontispiece, 135 double-page engraved plates (including the 2 plates by Francesco Piranesi listed at the end of Wilton-Ely). The watermarks examined appear to conform to Robison 39, 57, 64 and 67. Plate 243 [Wilton-Ely] with paper flaw to the centre fold lower margin not affecting image. Pompei: the complete suite comprising a double-page engraved plate, a large folding plate, and a 6-sheet plan, each sheet large and folding (3 with short maginal tear repaired, 2 touching text). Extra-illustrated with the following plates: the Pianta di Roma e del Campo Marzio [Wilton-Ely 1008]; Prospetto interiore del Tempio Vaticano Il Santo Padre . Vaticano, both of these by by Francesco Piranesi. Near contemporary Russia gilt, the covers with broad gilt borders, neatly rebacked, all edges gilt. A list giving the order of the engravings can be supplied on request. A fine complete set, originally from the Swedish royal family, of the finest illustrated book on Rome and one of the very greatest series of engravings on any subject; the images strong early impressions, clean and fresh. One of the greatest printmakers of the eighteenth century, Piranesi always considered himself an architect. The son of a stonemason and master builder, he received practical training in structural and hydraulic engineering from a maternal uncle who was employed by the Venetian Water Authority, while his brother, a Carthusian monk, fired the aspiring architect with enthusiasm for the history and achievements of the ancient Romans. Piranesi also received a thorough background in perspective construction and stage design. Although he had limited success in attracting architectural commissions, this diverse training served him well in the profession that would establish his fame. Soon after his arrival in Rome in 1740, Piranesi apprenticed himself briefly to Giuseppe Vasi, the foremost producer of the etched views of Rome that supplied pilgrims, scholars, artists, and tourists with a lasting souvenir of their visit. Quickly mastering the medium of etching, Piranesi found in it an outlet for all his interests, from designing fantastic complexes of buildings that could exist only in dreams, to reconstructing in painstaking detail the aqueduct system of the ancient Romans. The knowledge of ancient building methods demonstrated by Piranesi's archaeological prints allowed him to make a name for himself as an antiquarian. Etching also provided Piranesi with a livelihood, allowing him to turn one of his favorite activities, drawing the ancient and modern buildings of Rome, into a lucrative source of income. By 1747, Piranesi had begun the work for which he is best known, the Vedute di Roma (Views of Rome), and he continued to produce plates for the series until the year of his death in 1778. Piranesi's popular Vedute which eclipsed earlier views of Roman landmarks through their dynamic compositions, bold lighting effects, and dramatic presentation, shaped European conceptions to such an extent that Goethe, who had come to know Rome through Piranesi's prints, was somewhat disappointed on his first encounter with the real thing (Metropolitan Museum of Art). John Wilton-Ely, Giovanni Battista Piranesi, The Complete Etchings, San Francisco 1994, 134-268 & 1008; Cf. Millard - Italian and Spanish Books, 86. Seller Inventory # 91267

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The Navigation and v[o]yages of Lewes Vertomannus,: Varthema, Lodovico di.

About this Item: London, Richard Jugge, 1577., 1577. 4to. (4 [instead of 10]), 464 [instead of 466] ff. (wants the first 6 ff. of prelims, final 2 ff. of text and the 6 ff. of "special advices" and index, all supplied in facsimile). With historiated woodcut initials. Splendid modern red morocco, both covers richly gilt, gilt fillets to raised bands. Stored in custom-made cloth clamshell box with gilt spine title. The first English edition of Ludovico di Varthema's famous travels to Arabia, Persia, and India: the highly important and adventurous narrative containing the first recorded visit of a westerner to Mecca. All early editions of Varthema’s "Itinerario" are exceedingly rare (even the 2013 Hajj exhibition at the MIA, Doha, only featured the 1654 reprint; cf. below). - Varthema, a gentleman adventurer and soldier from Bologna, left Venice at the end of 1502. In 1503 he reached Alexandria and ascended the Nile to Cairo, continuing to Beirut, Tripoli, Aleppo and Damascus, where, adopting Islam and taking the name of Yunas, he joined a Mameluke escort of a Hajj caravan and began the pilgrimage to Mecca. Varthema was amazed by what he observed: "Truly I never saw so many people collected in one spot as during the twenty days I remained there", he begins, and arriving at the Great Mosque, continues, "it would not be possible to describe the sweetness and the fragrances which are smelt within this temple." Thanks to his knowledge of Arabic and Islam, Varthema was able to appreciate the local culture of the places he visited. Impressed and fascinated, he describes not only rites and rituals, but also social, geographical, and day-to-day details. "I determined, personally, and with my own eyes", he declares in the prefatory dedication, "to ascertain the situation of places, the qualities of peoples [.] of Egypt, Syria, Arabia Deserta and Felix, Persia, India, and Ethiopia, remembering well that the testimony of one eye-witness is worth more than ten hear-says." His good fortune did not continue unabated, however: after embarking at Jeddah and sailing to Aden, he was denounced as a Christian spy and imprisoned. He secured his release and proceeded on an extensive tour of southwest Arabia. Stopping in Sanaa and Zebid as well as a number of smaller cities, he describes the people, the markets and trade, the kind of fruits and animals that are plentiful in the vicinity, and any historical or cultural information deemed noteworthy. Returning to Aden, and after a brief stop in Ethiopia, he set sail for India. In addition to visiting Persia, Varthema explored the coasts of Malabar and Coromandel, including a stay at Calicut at the beginning of 1505. He also purports to have made extensive travels around the Malay peninsula and the Moluccas. Returning to Calicut in August 1505, he took employment with the Portuguese at Cochin and, in 1508, made his way back to Europe via the Cape of Good Hope. - First published in 1510, Varthema's account became an immediate bestseller. In addition to his fascinating account of Egypt, Syria, the Arabian Peninsula, and the holy Muslim cities, "Varthema brought into European literature an appreciation of the areas east of India [.] which it had previously not received from the sea-travelers and which confirmed by firsthand observations many of the statements made earlier by Marco Polo and the writers of antiquity" (Lach, I. i. 166). "Varthema was a real traveller. His reports on the social and political conditions of the various lands he visited are reliable as being gathered from personal contact with places and peoples. His account of the overland trade is of great value in that we are made to see it before it had begun to give way to the all-seas route. He even heard of a southern continent and of a region of intense cold and very short days, being the first European probably after Marco Polo to bring back the rumor of Terra Australis" (Cox I, 260). - Published as an extensive part of "The History of Travayle in the West and East Indies" - one of the first. Seller Inventory # 44757

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Sancte Roma[n]e eccl[esi]e fidei defe[n]sio[n]is p[ro]pungnaculu[m] [!]: Institoris, Heinrich (Heinrich

