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Ornement (Arts décoratifs)
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Ornement (Arts décoratifs)

By Libraire Ancienne Leo S. Olschki.

Florence: Leo S. Olschki, n.d. [ca. 1933]. Good/Catalogue #111 of the distinguished house of Olschki, which would later form part of volume 10 of the "Choix des livres anciens rares et curieux" series.. 25 cm; 188 pages, 24 pages of plates. 26 figures in text. Bound in original gray illustrated wraps, printed in black and red. Wrappers splitting along spine and perished at crown. Discolored at edges.

$60.00

Portraits (Livres à portraits).
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Portraits (Livres à portraits).

By Libraire Ancienne Leo S. Olschki.

Florence: Leo S. Olschki, n.d. [ca. 1933]. Good/Catalogue #112 of the distinguished house of Olschki, which would later form part of volume 10 of the "Choix des livres anciens rares et curieux" series.. 25 cm; 67 pages, 18 figures in text. Bound in original gray illustrated wraps, printed in black and red. Wrappers splitting along spine, much of spine perished. Discolored at edges and generally toned.

$30.00

Choix de livres anciens rares et curieux ... Huitième partie: musique -- théâtre -- danse -- neolatins.

By Libraire Ancienne Leo S. Olschki.

Florence: Leo S. Olschki, 1930. Very Good. 25 cm; 359 pages, 50 facsimiles in text. Bound in gray buckram with leather title label on spine. Original wrappers bound in.

$120.00

L'art de l'Imprimerie a Venise.
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L'art de l'Imprimerie a Venise.

By Ongania, Ferdinando; Carlo Castellani; [John Louis Bancel La Farge, 1865-1938].

New York: Amadeo Ongania, 1896-97. Good/French version of the author's "L'arte della stampa nel RInascimento Italiano," with participation of Carlo Castellani, who directed the Biblioteca Marciana at the time. This account of the beginning of the book trade in Venice, full of facsimiles and photogravures, tells a story about wealthy artists and patrons of the arts at the beginning of the 20th century. Bancel La Farge apprenticed in the 10th Street studio of his famous father, John La Farge, before going off to live and study art in Europe. Ultimately, he became fascinated with the mosaics that he saw in Venice and Ravenna, and his most enduring public works are in that medium. His meeting in Venice with one Katherine Rodgers is recorded here, in a luxury souvenir that Rodgers picked up in the shop of Ferdinando Ongania (1842-1911), the bookseller and publisher who pioneered the use of new photomechanical processes in art books and in facsimiles of manuscripts.. 31 cm; viii, 228 pages, with woodcut, litho, and photogravure illustrations and facsimiles. Bound in HAND-PAINTED VELLUM covers in red, green, blue, and gold, in style of 15th-century decorated manuscripts, with bookseller's ticket of Ferdinando Ongania on pastedown. Original wraps bound in. Inscribed to artist BANCEL LA FARGE, son of John La Farge, noted for many murals and mosaics in public buildings, "A memento of happy Venice days, June 1908" by Katherine Rodgers. Bookplate of children's author and translator Sheila LaFarge. Pages toned, with some foxing present. Closed tear on p.161-62. Despite New York imprint, the book was produced and sold in Venice. One of few copies cased in hand-painted vellum.

$325.00

[In Hebrew]: Tsofnat pa`neah,
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[In Hebrew]: Tsofnat pa`neah,

By Samuel, ha-Cohen di Pisa "Lusitano"; Simone (Simcha) Luzzatto.

Venice: Giovanni Martinelli, 1655 or 1656. First edition. Commentary on Ecclesiastes (and Job as well), and on the purification rituals for those who have come into contact with the dead (the so-called "red heifer" ritual). The title translates "Revealing the Mysteries." There is a salutary introduction by Rabbi Simcha Luzzato on the defense of curiosity and philosophical questioning, noting that "the intellect is free ... to explore any subject that it wishes.. 20 cm; 33 [i.e. 62] pages. Title within typographical border. Woodcut "hands" device on title. Typographical ornaments in text. Text in Hebrew. Bound in contemporary limp vellum, stained. Manuscript note in margin of f. 24r (inserting a dropped line?). Covers quite worn; text condition is excellent. Reference: Steinschneider, 7049.

