MARTAYAN LAN RARE BOOKS ART AND ARCHITECTURE

Transcription

Martayan Lan Rare Books
Art and Architecture
Fall 2009
Dear Clients,
We are pleased to issue our second online catalogue devoted to Art History, Architecture, and related subjects.
The present catalogue will only appear online. Please note
that descriptions have been abbreviated and illustrations
reduced in size to suit the medium; fuller descriptions,
additional illustrations and further details concerning the
copies are available by writing to [email protected].
Table of Contents
Art History, items 1-17
Architecture, items 18-36
Archaeology, items 37-40
Festivals, items 41-43
Illustrated, items 46-49
Ornament, items 50-52
Perspective & Proportion, items 53-62
Rome, items 63-70
M a rtayan L an R are B ooks
The condition of all items in this catalogue is guaranteed as described ;
they may be returned for any reason with a week of receipt . N ew Y ork
S tate residents add 8.875% sales tax. Postage and insurance are extra.
Persons ordering for the first time are kindly requested to submit trade
references . V isa , M astercard , and A merican E xpress cards are accepted .
to order or inquire:
M a r t aya n L a n R a r e B o o k s
7 0 H e ro n T ow e r , S i x t h F l o o r
55 East Fifty-Fifth Street
New York, New York
Phone: 800.423.3741
or 212. 308.0018
Fax: 212.308.0074
i n f o @ m a r t aya n l a n . c o m
Art History
1. [AULICINO, Vincenzo / MICHELANGELO, attr. / HISTORY
OF COLLECTIONS]. Descrizione pe’ forestieri della cappella privata di
D. Vincenzo Aulicino dove si venera in Napoli il Crocifisso medesimo; Aggiuntevi
diverse preghiere... Naples, n.p., 1804. Folio [35.5 x 24 cm], 1 full page
engraving of the Crucifix signed Guglielmo Morghen (after Michelangelo), xx pp. all in woodcut border. Unbound. $2200
Extremely rare privately printed illustrated pamphlet describing an
ivory crucifix once attributed to Michelangelo, containing a full-page
engraving of the crucifix by Morghen commissioned by Aulicino for
this and related publications. At the time, the crucifix was housed in
Aulicino’s private chapel. The basis for the attribution to Michelangelo now appears dubious. Describing a variant edition of the present
work, sometime before 1926, Ernst Steinmann identified the statue as
being in the Gesù.
* CLIO I, p. 250, s.v. ‘Aulicino’; Steinmann 1417 (‘Relazione’).
The First Monograph Devoted to a Celebrated Work of Art
2. BOCCHI, Francesco. Eccellenza della Statua del San Giorgio di Donatello Scultore Fiorentino, posta nella facciata di fuori
d’Orsan Michele…. Florence, Giorgio Marescotti, 1584. 8vo., 106 pp., (3) ff., without final blank. Bound in calf.
Generally very good.
$9850
Rare first edition of the earliest monograph devoted to a specific work of art (Schlosser, p. 391), an enthusiastic appraisal of Donatello’s statue of St. George commissioned for Orsan Michele and now in the Bargello:
“The treatise on Donatello’s sculpture is an important document on the theory of art in Florence in the 16th
century” (DA). Blunt groups Bocchi in the company of such pro-Mannerist followers of Vasari as Borghini
and Vincenzo Danti, and he accordingly esteems Donatello as a precursor to Michelangelo. Vasari also treats
the statue in his life of the artist (I.1.330ff). Further, Blunt characterizes Bocchi’s treatise generally as “…typical of Florentine Mannerism in the stress which it lays on movement as the greatest source of beauty in the
human figure” (p. 102).
* Cicognara 3484.