About this Item: Olmütz, Conrad Baumgarten, 20. IV. 1501., 1501. Folio (220 x 315 mm). 128 ff. (a-b8, c-d6, e4, f6, g4, h-p6, q4, r-x6, y4; page count: [t.p.], iii, v, iiii, v-ix, v, xiii, xii, [2 ff.], xiiii, xvi-xliii, xlvii, xlv-cvii, cix-cxxviii), complete thus. With half-page title woodcut, full-page woodcut on verso, large woodcut initial, and printer's device at the end (all with contemporary touches of red ink), as well as numerous fleuronee and lombardic initials in red and green, including five figurated initials. Rubricated throughout. Contemp. blindstamped gothic binding: dark brown calf over wooden boards, remains of engraved brass claps. First edition of this polemic against the Bohemian Brethren, written by the author of the notorious "Malleus Maleficarum": a "Bulwark of Faith of the Holy Roman Church Against the Heresy of the Waldensians and Picards". Extremely rare: the present copy represents the hitherto unknown first impression of the first edition, still bearing a slightly different title; all other known copies printed that same year (three via OCLC, one in the Scientific Library of Olomouc, one in the Bavarian State Library), as well as the 1502 second edition, are entitled "Sancte Romane ecclesie fidei defensionis clippeum adversus waldensium seu pickardorum heresim, certas Germanie Bohemieque nationes in odium cleri ac enervatioe ecclesiatice potestatis virulenta contagione sparsim inficientes" (changing the - misspelled - "bulwark" into a "shield"). Quire signatures and pagination depart from those stated by OCLC in several details. In particular, the head-over-heels "u" in "virulenta" (here printed as "virnlenta"), corrected in other editions, identifies the present variant as the earliest one. - In the year 1500, 15 years after he first published his "Malleus Maleficarum", Institoris had been installed by Pope Alexander VI as inquisitor to Bohemia and Moravia, where he was to take action agains heretics, sorcerers, and witches (cf. Tschacher). In the present work, his last to see publication, "he once more invokes his 'Malleus' and his earlier sermons against witchery and its doubters. The Bohemian Waldenses, he argues, had not only perpetrated numerous heresies, but also questioned the legitimacy of the witch trials. It is telling that Kramer, in his final polemic, would interpret the heresies of the Waldenses and witches as conjoined harbingers of the approaching apocalypse" (ibid.). The inquisitor who prided himself on having sent no less than 200 witches to the stake discusses other heresies as well: fol. 86ff. contains an entire chapter "De origine legis machometice". - One of the most extensive and technically ambitious works to leave the press of the itinerant German printer Konrad Baumgarten, active in Danzig, Olomouc, Breslau, and Frankfurt/Oder between 1498 and 1509. The page count is exceedingly confused, as in all copies. Indeed, only a single leaf in the entire "a" gathering bears a signature: the second, counted as "a iii" in error; thus agreeing with all copies available for comparison. The count of the first four leaves in our copy has therefore been corrected to "a i-iv" in red ink by a contemporary hand. - From the library of the disputatious Bohemian Franciscan friar John Aquensis, who in 1502 was to publish his own polemic against the "Picards", with his marginalia and his autograph ownership on the title page. "Although Johannes Aquensis, Jan Vodnansky in Czech, was one of the most active Catholic writers at the turn of the Middle Ages to the Age of Reformation, he has been largely ignored by scholarship so far. Born in Vodhany (some 30 kilometers to the north-west of Budweis and considered Utraquist) around 1460, he attended the school of St. Henry's in Prague since 1473, later studying Divinity at the University there. After obtaining his Bachelor's degree in 1480, he joined the Observant Franciscans and soon became one of the most vocal antagonists of the Utraquists, Begards, Waldensians, Bohemian Brethren, and other heretics. He disappear. Seller Inventory # 30213

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Published by Quintessence Publishing (IL) 2000-12-15 (2000)

ISBN 10: 3876527600 ISBN 13: 9783876527604

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About this Item: Quintessence Publishing (IL) 2000-12-15, 2000. Hardcover. Condition: Good. 1. 3876527600. Seller Inventory # 533314

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GALLI, Federica.

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About this Item: 1983. Folio. Custom made portfolio backed in grey/blue cloth with marbled boards. Containing all thirty-nine etchings from the Venice series, signed by the artist, edition 46/60, 1983 â€" 1987. 1045 x 730 x 40 mm. Federica Galli was born in Soresina in the province of Cremona, Italy in 1932 and studied painting at the Academy of Fine Arts, Brera, Milan between 1950-54. It was around this time that the artist discovered etching. In 1963 Galli abandoned painting to concentrate entirely on printmaking. As a result her extensive body of work spans some fifty years and boasts over eight hundred printed plates. The Venice Series was produced between 1983 and 1987 and includes 39 etchings. All the etchings are in limited editions, printed on the highest quality paper and signed by the artist. Seller Inventory # 2066835

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Giuochi, Trattenimenti e Feste Annue che si: PIATTOLI, Giuseppe.

About this Item: 1790. Couverture rigide. Condition: Très bon. Rarissime suite illustrant les jeux et divertissements de la Toscane au XVIIIe siècle, entièrement aquarellée à l'époque. Florence, 1790. PIATTOLI, Giuseppe. Giuochi, Trattenimenti e Feste Annue che si costumano in Toscana e specialmente in Firenze disegnati da Giuseppe Piattoli. Firenze, Pagni, e Bardi, 1790. In-folio oblong de (1) f. de titre et 24 estampes. Relié vers 1900 en demi-basane rouge à coins, dos à nerfs orné. 328 x 452 mm. / Exceedingly rare suite depicting the games and entertainments in Tuscany in the 18th century, entirely contemporary watercoloured. Florence, 1790.   PIATTOLI, Giuseppe. Giuochi, Trattenimenti e Feste Annue che si costumano in Toscana e specialmente in Firenze disegnati da Giuseppe Piattoli. Firenze, Pagni, e Bardi, 1790. Oblong folio [328 x 452 mm] of (1) title-page and 24 engravings. Bound towards 1900 in red quarter -roan, spine ribbed and decorated. Exceedingly rare first edition of this suite dedicated to games and entertainments in Tuscany in the 18th century. Seller Inventory # LCS-7770

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Le Antichità Romane, ossia raccolta delle piu: ROSSINI, Luigi.

ROSSINI, Luigi.

Published by Rome For the Author and Vincenzo Poggioli -1823 but 1829 and 1824-6 (1819)

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About this Item: Rome For the Author and Vincenzo Poggioli -1823 but 1829 and 1824-6, 1819. Two volumes. Landscape folio (54 by 74cm). I. 101 plates by and after Rossini, without letterpress title; II. letterpress title, preface, table of contents, 73 engraved plates; plates bright and clean. Uniform contemporary half vellum gilt, blue marbled boards, spine in six compartments with raised bands, morocco lettering piece, gilt. A fine set. An excellent set of this outstanding collection of views of Roman antiquities by the famous engraver Luigi Rossini. "The mantle of Piranesi fell on Luigi Rossini. His plates have strength, especially in dealing with masses of dark masonry" (A.M. Hind, A History of Engraving & Etching, p.232). Rossini (1790-1857) trained as an architect in Bologna but after moving to Rome in 1814, his financial situation deteriorated and he was forced to change career and become a professional artist and etcher. His depictions of the monumental aspect of the architecture of Rome, its bridges, pillars, arches and vaults, often overgrown, show echoes of his illustrious predecessor Piranesi. Le Antichità Romane was produced in collaboration with Bartolomeo Pinelli, who supplied the costumed figures which enliven Rossini's architectonic and archaeological views, and seems to have been first issued in 1823 as titled below the frontispiece ("Frontespizio delle Antichita Romane. Divise in cento Tavole"). It was reprinted in 1829 as Le Antichità Romane, ossia raccolta delle piu interessanti vedute di Roma Antica, but letterpress title-pages appear elusive for both editions. This copy is uniformly bound with the first edition of Rossini's volume on the Roman countryside. Millard, Italian, 116; Berlin Cat. 1917; RIBA, Early printed books, 2847. Seller Inventory # 90176