$1500.00

Selva rinovata di varia lettione di Pietro Messia ...
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Selva rinovata di varia lettione di Pietro Messia ...

By Mexia, Pedro; Mambrino Roseo; Francesco Sansovino; Alfonso de Ulloa; Bartolommeo Dionigi.

Venice: Niccolo Pezzana, 1658. Very Good/First Pezzana edition of the popular 16th-century "forest of many stories" by Spain's Pedro Mexia. (Nicolò Pezzana purchased the famous Giunti press in 1657, making this one of the first titles issued under his name.) The book is a Spanish Renaissance entry into the genre named "Silvae" by Statius, but this text falls more into the tradition of Xenophon's Symposium, Athenaeus, Macrobius, and Aulus Gellius, that is, expansive, shapeless, episodic, with masses of detail and a stupefying variety of topics and narratives. It was incredibly popular in the 16th and 17th centuries, reprinted in something like 106 editions in every European language. It was a rich treasure chest for later Renaissance authors, such as Miguel Cervantes (whose Quixote is also a forest of many tales, several of them lifted from Mexia) and Christopher Marlowe (who pulled his Tamburlaine from its pages). It is now thoroughly obscure. . Quarto (23 cm); [50] (of 52?), 788, [8] 152 pages. Lacks half-title. Four title pages, each with Pezzana's woodcut device showing Jove, Juno, Vulcan and Neptune. Occasional woodcut initials and ornaments. Shoulder notes. Bound in marbled paper with leather backstrip; backstrip decorated and titled in gilt. Binding quite worn, with joints tender and boards scuffed, edges exposed. Text generally quite good with occasional worm trails, the most severe of them in the margins. Pages evenly toned. References: Michel, V, 161.

$300.00

Canzone a ballo composte dal magnifico Lorenzo de' Medici et da M. Agnolo Politiano, et altri autori...
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Canzone a ballo composte dal magnifico Lorenzo de' Medici et da M. Agnolo Politiano, et altri autori...

By Poliziano, Angelo; Lorenzo de' Medici; Luigi Pulci; Bartolommeo Gamba.

[Milano]: [Bartolommeo Gamba], [1812]. Facsimile of the 1568 edition.. Very Good/Based on a 1568 Giunta edition of a collection of Florentine poems that were first printed in 1533, this facsimile was issued by the great Italian bibliographer Bartolommeo Gamba in 1812. Writing in 1839, Gamba confessed "nearly thirty years have passed since the crazy idea came to me to publish this facsimile, and I printed a little over a hundred copies of it, as faithful to the original as possible, including all the errors, and even the accidental peculiarities of the press, such as the breaks in the woodcut. You can tell my counterfeit by the woodcut initial at the beginning of the Canzoni. In the original there are two figures engaged in struggle, one of them knocked down. In my facsimile it is a little landscape with a farmhouse. In a few copies I added two leaves at the end which appeared in some earlier 16th-century editions, but not in the edition of 1568." The extra two leaves are present in the copy offered here.. Quarto (23 cm); 40 (misnumbered 39), [2],[2]] leaves. Large woodcut on title page ("A ring of dancing girls before a building with the Medici arms"); woodcut initial on verso of title page. Italic type. Bound in plain paper-covered boards of the early 20th century. Boards worn, soiled, and toned. Text evenly toned but otherwise as issued. References: Gamba, 266; Hind, "An introduction to a History of Woodcut," 556-557; Kristeller, "Early Florentine Woodcuts," # 283c (1568 edition).

$800.00

[I Quattro Poeti]  Divina commedia; Orlando furioso; Canzoniere; Gerusalemme liberata.
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[I Quattro Poeti] Divina commedia; Orlando furioso; Canzoniere; Gerusalemme liberata.

By Dante Alighieri; Lodovico Ariosto; Francesco Petrarca; Torquato Tasso .