F or
full descriptions , please email us at info @ martayanlan . com
1
For the D.I.Y. Miniaturist
3. [BOUTET, Claude.] Trattato di miniatura per imparare facilmente a dipingere senza maestro; e la dichiarazione di molti
segreti per fare i più bei colori. Venezia, Gianfrancesco Garbo, 1766. 12mo. [16.5 x 9 cm], 141 pp, [3] pp., with one
woodcut in text. Bound in contemporary cartonnage. Excellent. $225
Scarce second Italian edition of Claude Boutet’s Ecole de la mignature (Paris 1673), a handbook for painting
in miniature popular with amateurs across Europe, and translated into most European languages. The work
treats grinding and mixing of colors, including a single woodcut illustration for stretching vellum; subsequent
chapters treat proper technique for painting draperies, human faces, landscapes, architecture, fruits and flowers.
* Osborne, Books on Color 1500-2000.
The Making and Restoration of Statuary
4. CARRADORI, Francesco. Istruzione Elementare per gli studiosi della Scultura. Florence [i.e., Pisa, Tipografia della
Società Letteraria], 1802. Small folio [23 x 28.6 cm], (2) ff., 37 pp.,
(1) f., 17 numbered plates on (13) ff., each preceded or followed
by 1 page of numbered explanatory text (total 8 leaves). Bound in
early patterned wrappers. Generally good.
$4850
Scarce first edition of this illustrated treatise on the art of sculpture by Carradori, a Neo-classical sculptor and professor at the
Florentine Academy. The work considers basic tools and materials
of the craft: clay, wax, stucco, stone and marble as well as the straw,
wire, cloth and glue for ephemeral or festival decorations. There
follows an outline of human anatomy and the basic methods of
modelling in clay, stone carving, the use of stucco, bronze casting,
pointing, riveting, transportation and the restoration of ancient
sculpture. The last is of particular interest as Carradori carried out
the restoration of a number of important ancient sculptures and
Renaissance buildings (listing in DBI), and the present work affords a look into his methods.
* Cicognara 306.
With over 100 Pages of Descriptions of Paintings by
Tiepolo and Mengs
5. FABRE, Francisco José. Descripcion de las alegorías pintadas en las bóvedas del Real Palacio de Madrid... Madrid,
Eusebio Aguado, 1829. Large 8vo. [28.5 x 13.5 cm], (5) ff., 335 pp., (1 f. errata). Contemporary patterned calf,
spine gilt with red label. Faint dampstain at edges of half title, marginal tear on one leaf of index, 2 leaves a bit
loose. Overall an excellent copy. $375
2
First and only edition of this explanation of the allegorical ceiling frescoes at the Real Palácio in Madrid: “an
invaluable resource in exploring the iconography of the Royal Palace” (Ishikawa). The work analyzes the works
commissioned for the palace by such artists as Tiepolo, Mengs and Giaquinto. “Fabre’s account . . . was written
with a rigorous attention to detail and constitutes the first full published account of [the frescoes’] iconography” (Sancho).
* Palau 86086.
6. HERMANT, Achille. De l’influence des arts du dessin sur l’industrie. Paris, 1857. 8vo. [20.5 x 12 cm], (1) f. t.p., 148
pp. Bound in contemporary blue leather and marbled paper over boards. Generally very good.
$375
Rare first and only edition of a prize-winning thesis written by Hermant, a young architect and art critic, for
a Concours held by the Institut des Beaux Arts in Paris. The thesis examines industrially manufactured French
products whose aesthetic quality distinguishes them in the international market. Hermant chiefly discusses
decorative and ornamental works: locks, wrought iron, moldings, cabinets, ceramics, carpets, textiles, and lace,
as well as works in bronze, silver, and gold. Of additional interest is his chapter on Gobelins Manufactory, the
world-famous tapestry factory.