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CICERO Marcus Tullius

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About this Item: Five large illuminated white-vine initials in burnished gold entwined with plant-stems shaded in yellow and infilled in red, blue and green with long marginal extensions (fols.1r, 41v, 64v, 94r and 123v). Size: 175mm x 120mm. 163 leaves, complete, collation: i-xvi10, xvii3 [of 4, blank iv cancelled], with horizontal catchwords, 21 lines, ruled in brown ink, written-space 112mm. by 70mm., text beginning above top ruled line, written in dark brown ink in a fine upright cursive minuscule, spaces left for Greek words (sometimes inserted by another scribe), a few contemporary sidenotes, some pages slightly rubbed (including the first), a few marginal stains towards the end, generally in fine condition with wide margins, nineteenth-century orange-red morocco gilt, by F[rancis] Bedford, vellum endleaves, gilt edges. The Tusculan Disputations is a philosophical dialogue by Cicero on the conditions of happiness, written in 45 B.C. and dedicated to Brutus. It supposedly took place at Cicero?s villa at Tusculum and takes the form of a conversation between ?M? and ?A?, perhaps Marcus Cicero and a pupil, Adulescens. It opens here on fol.1r, ?M.T.C. Tusculanarum quaestionum i, Cum defensionum laboribus senatoriis ??, followed by Books II (fol.41v), III (fol.64v), IV (fol.94r) and V (fol.123v), all ending on fol.163r, ??inveniri levatio, Amen Laus deo, M.T.C. Tusculanarum Quaestionum L[iber] V. Finis? Provenance: 1.The elegant script is attributable to the scribe of the Abbey Martial, JA.3183, probably made for Alfonso, duke of Calabria (A.C. de la Mare in The Italian Manuscripts in the Library of Major J.R. Abbey, 1969, pp.84-85; sale, Sotheby?s, 25 March 1975, lot 2969). The same scribe wrote at least one other book for Alfonso, Phillipps MS.6889 (sale, Sotheby?s, 29 November 1966, lot 75). He also copied a Virgil (Walters Art Museum W.400, cf. 2000 Years of Calligraphy, 1965, no.52), a Lucretius (B.L. Harl.MS. 2694) and others, probably including a Livy, now Vienna ÖNB. Cod.45, signed ?Clemens Salernitanus?, which may identify him. 2.Henry Huth (1815-1878), for whom it was bound by Bedford (d.1884); with the red morocco label gilt ?EX MUSEO HUTH?; by descent to his son Alfred H. Huth (1850-1910); his sale, Sotheby?s, 5 June 1912, lot 1620. 3. Dr. Andre Rooryck, MS.3., sold at Sotheby's 2005. Seller Inventory # 228094

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BOOK OF HOURS. Use of Rome, in

Published by [Italy (Ferrara?), around 1480] (1480)

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About this Item: [Italy (Ferrara?), around 1480], 1480. Hardcover. Condition: Very Good. AN OUTSTANDING VIVIDLY ILLUMINATED DEVOTIONAL MS. FROM FERRARA BOOK OF HOURS. Use of Rome, in Latin, manuscript on vellum. [Italy (Ferrara?), around 1480] Ca. 10,5×7,5 cm; ix(paper)+167+viii(paper), collation: i12, ii-xvi10, xvii10-5 (last 5 cancelled), vertical catchwords, 15 lines (about 6x4cm), 6 large beautifully floriated initials with full borders, 7 seven-line initials with borders at Lauds, Prime, etc.; smaller initials at minor divisions, two- and one-line initials throughout, many with remarkably refined penwork showing birds, wolves and other fantastic creatures. Some wear, a few extremities of decoration cropped. Bound in contemporary calf, three corner-pieces and one catch extant, worn and faulty; text block’s top edge with inscription “158”. This is a very high quality and charming devotional pocket book, finely painted, with an intricate design and with incredibly vivid and fresh colours. Text and Illumination: Calendar (f.1r); Hours of the Virgin “secundum consuetudinem romane curie”, with Matins (f.13r), Lauds (fol.23v), Prime (f.34v), Terce (fol.38r), Sext (f.41v), None (f.44v), Vespers (f.47v), Compline (f.54r), and variants for different days of the week (f.58r); Office of the Dead (f.73r); Penitential Psalms (f.113r), litany (f.123v) and 10 collects; Hours of the Passion (i.e. Long Hours of the Cross), with Matins (f.133r), Prime (f.142v), Terce (f.144v), Sext (f.146r), None (f.148r), Vespers (f.150r), Compline (f.152r); (short) Hours of the Cross, preceded by a rubric detailing an indulgence of Pope John XXII (f.155r); Mass of the Virgin (f.159r); added prayers, etc. in a later hand (f.164v). Illuminations: (1) Virgin and Child, the border with the Annunciation and two (?) prophets (f.13r); (2) a Skull, the border with a bird and a goat (f.73r); (3) King David in prayer, the border with a swan and a hare (f.113r); (4) Man of Sorrows, the borders with a rabbit and a deer (f.133r); (5) the Cross with Nails and Crown of Thorns (f.155r); (6) a priest performing the Mass (f.159r). Provenance: 1) Original patron’s coat of arms in the border of the opening of the Hours of the Virgin (f.13r): a shield with azure background, and within a white demi unicorn with a golden horn and collar, and an horizontal band; possibly the de Monte family of Rome (though lacking the band), see J.B. Rietstap, Armorial Général, II, p. 250. The calendar includes Petronius of Bologna (4 Oct.), but the palette and penwork decoration suggest that the book was probably made in Ferrara. 2) The Estate of Corlies Maynard. 3) To the Church of the Holy Comforter, Kenilworth, Illinois. Seller Inventory # ABE-1531132318921

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About this Item: 1498. Folio (323 x 212mm). [348]ff, f. k8 and T6 blank (here lacking), 42 lines, Greek type and Roman type (Gk. 1; Gk 2) 18th century Dutch? red morocco, spine titled in gilt (binding rubbed, spine lightly faded) Editio princeps of nine plays together with the scholia printed round the text. Until the 19th century it was this edition of the scholia which remained (in various reprints) the sole source for our knowledge of these ancient commentaries, which for the elucidation of Aristophanes are of great importance. As late as 1830 the great German scholar Gottfried Hermann described it as ?unicus fons scholiorum? The editor was the Cretan scholar Marcus Musurus who edited a number of works for Aldus, including the editio princeps of Plato. In his preface Aldus mentions Lysistrata but says that in his manuscript this play was very imperfect (?qui vix dimidiata haberi a nobis potuit?), and therefore not printed. In the same passage Aldus tells the story that Theodore of Gaza when asked what Greek author should be read by those wishing to learn Greek, answered ?Only Aristophanes?, and that St. John Chrysostom used a manuscript as a pillow when he went to sleep. In fact Lysistrata and Thesmophoriazusae did not see the light of day until published by Giunta in Florence in 1515/16. Provenance: Armorial book stamp on title-page with motto ?Doe wel en ziet niet om? (a Dutch proverb). Small marginal restorations to first and last leaves, a few leaves stained Goff A958. GW 2333. BMC V, 559. Bod-inc A383. Seller Inventory # 213523

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PLUTARCH of Chareonea

Published by 1470]. (1470)