Florence: Gapero Barbèra, 1901. Collezione Diamante. Fine/Gaspero Barbèra got the idea for his celebrated "Collezione Diamante" (vest-pocket editions of classics printed in a very readable 7-point type) while browsing in a bookstore one day in 1856. He saw an out-of-print edition of "The Four Poets," Dante, Petrarch, Ariosto, and Tasso, and envisioned them printed on his newly acquired presses in the tiny diamond typeface based on Bodoni's letterforms. His edition of the Divine Comedy came out within months, followed quickly by Petrarch, Ariosto, and Tasso--the first in the series that eventually grew to 66 titles in the same format. Delighted, Barbèra had a set of "I Quattro Poeti" specially bound and housed in an inlaid ebony chest for Princess Margaret of Savoy. In her note of thanks to Barbera, Margaret called the gift "a collection of diamonds, a box of precious gems." That gift was the ancestor of the volumes offered here, also given deluxe bindings and housed in a dedicated chest. Surviving sets from the "Collezione Diamante" gift editions in their presentation boxes are few.. Six volumes in-48 (105mm). Each volume with engraved frontispiece (portrait or scene) and tissue guard. Uniformly bound in full vellum decorated in gilt with fleur-de-lis patterns on both boards and interlocking rosettes on spine. Titled in gilt on spines. Edges generously gilt. Gold ribbon placemarkers. All six volumes housed in dedicated vellum-clad chest decorated in gilt with fleurs-de-lis and vine scroll borders, and lined in cream silk moiré. (Chest is 200 x 120 x 87 mm.) All six volumes in pristine condition, as new. Vellum-clad chest somewhat soiled, with gilt decoration abraded or chipped here and there near corners. Very handsome nonetheless.

$750.00

Osservazioni sopra il libro della Felsina pittrice per difesa di Raffaello da Urbino, dei Caracci, e della loro scuola.

By [Raphael]; Vincenzo Vittoria.

Rome: Gaetano Zenobi, 1703. First edition. The author was a Spanish engraver and printer who lived and worked in Rome for part of his life. The text is a defense of Raphael and others from some dismissive remarks made by Carlo Cesare Malvasia in his promotion of the Carracci and of the Bolognese school, "La Felsina Pittrice" (1678). Vittoria wrote the material, probably in Spanish, while still living in Valencia. (In the preface, he apologizes for his Italian which "lacks purity.") The significance of the book, according to the art historian Anthony Blunt, lies in the author's descriptions of several drawings by Raphael and his contemporaries which are either lost or known only in engraved copies. Condition noted. . Octavo (23 cm); 114, [2] pages. Vignette with arms of Pope Clement XI flanked by putti on title page. LACKS FRONTISPIECE PORTRAIT. Decorated letters and ornaments in text. Bound in mottled calf, weak at joints and worn at extremities. Early inscription abraded at base of title page. Pages lightly toned, with occasional stains. References: Cicognara 2404; Anthony Blunt, "Don Vincenzo Vittoria" in The Burlington Magazine, 109:766 (1967) 31-32.

$225.00

I Lucidi. Comedia.
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I Lucidi. Comedia.

By Firenzuola, Agnolo (1493-1543).

Florence: Giunti, 1552. Second edition. Very Good/Second edition of this five-act comedy which Gamba notes "is held in greater esteem ... because of the beauty of the typography and the diligence of the redaction." We are grateful to our colleagues at E. K. Schreiber Books for turning up a study which notes that Firenzuola was an important influence in promoting the equality of women in the arts: "Firenzuola's dialogue emphasizes the equality of women, the reciprocity of love, and the value of sexuality independent of its reproductive function. In doing so, he provides us with important insights into contemporary values" (J. Murray, Agnolo Firenzuolo on Female Sexuality and Woman's Equality, in: "Sixteenth Century Journal", 22, 1991, pp. 207, 213). . Octavo (15 cm); 44 leaves. Woodcut printer's device on title-page with variant at the end; woodcut initials. Bound in later (c19?) plain sky-blue boards, titled in manuscript on spine. References: Gamba, 458 ("Suol tenersi in maggiore stima questa ristampa si per la leggiadria de' carratteri, che per la diligenza nella correzione"); Adams, F-496; Decia & Camerini, I Giunti di Firenze, 287; Seroni, "Firenzuola," #4.