Hogarth’s Analysis of Beauty, in German
7. HOGARTH, William / MYLIUS, Christlob (trans). Zergliederung der Schönheit: die schwankenden Begriffe von
dem Geschmack festzusetzen. Berlin und Potsdam, Christian Friederich Voss, 1754. Tall 4to. [24.5 x 19.5 cm],
(14) ff., VIII pp., 111 pp., (1) p. errata, and
with two folding plates. Bound in later
marbled paper over boards. Nearly
immaculate, with good impressions
of the plates. $1850
3
First German edition of Hogarth’s classic work on beauty, the most important and influential of his theoretical
writings. The Analysis of Beauty was the first work in English to identify the “line of beauty” (pictured on the
title page inside an equilateral triangle) as the source of “Fitness” and “Variety” by which naturalistic movement is created and second-order aesthetic qualities (Simplicity, Intricacy, Quantity) derive their value. Additionally, Hogarth’s work “provides a manifesto of his view of art in opposition to that of the connoisseurs, as
exemplified by Jonathan Richardson (Theory of Painting, 1715); his prime objection was to their ideal notion of
art improving on nature and the corresponding use of the Old Masters as authorities for artists . . . [t]he taste
expressed is Rococo, but the notion of the primacy of nature anticipated later theories of the Picturesque and
Romantic” (DA). The volume concludes with two folding plates demonstrating the sinuous line of beauty in
faces, moving bodies, plants, architectural elements, etc.
* DA 14, p. 642; Frédéric Ogée et al; Hogarth, pp. 195-196.
First Illustration and First Printed Notice
of an Early Bernini Fountain
in its Superb Original Gold-Tooled Vellum Binding
8. LA SENA, Pietro. Cleombrotvs; sive, De ijs qui in aquis pereunt, philologica dissertatio. Rome, Jacobi Facciotti, 1637.
4to. [16.5 x 11.5 cm], (5) ff. includes full-page engraving of author signed “Mathias Greuter fecit,” 192 pp., 8 ff.,
and with three decorative folding plates. Bound in contemporary vellum. Generally good.
$6850
Extremely rare first edition of this meditation inspired by the death of the author’s parents in a shipwreck,
including the first engraved image of Bernini’s Barcaccia fountain, in Piazza di Spagna in Rome, commissioned
by Urban VIII and completed in 1629. This also appears to be the earliest reference in print to the Barcaccia:
the earliest reference known to Hibbard and
Jaffe was in Toti’s 1638 guidebook, a year later.
Since the symbolism of the fountain’s doubleprowed ship (visible in our engraving) is a matter of considerable debate, it is particularly interesting that La Sena notes (pp. 74-77) that he
and his friends often walked past the fountain
in the evenings and discussed its meaning. He
prints a poem in Greek written at the time of
the fountain’s completion by the noted scholar
and theologian Leone Allacci (Leo Allatius).
According to the surviving documents the
Barcaccia was constructed under the direction of Pietro Bernini, but Hibbard and Jaffe argue persuasively that
the design was an early work of his son Gian Lorenzo, showing an emblematical concetto that is typically Berninesque. They consider the Barcaccia the first Roman fountain truly in the Baroque style.
* Graesse IV, 113; Ceresa, Annali, 575; BMSTC p. 468; Piantanida 2198; Olschki, Choix, 8944.
F or
4
Guide to Renaissance Art in Urbino
9. LAZZARI, Andrea. Delle Chiese de Urbino e delle pitture in esse esisteni compendio storico. Urbino, Giovanni Guerrini,
1801. 8vo. [19.5 x 12.5 cm], (4) ff., 184 pp. Bound in contemporary quarter calf. Generally very good. $1450
Rare first and only edition of an early 19th C guide to the major works in the churches of Urbino. Lazzari’s
primary focus is the Duomo Antico, the 15th C cathedral partially destroyed in the massive earthquake of 1789,
and this guide was very likely published in order to commemorate its reconstruction, completed in 1801. In
addition to describing the Duomo’s history and design, the Jesuit Lazzari identifies dozens of works in its chapels, altars and sacristies. These include Renaissance and Mannerist-era paintings and altarpieces by Raphael,
Titian, Timoteo Viti (Urbino’s court painter), Federico Barocci, Lodovico Viviani and others, as well as Baroque
works by the painter Carlo Maratta and the sculptor Camillo Rusconi.