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About this Item: 1470]., 1470. Illuminated opening page with white-vine stem border 'bianchi girari' on three sides extending into the fore-margin, the border incorporates a 9-line initial 'P' in gold and a wreath in each border, the one in the lower margin left blank for a coat-of-arms, the remaining two with rosettes, also four birds are found in the lower border, all in burnished gold, blue, green, purple; 54 further initials in gold, mostly 9 to 11-lines, against intricate white-vine backgrounds infilled with blue, green, and purple, which extend into the margins; 4-line initial in gold infilled with green and purple against a blue background; some rubrication; early manuscript headings and foliation. Volume 1 (& 24ff of vol. of 2). Large Folio. Binding size: 412 x 295mm. Paper size: 390 x 280mm. 316 of 320ff. (lacking d10 and 3 blanks). [*4 a10 b8 c10 d9(of 10) e10 fg8 h6 i-o10 p8 q10 r12 s10 t3(of 4 -t4 blank) v-y10 z8 aa-cc8 dd12 ee9(of 10 - ee10 blank) gg12 hh10 ii3(of 4 -ii4 blank); A10 B8 C6]. Quires c & d misbound. 45 lines (257 x 160mm), roman type (113R.), spaces left for greek letter.Mid-late 19th century dark brown morocco over bevelled boards by William Townsend and Son, Sheffield, with their blindstamp inside front cover, covers panelled with simple blind fillets and ornamental rolls, spine decorated in the same way, red morocco label, r.e. First edition of the first of two volumes published in this year of Plutarch's Vitae, a wide-margined copy lavishly illuminated in Rome with a superb opening border and 55 beautiful white vine-stem initials. ?The whole (sixty Vitae ) was on sale at Milan by 27 April 1470 (see E. Motta, 'Pamfilio Castaldi, Antonio Planella, Pietro Ugleimer ed il vescovo d'Aleria', Rivista storica italiana , 1 (1884), 252-72, at 255 note 2).? (Bod-Inc). Complete copies are known but many institutions have only one of the two volumes (see: ISTC). The second volume, lacking its first 25 leaves, may possibly be the copy of volume II found at the Biblioteca Nacional de España (see: Julián Martín Abad, Catálogo Bibliográfico de la Colección de Incunbales de la Biblioteca Nacional de España (2010), pp. 631-2, no. P-156, I-1939) which is also illuminated and has early annotations but was likely separated from the first volume at an early date. A note at the foot of the first page of this first volume appears to suggest that it was on its own when bought in Logrono, northern Spain, by Dean Munor de Suessa in 1632. Examples are very rare on the market with Anglo/American auctions recording only an incomplete copy of volume I appearing at auction since 1936 when the Sykes-Syston Park-William Morris copy was sold. The present copy was auctioned at Sotheby's 18 November 1918, lot 609, and sold to Francis Edwards for £18.10s. This copy of the first volume of Plutarch's Vitae ends with the life of Lucullus unlike most other examples which end with the life of Sertorius. Our volume one, therefore, holds a further 24 leaves and three incipits with initial spaces which are illuminated with three further white vine intials. The three blanks are missing from this copy and also f. d10 which holds only the final 16 lines of the comparison between Lycurgus and Numa on the recto of the leaf, the remainder of the leaf is blank. The leaves have been absent since the seventeenth century at least as the early foliation is continuous. The final leaf C6 is cut down and mounted. It is rare to find such lavish use of white vine-stem illumination or bianchi girari as very few books of the period printed in Rome or Venice had so many opening initial spaces, one exception being the Sweynheym and Pannartz Pliny of the same year although the Natural History has, in fact, only 37 initial spaces. White vine-stem illumination developed in early fifteenth-century Florence as decoration for humanistic or classical texts, seemingly copied from manuscripts of the classical period which were in reality Italian manuscripts of the twelth century. The style of illumina. Seller Inventory # 47241

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Scelta di XXIV vedute delle principali contrade,: ZOCCHI, Giuseppe.

ZOCCHI, Giuseppe.

Published by Florence Giuseppe Bouchard (1754)

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About this Item: Florence Giuseppe Bouchard, 1754. Second edition. Folio (58 x 41.5 cm). Double-page engraved allegorical title page, engraved dedication, engraved map, 24 double-page etched and engraved plates numbered I-XXIV, engraved by Corsi, Franceschini, Gabuggiani, Gregori, Papini, Muller, Marieschi, Monaco, Pazzi Pfeffel, Seuter, Sgrilli, Vasi, after drawings by Zocchi. Contemporary red morocco gilt by Derome (ticket to title); small hole (50 mm) to blank outer margin outside plate plate mark of plate VII, tiny area of restoration to verso plate XXIII outside plate mark. A complete set of the finest pictorial record of the historical architecture of Florence in the XVIII century. In red morocco by Derome. Zocchi (1711-1767), a painter, draftsman, and etcher, was the protege of Gerini, who commissioned these prints and also paid for Zocchi's artistic education in Rome, Bologna, and Lombardy. Although he made easel and mural paintings, Zocchi's oeuvre is richest in drawings and prints. The present series was etched by a team of twelve artists after Zocchi's designs. The four most important squares are shown at times of great festivity, and are most likely the earliest views Zocchi made for this series. Other plates demonstrate various uses of the River Arno, the splendid bridges that cross it, and the great buildings along its shore. The series as a whole presents Florence in a wonderful light, as a city of beautiful architecture with a lively population: 'Consistently celebrative and accomplished, this collection shows a city striving to maintain a placid and prosperous appearance; Zocchi's limpid vision, similar to Carlevaris' and Visentini's interpretations of Venice, endow the city with cohesion and serenity.' (Millard) Berlin Kat. 2700, Brunet V, 1107. Seller Inventory # 94763

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Hoffman, William H.; Raabe, William A.; Smith, James E.; Maloney, David M.

Published by South-Western College/West 3/30/2010 (2010)

ISBN 10: 0538743255 ISBN 13: 9780538743259

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About this Item: South-Western College/West 3/30/2010, 2010. Hardcover. Condition: New. 34. 0538743255 New condition. CD is included. Ships within 1 business day. Seller Inventory # Z0538743255ZN

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PERELLE, Gabriel (1603-77), Nicolas (b.1631), and Adam (1638-1695).

Published by Paris: Nicolas Langlois, rue St. Jacques a la Victoire, [ca 1687-1703]. (1703)