$950.00

Check list of fifteenth century printing in the Pierpont Morgan Library.

By Thurston, Ada; Curt F. Bühler; .

New York: The Pierpont Morgan Library, 1939. First edition. 348 pages. Original gray cloth. Fine condition.

$100.00

Anton Francesco Doni: scrittore e stampatore:

By Marsili-Libelli, Cecilia Ricottini.

Florence: Sansoni Antiquariato, 1960. Very Good/Comprehensive biliography of the Renaissance polymath. . 25 cm; 401 pages. Illustrated. Handsomely if not professionally bound in quarter calf over marbled boards, leather label titled in gilt. Original wraps bound in. Binding worn at edges, and slightly bowed. Unblemished copy.

$65.00

Deutsche Buchdruckersignete des XVI. Jahrhunderts. Geschichte, Sinngehalt und Gesaltung kleiner Kulturdokumente.

By Grimm, Heinrich.

Weisbaden: Guido Pressler, 1965. German printers' devices of the 16th century.. 365 pages, with 144 illustrations of printer's devices. Bound in cloth. Ex-library with discard stamp. Library ownership stamps, card pocket. Library shelf mark removed from spine. Contents unblemished.

$25.00

Catalogue #209. Incunabula:

By H. P. Kraus.

New York: H. P. Kraus, n.d. [later 1990s]. First edition. 200 pages. Price list laid in. Original wraps. Richly illustrated. Printed at the Stinehour Press, designed by Jerry Kelly and Kit Curry. Very good, with shelf-wear only.

$55.00

Printed Books, 1471-1500; an Exhibition Commemorating the UNESCO International Book Year.

By Wahlert Memorial Library at Loras College .

Dubuque: Wahlert Memorial Library, Loras College, 1972. First edition. 72 pages. Printed wraps. #201 of 300 numbered copies. Very good, without blemish.

$12.00

A Catalogue of Incunabula and Manuscripts in the Army Medical Library.

By Schullian, Dorothy M; Francis E. Sommer.

New York: Henry Schuman, [n.d.]. First edition. 26 cm; xii, 361 pages, and 12 plates. Original black cloth. A fine copy, with the bookplate of Goodspeed's Book Shop Reference Library.

$60.00

Sonnets [de l'Olive]
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Sonnets [de l'Olive]

By Du Bellay, Joachim; Jean Berque.

Paris: Jean Berque and Philippe Gonin, 1938. Hard cover. Very Good/With this book of sweet love poems in the Italian style, Du Bellay (1522-1560) successfully promoted the sonnet form into French literary fashion. The delicate and graceful nature of the love poems are a perfect match for the 20th-century illustrator Jean Berque, who decorated the text with simple and pleasing images of rural youth. The handmade paper further compliments the sensuality of the text and illustrations. . Folio (34 cm); [iv], 127 pages, and 36 original dry-point illustrations, 20 of them printed on separate leaves laid into the text, the remaining 16 printed in text. Edition limited to 200 copies, the first 100 on vélin antique, of which this is number 92, signed in pencil by Berque on the justification page. Leaves laid in loose in original publisher's vellum-backed portfolio, preserved in pasteboard slipcase. Some light wear to slipcase, with a dampmark in its upper left corner; no other blemishes. Reference: Carteret, IV, 46.

$400.00

Sonnets.

By Magny, Olivier de (1529-1561?); René Mels, Illus (1909-1977); Fernand Verhesen, printer (1913-2009).

Brussels: Editions le Cormier, 1953. Limited edition. Wrappers. Fine/One of six copies only on vélin d'Arches, out of a total editon of only forty copies. Sonnets by the French Renaissance poet chosen and set in letterpress by the Belgian poet Fernand Verhesen, and illustrated with two drypoint engravings, one in color, by René Mels. The volume is extremely scarce, if not unobtainable.. 23 cm; 20 pages, and two engraved plates. Wraps.