* Schlosser (546, 598); Cicognara 4347; not in Berlin Kat.
The Shroud of Turin Revealed: Illustrated by Agostino Carracci
10. PALEOTTI, Alfonso. Esplicatione del Sacro Lenzuolo ove fu involto il Signore et delle piaghe in esso impresse col suo pretioso
sangue. Bologna: Heredi di Gio. Rossi, 1599. 4to. [23 x 16.5 cm], (17) ff., 144, (37) pp. Includes engraved title
page, with additional two plates (one engraved portrait of the author with a view of Bologna, the other a folding color woodcut of the Shroud) by Agostino Carracci. Near contemporary vellum. Excellent.
$9500
Rare second edition (first 1598) of an illustrated treatise on the Holy Shroud—one of Christendom’s most
important relics—whose installation at Turin was personally witnessed by the author (Scott, p. 353). The large,
fragile cloth (1.10 x 4.36 m) was only shown to the public once annually. The work includes a folding chiaroscuro woodcut illustration by Agostino Carracci of the Shroud for devotional purposes printed in two colors—yellow ochre, representing the double impression of the body of Christ, and the second block overprinting the
traditional stigmata in red.
5
Although separately issued relic prints are attested for the late incunable period, the present work appears to
be one of the first books devoted to a relic, and assumes an aggressive new import in light of the sectarian
controversies regarding both the status and power of religious images in the Counter-Reformation.
* Mortimer Italian, 351; Scott, Architecture for the Shroud, 2003.
One of Nine Copies on Holland Paper
With the Plates Printed on Vellum
11. [PHILIP IV, King of France] / CRAPELET, Georges Adrien, ed. Cérémonies des gages de bataille selon les constitutions du roi Philippe de France, représentées en onze figures.... après le manuscrit de la bibliothéque du roi. Paris, Crapelet,
1830. 4to. [26.5 x 16.7 cm], xii, 88 pp., 11 leaves of lithographed
plates printed on vellum, some with outline color. Bound in elaborately gilt blue morocco. First plate toned, but otherwise excellent.
$2250
Scarce first printing of this elaborately produced facsimile of a
14th C manuscript containing Philip the Fair’s legislation concerning wagers of battle, the chivalric custom of settling disputes by
force of arms rather than by the rule of law. This legislation, along
with the ordinances of Louis IX against dueling (which the volume also reproduces), are considered crucial in eliminating or at
least restricting the use of these feudal practices, and of subjecting
the aristocracy to the same legal system governing non-nobles.
The work forms the 7th part of the Collection des anciens monuments
de la langue française, a series of separately issued volumes which attempted to reproduce the patrimony of medieval France by means
of accurate facsimiles. Of this volume, Brunet lists nine copies on
Holland paper with the illustrations printed on vellum.
* Brunet II.408 (dated 1829) (s.v. Crapelet).
Venetian Take on the Advent of Mannerism
12. PINO, Paolo. Dialogo. Venice, Paolo Gerardo, 1548. 8vo. [13.5 x 9 cm], 34 ff. Bound in modern morocco. Generally good. $5850
Rare first edition of this Venetian ‘take’ on the painting of the middle of the Cinquecento, when according to
the conventional periodizing view, Venetian painting hovered between High Renaissance and Mannerism: Titian
was in the process of altering his style in the direction of emotionalism, the younger generation (Tintoretto,
Paris Bordone and Bassani) were declaring for Mannerism, and Veronese was adhering to the earlier tradition.
6
On the question of Mannerism, Pino is mixed: “he hints at the theory of Eclecticism, when he says that if
Titian and Michelangelo could have combined their talents they would have made the perfect artist. This is a
maxim which constantly recurs in later Mannerist writings, and it is also reported as a maxim of Tintoretto”
(Blunt).
* Cicognara 185; Schlosser pp. 239; Blunt, Artistic Theory, pp. 84-5.