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About this Item: Paris: Nicolas Langlois, rue St. Jacques a la Victoire, [ca 1687-1703]., 1703. 7 parts in one volume, oblong folio(11 4/8 x 15 1/8 inches). 294 fine engraved plates on 253 leaves distributed as: I: engraved title-page and 23 plates (on 20 leaves.); II: engraved title-page and 45 plates (on 46 leaves.); III: engraved title-page and 36 plates (on 30 leaves.); IV: engraved title-page, large folding map of ". des Villes et Chateau de Versailles, and 44 plates; V: engraved title-page, 2 folding plans of Fontaine Bleu and Chantilly (small repaired tear near the gutter), and 57 plates (on 54 leaves.); VI: engraved title-page and 62 plates (on 41 leaves.); VII: engraved title-page and 17 plates (on 18 leaves) (some very light browning to one or two plates, but BRIGHT AND ATTRACTIVE). 18th-century mottled calf, gilt board edges, mottled fore-edges, two pin fastenings on lower cover (expertly rebacked to style, a few other discreet repairs, modern marbled endpapers, without clasps). Provenance: 18th-century manuscript index at the beginning; Foljambe Collection removed from Osberton Hall, with the discreet woodcut library stamp of Francis Ferrand Foljambe (1749 - 1814) at the foot of the first title-page, his sale 30th April 2008, lot 135. An extensive and FINE series of engravings depicting the major French chateaux and gardens, including Versailles and Fountainebleau, and Parisian views and architectural landmarks. Although no two albums of topographical views of France with engravings by the Perelle family are identical, they can be dated variously from about 1750 to 1800, and were issued by any one of four generations of the Langlois and Mariette family of publishers. This particular album was issued by Nicolas Langlois the first (1640-1703), son of the influential publisher Pierre Langlois, and stepson of Pierre Mariette the first. This series has uniform Langlois imprints and agrees with Berlin Kat., 2483 and 2675, including the view "La Place St. Marc à Venise" at the end; the last view is of the Escurial at Madrid. As to the date of issue: the second plate in this series depicts "Le Pont Royal des Thuileries." which the caption states was begun in 1685 and finished 1687. An almanach for the year 1694 records Nicolas Langlois advertising his album of "Belles Maisons de France", in 1701 a legal inventory of the Langlois merchandise listed a set of copper-plates for Perelle's "Belles Maisons de France" printable in 253 pages as here, and it is known that Nicolas Langlois I issued albums of Perelle engravings until his death in 1703. The Perelles were an influential family of French artists whose engravings of French 17th-century gardens are a valuable record of their appearance. Gabriel Perelle (1595 - 1677 ) who studied drawing with Daniel Rabel, had two sons, Nicolas Perelle (born 1631) and Adam Perelle ( 1640 - 1695). Their work is so similar in style and was often signed simply 'Fait par Perelle', and so difficult to attribute individually. Berlin Kat. 2483, 2675; cf. Fowler 245 and Millard I, 136-37; William Roberts "Perelle's Topographical Albums", 2006; Kenneth Woodbridge , Princely Gardens (1986). Seller Inventory # 001905

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About this Item: 1470. Large illuminated opening white-vine initial 'C' in gold and colours, initials in red and blue of various sizes, one or two with additional penwork, some corrected and overlaid presumably at the time; spaces left for greek letter. Folio (305 x 220 mm). 182 leaves (last blank). Early 18th century English panelled red morocco, covers with double gilt fillet, inner frame of fillets, decorative alternating fleur-de-lys and fleuron roll, large flower tools at corners, spine richly gilt in compartments and lettered not only with the title but also the printer's name, small paper label at head (spine faded, joints starting at head and foot, extremities rubbed). The Macclesfield copy of one of the first Jenson printings in his ?perfect? roman type. One of only four editions published by Jenson in 1470, of which the Eusebius is now firmly considered to be the first (see Lowry, pp. 52-54). Dibdin notes that this edition is, ?very rare even upon paper? Although fairly well represented in libraries (ISTC lists 43 complete copies) it is extremely rare on the market, only the Stonyhurst copy at Sotheby's 2003 has appeared at auction since 1937, according to ABPC and RBH. The US libraries which hold a copy are: Harvard, Cornell, Free Library of Philadelphia, HEHL, Middlebury College, Columbia, Newberry, Yale. This copy has the full colophon on 18/5v (f. 181v) as transcribed by BMC and GW - copies are known with the colophon lacking the two lines of prose stating the contents of the book. One of the two earliest editions of Cicero?s letters to Marcus Brutus, to his own brother, Quintus Tullius, and to Titus Pomponius Atticus. Another edition of these letters, edited by Joannes Andreae, Bishop of Aleria, was printed by Sweynheym and Pannartz at Rome not later than August 30, 1470, and definitive priority has not yet been established as to which is the editio princeps. Jenson's edition also includes Petrarch's ?Epistola ad Ciceronem?, taken from this Familiar Letters (XXIV.3), which is addressed to Cicero who perhaps meant as much to Petrarch as any writer of any era. The Ciceronian texts are those Petrarch himself had found at Verona, in 1345, during his explorations of monastic libraries. ?The Roman type employed by Jenson is the most beautiful ever cut and with him printing suddenly attained its perfection just five years after the introduction of that art into Italy. His books have served as an inspiration and a model to most of the fine presses established in England and elsewhere during the period of the revival of typography as an art, from the 1890's onwards.? (The Italian Book 1465-1900, Catalogue of an exhibition, National Book League, 1953, no. 8). Provenance: from library of the Earls of Macclesfield, Shirburn Castle, with their North Library bookplate, shelf-mark 81.d.7. and blind-stamp; unidentified initials ?W.P.? at head of first leaf. This copy was not in the series of Sotheby's sales 2004-2008, described in the Book Collector thus, ?The dispersal of the last great library, one equal in its day to those of the Earls of Sunderland, Pembroke and Oxford, to have remained (unlike those others) undiminished and untouched by time, without sophistication or alteration since the books were bought? (The Book Collector, Summer 2004, p.253). Contemporary ink title just cropped at head of first leaf. A scattering of wormholes at beginning and end, some staining at upper margin of first 30 or so leaves. Goff C500. H 5214*. Bod-inc C-284. BMC V 166. GW 6859. M. Lowry, Jenson, 239, no. 2. Dibdin I, p.426. Ref: Martin Lowry, Nicholas Jenson and the Rise of Venetian Publishing in Renaissance Europe, (1991). Seller Inventory # 228370

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Caravanne du Sultan à la Mecque: Mascarade: Vien, Joseph-Marie.
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About this Item: [Paris, c. 1749]., 1749. Folio (368 x 255 mm). Etched and engraved title and 31 etched plates (numbered 1-30 and one unnumbered). Contemp. French red morocco gilt, arms of Louis-François-Armand de Vignerot du Plessis, duc de Richelieu et de Fronsac on covers (Olivier 407, fer 15), within gilt border of Richelieu’s repeated motif of two crossed batons intertwined with an ornamental "R", repeated with coronet within arabesques at the corners, spine gilt in compartments with same motif. First edition; a large-paper copy with Richelieu's arms. Vien's charming series of etchings depicts the costumes worn by members of the French Academy in Rome for a "Turkish masquerade" held during the Carnival celebrations of 1748. This masque is an outstanding example of the influence the orient exerted on western style during the late-Baroque era, showcasing the degree to which cultural transfer was possible and even a matter of enthusiastic adoption by the west but little more than half a century after the siege of Vienna. The elaborate masquerades at the French Academy constituted an important fixture in the Roman calendar. As director of the Academy, Vien organised the masque of 1748, the fabulous costumes of which are presented here, designed, drawn and etched by Vien himself. The costumes in the present suite are "a curious mixture of authentic Turkish habits and European invention" (Blackmer), showing the stock figures of the Turkish court liberally enhanced with elements of Vien's own concoction. The fantastical nature of the creations is a far cry from the sober neo-classical style with which Vien is commonly associated (his pupils included some of the foremost artists of the period, notably Jacques-Louis David). Vien's original drawings and oil paintings for the Mascarade are held by the Musée du Petit Palais; they were exhibited in Berlin in 1989. - Some marginal dampstaining and foxing, binding rebacked retaining most of original spine, corners repaired. This copy commanded $26,000 at Christie's New York in 1997. Provenance: from the library of Louis-François-Armand de Vignerot du Plessis, duc de Richelieu et de Fronsac (1696-1788), a close friend of Louis XV of France, though critical of Madame de Pompadour. Atabey 1288. Lipperheide Sm 10. Colas 3005 (suggesting the plates are un-numbered). Hiler 879. Le Blanc II, 122, 8-39. Cohen/R. 1014f. Brunet V, 1211. Cf. Blackmer 1730. Cf. Gay 3644. Graesse VI/2, 311 (Paris, Bassan et Poignan). Seller Inventory # 31604

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Blom, Philipp; Franz, Rainald; Neuburger, Susanne; Hochleitner, Martin

Published by Moderne Kunst Nürnberg

ISBN 10: 3869844078 ISBN 13: 9783869844077

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About this Item: Moderne Kunst Nürnberg. Hardcover. Condition: Very Good. 3869844078 Crisp, clean, unread book with some shelfwear - NICE. Seller Inventory # Z3869844078Z2

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Italia: MAGINI G.A.