$500.00

Missae episcopales pro sacris ordinibus conferendis:
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Missae episcopales pro sacris ordinibus conferendis:

By Machabaeus, Hieronymus.

Venice: Giunta (colophon: in officina haeredum Lucaeantonii Iunctae), 1563. Leather. Very Good/In the 1560s, the brothers Tommaso and Giovan Maria Giunta were trying to recover financially from the fire that destroyed their Venice workshop in 1557. Taking few chances, they relied through the decade primarily on psalters, graduals, missals, breviaries, and antiphonaries. Designing these religious texts, the brothers expanded on the model of the missal their father, Lucantonio Giunta, published in 1501. Like the earlier missal, the mass for the ordination of bishops offered here channels the look of a medieval manuscript, with its double-column text printed in a rounded variation on Gothic type, red-inked type in place of rubrication, historiated and foliated initials, floral patterns, and impressive woodcut illustrations. This medieval disguise, however, cannot hide certain Renaissance or Humanist elements that creep in, such as the graceful Roman type in the running heads throughout, and the sophisticated Venetian Renaissance woodcut renditions of the Annunciation, the Crucifixion, and the Deposition. A handsome and energetic volume.. Folio (38 cm); [2], 152, 12 leaves. Text in two columns, printed in red and black ink. Printer's device in red on title page (Camerini, I, 143, third variant). About 99 woodcut illustrations in text (some repeated), including full-page crucifixion, repeated seven times, and 10-panel historiated woodcut border to facing page, also repeated seven times. Rotunda, roman, and italic type. Music with notes in black on red staves. Bound in paneled calf, roughly contemporary, ruled in gilt with gilt fleurs-de-lis at corners. Binding worn with signs of old repairs. Text toned on some leaves, but remarkably fresh and free of blemishes overall. References: Mortimer, Italian, 304; Amiet, Repertorium, 2:101; Camerini, 673; RELICS, 2859.

$5000.00

Lettere di diversi eccellentiss[imi] huomini raccolte da diverse libri:
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Lettere di diversi eccellentiss[imi] huomini raccolte da diverse libri:

By [Dolce, Lodovico].

Venice: Gabriel Giolito de' Ferrari, 1559. soft cover. Very Good/In the context of Renaissance society, publishing a well-crafted letter was one more way for courtiers and notables to broadcast their refinement, like wearing the clothes we see in Renaissance portraiture. Private letters were indeed public matter, enthusiastically shared and discussed. Some letters became famous. Paolo Manuzio issued collections of letters, and Giolito followed. Giolito had his resident scholar, Lodovico Dolce, create a "greatest hits" volume of letters that had appeared in print in a wide variety of sources. Dolce set out to collect "the most beautiful letters and the ones of greatest value." First published in 1554, the collection became a model for Italian prose, as well as a storehouse of stories about 16th-century celebrities. The book was produced in small quantity and quickly sold out. A second edition was necessary, and Dolce prepared it with a completely new dedication, and with notable changes in content from the 1554 edition, including the addition of several letters by Giulia da Ponte. Of the two editions, Bongi writes "both are very uncommon, and highly sought by collectors. Since there are notable differences between the two, with each containing letters that are missing in the other, both would be worthy of acquisition by a true devotee." (Bongi I, 442).. Octavo (17cm); 488, [16] pages. Giolito device (phoenix atop flaming orb) on title page; alternate device (phoenix facing the sun) on colophon page. Woodcut initials and ornaments throughout. Bound for utility in contemporary flexible vellum, worn and discolored in places, and not entirely entire. Text block sound and generally in very good condition, with few stains. Early ownership inscription in ink in upper margin of title page. Notation in early hand on rear blank, later notes on last two text pages. Generally, a clean, sound copy in well-worn binding. Preserved in custom-made cloth clamshell box with title label on spine. Reference: Bongi, II,67; Gamba, 1462 (1554 ed.; also citing a 1558 edition which does not appear to have actually existed).

$1000.00

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