Artist’s Drawing Manual after Raphael
13. RALPH, Benjamin/ DORIGNY, Nicolas, ed. The School of Raphael; or, the Student’s Guide to Expression in
Historical Painting. Illustrated by Examples engraved by Duchange, and others, under the inspection of Sir Nicholas Dorigny,
from his own Drawings after the most celebrated Heads in the Cartons [sic] at the Queen’s Palace. London, John Boydell,
1782. Folio [42.8 x 28.5 cm], [6], 21, [1] p., XI [i.e. XII], 102 leaves of plates. Bound in 19th-C half calf. Generally good.
$6500
Scarce, extra-illustrated edition (second) of an artist’s drawing manual based on the “most celebrated heads”
from Raphael’s Sistine Chapel tapestry cartoons, which William and Mary had Sir Christopher Wren install in
their own gallery at Hampton Court. Although eagerly studied by 18th C British artists as the fons et origo of
academic art, the cartoons proved controversial with the advent of stronger artistic personalities. The most
influential critic was Sir Joshua Reynolds. “Eager to find faults in Raphael’s Cartoons, Reynolds’s “Connoisseur” uses them to air his familiarity with academic rules and modern art theory, citing the “Line of Beauty and
7
Grace,” the need for variety, and the virtues of pyramidal design” (Krysmanski). The present edition is known
to have been in the library of Sir John Soane.
This copy is extra-illustrated with four large-scale engravings by Picart.
* Catalogue... of Sir John Soane’s Museum (1878); Krysmanski, British Journal for 18th C Studies (Spring 2001), 15-32.
Containing the First American Painting ever shown at the Paris Salon
14. [SALON de PARIS]. Explication des ouvrages de peinture et dessins, sculpture, architecture et gravure des artistes vivans exposés au Muséum central des Arts d’après l’Arrête du Ministre e l’Interieur le 15 Fructidor, an VIII de la République française.
Paris, l’Impremerie des Sciences et Arts, An. VIII [1800]. 8vo. [15 x 8.5 cm], (4) pp. including title-page, 90 pp.
Bound in contemporary marbled paper wrappers. Generally good.
$750
Rare first edition of this guide to works in the Salon of 1800, which year saw the acceptance of the first work
by an American, James Vanderlyn. As this year saw both Napoleon and Jacques-Louis David in the spring of
their respective powers, Neo-classicism rules. David, who managed the exhibit and accordingly shows no works
of his own, nonetheless exhibited nearly a dozen of his students, including Greuze, Jacques Pajou, PhilippeAuguste Hennequin and Anne-Louis Girodet (1767-1824), whose works in the catalogue include five drawings
for Racine’s Andromaque.
* Boime, Art in an Age of Bonapartism, 1800-1815, pp. 26.
Correggio
15. SCANNELLI, Francesco. Il Microcosmo delle pittura, overa trattato diviso
in due libri. Cesena, Neri, 1657. Large 4to. [23 x 17 cm], (19) ff., including half-title, engraved frontispiece, and title page, 394 pp., (1) f. Bound
in half calf and marbled paper over boards, raised bands on spine with
gilt title label; ownership inscription of Pierantonio Rosetti, 1814, on
title. Frontispiece repaired, with fraying along the lower margin with
minimal loss to printed surface. Internally, untrimmed and very genuine.
$3000
Scarce first edition of this 17th C survey of Italian painting, and a valuable document for developing Baroque gusto by a cultivated amateur.
Scannelli follows Mancini’s tripartite division of Italian schools—Roman, Venetian and Lombard, and in an age in which microcosms were
ubiquitous, he compared the whole of Italian painting to a body, likening Correggio to the brain, Titian to the
heart, Raphael to the liver (!), and Veronese to the organs of reproduction. He polemically replaces Vasari’s
Florentine ideal with that of Lombardy (e.g. Correggio).