MAGINI G.A.

Published by Bologna: Sebastiano Bonomi (1620)

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About this Item: Bologna: Sebastiano Bonomi, 1620. Hardcover. Condition: Very Good. 1st Edition. MAGINI G.A. Italia. Bologna: Sebastiano Bonomi, 1620. Folio, engraved allegorical title by Olivero Gatto printed within typographical border, 61 engraved maps as called for in index (all but 3 double-page), in fine dark impression, engraved portrait of Magini, text on 15 leaves. Seventeenth-century red morocco, gilt, sides panelled in gilt and blind, gilt edges. A few marginal repairs, some occasional marginal soiling. FIRST EDITION OF THE FIRST PRINTED ATLAS OF ITALY. The atlas was undertaken by Magini in 1594 and finally completed by his son Fabio in 1620. The early maps were engraved by the three Arnoldi brothers, but after the return of the two surviving brothers to Holland in 1603 Magini employed the Englishman Benjamin Wright to complete the engraving. The portrait is supplied: it is not called for in this edition, and appeared first in a later edition of 1632. Phillips (Atlases), 3061; Shirley (Brit.Lib.), MAG-1a. Seller Inventory # 04238

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Parisi, Lynn S.; Jones, Virginia L.

Published by ABC-Clio Inc, Santa Barbara, Ca, U. S. A. (1988)

ISBN 10: 0874365155 ISBN 13: 9780874365153

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From: Lexington Books Inc (Idaho Falls, ID, U.S.A.)

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About this Item: ABC-Clio Inc, Santa Barbara, Ca, U. S. A., 1988. Hardcover. Condition: Very Good. 0874365155 Very Good; Contents are tight and clean; Ex-Library; Hard Cover; A B C-CLIO, Incorporated; 1988; 0. Seller Inventory # 23134

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ITALY.) Alinari

Published by Alinari (1867)

Photograph

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About this Item: Alinari, 1867. Hardcover. Condition: Fine. A superb set of monumental early photographs of Italy by Fratelli Alinari of Florence, the world’s oldest photography firm. Large folio (20 x 25 in.). Two volumes. Contemporary quarter calf. 134 albumen prints, mounted on heavy paper, each with manuscript caption. Various sizes, from 16½ x 21½ in. mammoth prints to several 3 x 4 in. prints. Some foxing, almost exclusively limited to margins of mounting paper. Some wear to binding, but a very handsome volume, with the photographs generally in fine condition. Magnificent photographs from masters of the genre. Fratelli Alinari, founded in Florence in 1852, is the world’s oldest photography firm. The three Alinari brothers pioneered the use of the camera for reproducing artwork and architecture from the great Italian galleries for public consumption. They are also known for their advocacy of the photographic portrait and for their photographs of Italian buildings and monuments. “The Alinaris were called to all the most important exhibits of the age. The Alinari images played a fundamental role in the perception and knowledge of the Italian work of art” (Encyclopedia of Nineteenth-Century Photography). In these two volumes, the Alinaris have focused on the architecture of the great cities of Italy. They capture the neoclassical elements of building façades and interiors as well as other city structures with exquisite detail and precision. They approach each subject from a unique perspective chosen to capture and draw attention to its most intriguing features – from the monumental Duomo and Campanile (dome and belltower) in Florence, to the balustrades of the Rialto Bridge in Venice, to the arches and columns of a cathedral doorway in Verona. Volume I is devoted to Venice, including the Palais Ducal, St. Mark’s Place, and the Grand Canal. Volume II contains images of Florence, Pisa, Bologne, Padua, and Verona, including landscapes, architectural views, and occasional reproductions of famous works of art. These two volumes present an opportunity to acquire superb, early large-format images of Italy’s most famous buildings and settings in extraordinary high-quality prints by the most famous photographer in the field. Seller Inventory # ABE-1509569274405

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John W. Moore

Published by Brooks/Cole Pub Co

ISBN 10: 0030342368 ISBN 13: 9780030342363

Hardcover
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From: Lot O'Books (Virginia Beach, VA, U.S.A.)

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About this Item: Brooks/Cole Pub Co. Hardcover. Condition: New. In plastic wrap. We specialize in non-fiction books. Follow us on facebook, instagram, and twitter at lotobooks. Seller Inventory # SKU0001422

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AUGUSTINE OF HIPPO (Aurelius).

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From: Oslo Rare Books (NABF/ILAB) (Flekkefjord, Norway)

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About this Item: Folio, dark-blue grain gilt morocco, ribbed spine, all edges gilts, all edges gilt. TOUTE PREMIERE EMISSION DE L'EDITION ORIGINALE EN LANGUE VERNACULAIRE. Attribuée à Jacopo Passavanti Florentinus, la traduction originale de la Cité de Dieu fut imprimée pour la première fois par Antonio da Bologna Miscomini, fils du célèbre compositeur Bartolomeo da Bologna. Bien que l'exemplaire de la Bibliothèque Bodliènne renferme une note manuscrite prouvant que l'ouvrage est antérieur à 1483, l'origine de cette première édition demeura longtemps incertaine. Proctor et GW, en effet, crurent y reconnaitre la marque de la presse florentine que Miscomini utilisa à partir de 1481. Une analyse approfondie donnée par BMC démontre toutefois que ce premier tirage provient en vérité d'une presse plus ancienne encore, mise en ?uvre entre 1474 et 1476 à Venise. De cette presse dont Miscomini ne tira que six ouvrages, le présent travail demeure le seul connu à avoir été publié sans date ni nom de l'imprimeur. Exemplaire d'une remarquable fraicheur, dans une reliure de très belle facture. Imprimé sur deux colonnes en 47-48 lignes, en petits caractères gothiques. Lettrines insérées par une main du tempsBMC, VII, 1136 and VI, p. XV ; Proctor 6145; Peilechet 1564; IGI 982; Goff A-1248; GW 2892 ; Polain (B) 370A; IDL 500. Seller Inventory # 52027

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AUGUSTINE OF HIPPO (Aurelius).

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From: Oslo Rare Books (NABF/ILAB) (Flekkefjord, Norway)

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About this Item: Folio, dark-blue grain gilt morocco, ribbed spine, all edges gilts, all edges gilt. FIRST ISSUE OF THE FIRST EDITION IN VERNACULAR ITALIAN. Attributed to Jacopo Passavanti Florentinus, the original Italian translation of De Civita Deo was printed for the first time by Antonio da Bologna Miscomini, son of the famed composer Bartolomeo da Bologna. The work initially appeared undated and without printer's name, adding to the mystery surrounding this book. An inscription in the Bodelian copy however proves that the first edition was issued before 1483, and Proctor (No. 6145) initially believed that the book had been printed in Florence, where Miscomini achieved most of his work. Watermarks and other evidences however led BMC (VII, 1136 ) to determine that this first issue is the result of an earlier press operating between 1476 and 1478 in Venice. Among the only six books Miscomini ever produced in his Venetian years, this work is the only one without date or printer's name.Very fresh condition, with only few light stains, in a modern but splendid vellum. Printed in two columns of 47-48 lines in small Antiqua. Plain initials inserted by a contemporary hand.BMC, VII, 1136 and VI, p. XV ; Proctor 6145; Peilechet 1564; IGI 982; Goff A-1248; GW 2892 ; Polain (B) 370A; IDL 500. Seller Inventory # 51290

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HEURES à l' usage de Rome. Hore: HEURES

HEURES

Published by Simon Vostre, Paris (1510)

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From: Libreria Brighenti (Bologna, BO, Italy)

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About this Item: Simon Vostre, Paris, 1510. Rilegato. Condition: in eccellenti condizioni. HEURES à l' usage de Rome. (Paris), Simon Vostre, circa 1510. (fol. a1:) Hore beate Marie Virginis, secundum usum Romanum, ad longum, absque aliquo recursu, cum illius Miraculis, et figuris Apocalipsis et biblianis, una cum Triumphis Cesaris. (Al verso:) Almanach pour 1510-1530. (fol. i 7, verso:) l' Envelissement de Notre Seigneur, (fol. i 8:), S' ensuyt la table de ces presentes Heures, (fol. i 8 verso: l' elenco delle materie dell' indice termina:) Les heures de la Conception Notre Dame. In-8°, piena pelle coeva, dorso a nervi, piani con riquadri a secco. (140) ff. in 18 quaderni segnati: a - c per 8, d per 4, e-p per 8, e a, e, i per 8. Car. gotico, iniziali colorate e dorate, 21 linee. Testo inquadrato entro bordura illustrata, con 21 bellissime silografie a piena pagina. Bell' esemplare STAMPATO su PERGAMENA. Brunet, V, 1592 (n° 85). Lacombe, Livres d' heures, 213. Bohatta, 920). Van Praet, Cat. des ouvrages imprimes sur vélin, a, p. 108, n° 128. Seller Inventory # 000618

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Nuove inventioni di balli, opera vaghissima di: NEGRI, Cesare

About this Item: 1604. Couverture rigide. Condition: Très bon. Le premier livre illustré sur la danse et les ballets publié en format in-folio. Milano, Girolamo Bordone, 1604.In-folio, plein veau marbré, dos à nerfs orné, tranches rouges. Reliure italienne vers 1720. 331 X 220 mm. / The earliest illustrated book on dancing and ballets to be published in folio.  Milano, Girolamo Bordone, 1604.Folio [33 x 22 cm], bound in marbled calf, decorated spine with raised bands, red edges. Italian binding towards 1720. Seller Inventory # LCS-923

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About this Item: Oblong folio (5 2/8 x 8 2/8 inches). 35 EXCEPTIONALLY FINE ORIGINAL WATERCOLOURS, each image 2 x 2 7/8 inches, mounted and captioned in manuscript. Original tan diced calf, each cover elaborately decorated in blind, with embossed with red jewelled silver mounted initials "F S" on the front cover and carnelian and silver decorated gold clasp and catch (hinges strengthened). A fine album of exquisitely rendered miniature views, by an artist of some talent and schooled in the Romantic tradition, recording the most popular tourist sites of the mid-nineteenth century. Including six intricately detailed views of Rome, seven of iconic views of Venice, one each of Naples and Sorrento, and two of Milan and of the Italian lakes. Insbruck, Munich, Dresden, and Strasbourg are followed by three scenes in Paris, and others of Tours, Avignon and Aix-en-Provence. The British fascination with travel to continental Europe began in the Georgian period with the institution of the Grand Tour. A nobleman's education was not considered complete without first-hand experience of the monuments and antiquities of ancient Italy, complementing his knowledge of Greek and Latin texts. As the classical scholar Conyers Middleton stated in 1729, "At our setting out through France, the pleasures that we find, like those of our youth, are of the gay fluttering kind, which grow by degrees, as we advance towards Italy, more solid, manly, and rational, but attain not their full perfection until we reach Rome." Later in the century, as the archaeological sites at Herculaneum and Pompeii were excavated, the Tour extended far south of Naples. The desire for European travel continued well into the Victorian period and now was not just the luxury of the aristocracy but also of the middle classes. This was mainly facilitated by the development of the railways allowing for much easier mobility. The Georgian obsession with Classicism was replaced by the Romantic movement, which emphasized a deepened appreciation of the beauties of nature and a general exaltation of emotion over reason and of the senses over intellect. Once again, travel through France, Germany and Italy provided scholars and artists with inspiration and indeed, the great poets Percy Shelley and Lord Byron were to travel to the Italian lakes, Florence, Rome and many other sites between 1818 and 1822. Seller Inventory # 001678

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About this Item: [Augsbourg, ca June 1527, or later]., 1527. 4to., (7 6/8 x 5 6/8 inches). Gothic type. Full-page wood-engraved plate and two vignettes, two of which have been attributed to Weiditz. 20th-century tan morocco backe marbled paper boards. Provenance: contemporary inscription at the foot of the title-page; from the library of Charles Fairfax Murray (1849-1919), German Books 369. First edition, and RARE, and one of the earliest accounts of the sacking of Rome by the mutinous Italian, German and Spanish armies of Charles V, Holy Roman Emperor. As early as 1524, the year after Clement VII became Pope, Francis I of France's conquest of Milan prompted the Pope to change his allegiance from Imperial Spain and to ally himself with other Italian princes (including the Republic of Venice) and France in the January of 1525. This alliance acquired Parma and Piacenza for the Papal States, the rule of Medici over Florence and the free passage of the French troops to Naples. However at the Battle of Pavia in February of 1525 Francis was captured by his bitter enemy Charles V and held captive in Madrid. So Clement re-affirmed his loyalty to Charles, signing an alliance with the viceroy of Naples. Once Francis was freed after the Treaty of Madrid in 1526 Clement changed sides again, and entered into the League of Cognac together with France, Venice, Florence, and Francesco Sforza of Milan. Then he issued an invective against Charles, who in reply declared him a "wolf" instead of a "shepherd", menacing a council convened to discuss the Lutheran question. Meanwhile troops loyal (but unpaid) to Charles, led by Cardinal Pompeo Colonna pillaged Vatican City and sacked Rome on May 6th 1527. The three fine wood-engravings in this book show the warring parties meeting at Vatican Hill (title-page), engaging in close combat (on verso), and a triumphant Charles V astride his horse (at the end). Clement was held prisoner in the Castel Sant'Angelo, and was forced to change sides for one last time. On June 6, he surrendered, and agreed to pay a ransom of 400,000 ducati in exchange of his life. Clement conceded Parma, Piacenza, Civitavecchia and Modena to the Holy Roman Empire. In June of 1528 the warring parties signed the Peace of Barcelona. The Papal States regained some cities and Charles V agreed to restore the Medici to power in Florence. And, at last, in1530 Pope Clement VII crowned Charles V as Holy Roman Emperor: the pinnacle of Habsburg power, when all the family's far flung holdings were united under one ruler. Fairfax Murray, a pre-Raphaelite artist and collector, formed one of the "finest European book collections" (Codell). He lived for much of his life in Italy, and a considerable proportion of his collections were Italian in origin. "Murray's major contributions were as collector, art dealer, connoisseur, and buyer, for public museums as well as for private collectors. His own collections included Italian and English art, especially Pre-Raphaelite art, rare and illuminated books, incunabula of different origins, and a complete series of the Kelmscott editions, forming one of the finest European book collections" (Julie F. Codell for DNB). Catalogued by Kate Hunter. Seller Inventory # 72lib215

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MAGINI, Giovanni Antonio (1555-1617).

Published by Bononiae: Impensis ipsius auctoris anno MDCXX [1620] (i.e., In Bologna: Presso Clemente Ferroni, [1632]). (1632)

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From: Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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About this Item: Bononiae: Impensis ipsius auctoris anno MDCXX [1620] (i.e., In Bologna: Presso Clemente Ferroni, [1632])., 1632. Folio (43.5 x 54 cm.): [1] leaf (engraved title-page), 20 pages, 61 engraved and unfolded maps (58 of which are double-page); engraved allegorical title-page by Oliviero Gatto with figures representing astronomy and surveying, and engraved portrait dated on page [7] of Magini by "H. David Gal." dated 1632. BINDING/CONDITION: Bound in contemporary sheep, rules and fillets in blind on upper and lower boards, green morocco titling piece; a little rubbed and scuffed, especially along spine, with restorations on corners of upper cover. SECOND EDITION, ISSUED BY CLEMENTE FERRONI IN BOLOGNA IN 1632, OF THE FIRST ATLAS OF ITALY, BOUND AS UNFOLDED FLAT SHEETS UNLIKE MOST KNOWN COPIES. Giovanni Antonio Magini (1555-1617) was an Italian astronomer, astrologer, mathematician, and cartographer. In 1588 he was chosen over Galileo Galilei to occupy the chair of mathematics at the University of Bologna. As an astronomer, Magini supported a geocentric system of cosmography, in preference to the Copernican heliocentric system that was slowly beginning to gain acceptance through the work of Kepler and Galileo. As a cartographer, his life's work was the preparation of Italia or the Atlante geografico d'Italia ("Geographic Atlas of Italy"), printed posthumously by Magini's son in 1620. This was intended to include maps of every Italian region, with exact nomenclature and historical notes. Although Magini did not do any of the mapping himself, he consulted materials that had never been used by other cartographers, producing maps of extraordinary acrruracy and precision. Magini began production in 1594 and engraved most of the maps by 1613. Publishing the atlas, however, proved an expensive endeavor, and Magini assumed various additional posts to fund it, including the position of astrologer to the court of Vincenzo I of Gonzaga, Duke of Mantua, and tutor in mathematics to the Duke's sons. The Duke of Mantua, to whom the atlas is dedicated, assisted him with the project and allowed for maps of the various states of Italy to be brought to Magini. The governments of Messina and Genoa also assisted Magini financially. Eleven of the plates bear the signature of the English engraver, Benjamin Wright, who may also have been responsible for other maps. REFERENCES: Graesse IV 336; National Maritime Museum, Atlases and Cartography III/1 29; Nordenskiöld II 137; Philipps 3061; Shirley BL T.Mag-1c; R.V. Tooley, Maps and Map-makers, p. 21. Map. Seller Inventory # 72JFP013

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Published by Various

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Signed
Hardcover

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From: Robinson Street Books, IOBA (Binghamton, NY, U.S.A.)

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About this Item: Various. Hardcover. Condition: Very Good. Dated 1925-1935 Approx 800-1000 documents signed, autograph notes signed, typed andautograph letters signed, many from an engineer working on rebuilding infrastructure from 1915quake and later rebuilding from the new quake, Copies of telegrams in re buying supplies forrebuilding. Notes from banks, many notes and documents to the Mayor of Tocco in re projects. It's ahuge archive full of autograph notes signed, Completed forms. A real treasure that needs to beresearched 11 lbs of documents, notes, letters.*. Signed by Author(s). Seller Inventory # BLACKCABINETTERREMOTOMAIELLA

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1460 INCUNABLE BOOK OF HOURS HOURS OF: No Author

No Author

Published by Flanders, Belgium (1460)

Manuscript / Paper Collectible
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First Edition
Hardcover

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From: Roga Books (Boca Raton, FL, U.S.A.)

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About this Item: Flanders, Belgium, 1460. Hardcover. Condition: Good. 1st Edition. BOOK OF HOURS HOURS OF THE VIRGIN (USE OF ROME) N.D. Circa 1460-80; Flanders, Belgium; 173 Leaves of 175, Lacking one leaf after f.84/last blank), 346 Pages; Full 19th Century Miniature Leather; Vellum Pages; Latin Text/few in Italian; w2.6"xh3.5", Text w1"xh1.7"; Extremely Rare! ATTRIBUTES: •Beautiful full Miniature Red Morocco leather, Pretty Gold floral boards/binding, •Marble end pages, Illuminated manuscript on vellum, 13 lines in Gothic brown ink, •Rubrics in red, Capitals touched in yellow, One line initial in blue/gold, •2 line initials in gold with red/blue backgrounds, •7 4-line initials with bar borders full height of page, •6 Full page miniatures/floral borders, 6 Large Initials/full borders, •Numerous Illuminated gold initials throughout, •Last few (later) prayers in Italian at the end (2 pages), Nice wide margins, •Original instructions (word or two) to the artist written in Flemish beneath the miniatures, •Brilliant Craftsmanship & Very Rare & Unusual Miniature Size, •Smallest I have ever seen, ONE OF A KIND; GLORIOUS! SUMMARY: •Preceded by a Calendar, Hours of the Cross and of the Holy Ghost, •Mass of the Virgin and Gospel Sequences, Followed by Penitential Psalms & Litany, •The Office of the Dead. •The subjects of the Miniatures are: •The Crucifixion, Pentecost, A Priest saying Mass before a group of laity, •The Annunciation, The Last Trump with God in judgement and a mouth of hell, •The Burial of the Dead. BACKGROUND: •The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript. Like every manuscript, each manuscript book of hours is unique in one way or another, but most contain a similar collection of texts, prayers and psalms, often with appropriate decorations, for Christian devotion. Illumination or decoration is minimal in many examples, often restricted to decorated capital letters at the start of psalms and other prayers, but books made for wealthy patrons may be extremely lavish, with full-page miniatures. Books of hours were usually written in Latin. •Despite their strongly religious origin, the books served more as status symbols and fashion accessories than paths to heaven, a fact testified to in the large number of copies that survive in exceptional condition. Most Books of Hours are illuminated manuscripts, beautifully written out by hand on vellum, with ornate initial letters in each section, decorative page borders, and-in the better examples-delicate paintings, which are called miniatures. CONDITION: •Condition is Good/Very Good. Some wear to edges, some darkening/soiling to boards in person, Edward Arnold bookplate, removed paper/maybe another bookplate to verso 1st end page/next blank, few written words to verso last end page, Sotheby's sale 12/8/1975, missing last blank might be one of the Italian prayer pages, not sure, some pages with rubbing/blemishing, blemishing to extreme edges, few trimmed edges of miniatures (most to Jesus/Hell miniature, most pages are very good, hinges/text block are very good! •ASK ANY AND ALL QUESTIONS BEFORE PURCHASING!. Seller Inventory # ABE-1528487635456

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