* Besterman, Old Art Books, p. 93; Schlosser p. 614; Cicognara 204.
F or
8
“La Prima Grande Guida di Roma”--Schlosser
16. TITI, Filippo. Studio di Pittura, Scoltura et Architettura Nelle Chiese di Roma.... Rome, Mancini, 1674. 12mo. [13 x
7 cm], (12) ff., 477 pp. Bound in contemporary vellum. Nearly immaculate. $1850
Rare first edition of this pocket guide to the art and architecture of Rome, considered
the first in the long tradition of such guides addressed to the secular tourist rather than
the religious pilgrim. Of interest to the historian of Baroque art and architecture for
providing a descriptive inventory of the contents of over 240 churches and monasteries, and for containing information relevant to attribution, building history, patronage
and contemporary taste—what was considered a “must see” in the early years of the
Grand Tour. The entries range from a high of 26 pages (for the Vatican) to less than a
page, and although the author’s taste is revealed by what he chooses to include or omit,
his comments tend to the factual.
A true pocket guide, the first edition is a considerable rarity. A pirated reprint appeared
in 1675, a second edition in 1686. According to Schlosser it remained the standard
guide to Rome into the 18th C.
* Cicognara 3891; Schudt 280; Schlosser, pp. 544, 600.
17. [VENUTI, Ridolfino/ BOYER, Jean-Baptiste de, Marquis d’Argens.] Risposta alle Reflessioni critiche sopra
le differenti scuole di pittura del sig. Marchese d’Argens. Lucca, il Busdrago, 1755. 8vo., (5) ff. including half-title and
title, 213, (1) pp., (3) ff. Bound in contemporary Italian stiff vellum, title gilt, some worming in spine. Ex libris
of Ludwig Ficker inside cover. Some foxing on title and prelims, and some toning on scattered leaves, but otherwise good. $975
First edition of this polemical work attacking the highly controversial Réflexions critiques sur les différentes écoles de
Peinture (1751), by the Marquis d’Argens, who advised Frederic II on art. He introduced Frederic to a number
of French painters, brought van Loo to his court, and he is usually credited with coining the name Sans Souci
for Frederic’s most famous residence. The Réflexions offered a sustained comparison of French and Italian/
Northern European painters arguing for the superiority of French painting. Of interest for the state of art
historical criticism in mid-18th C Rome.
* Cicognara 201; not in Schlosser or Arntz/Rainwater.
Deaccessioning? Selling?
Art and Architecture Books 1850 or Before
Contact us at [email protected]
9
Architecture
Renovating Palazzo Pitti
18. CACIALLI, Giuseppe. Collezione dei Disegni di Nuove Fabbriche e Ornati fatti nella Regia Villa del Poggio Imperiale
[…Palazzo Pitti]. Parte Prima-[seconda]... Florence, for the author and Giuseppe Molini, 1823. Folio [45 x 30.5 cm],
(3) ff. 7 pp., 19 plates, of which 4 are double-page; [Part II:] 14 pp., 50 plates. Bound in red boards, rebacked
and recornered, some foxing on title and initial leaves, internally a very clean copy with minimal foxing on the
plates. Very good.
$4500
Very rare first and only edition of this important plate-book of designs for projects at Palazzo Pitti and Villa
Poggio Imperiale by Giuseppe Cacialli (1770-1828), one of the major exponents of Tuscan Neo-classicism. The
work includes designs for works recently completed under Cacialli’s direction, beginning with his alterations to
the Villa Poggio Imperiale: new wings for a chapel and theater, as well as a renovated ballroom. At Palazzo Pitti,
Cacialli constructed the sumptuous Imperial Quarters, the Vestibule and the Empress Maria Luisa’s Bathroom.
Cacciali’s publications “document the enormous range of his projects and teaching activity: they also reveal the
extent to which his brand of Tuscan Neo-Classicism was indebted to architects of the French Enlightenment,
such as Etienne-Louis Boullée, Claude-Nicolas Ledoux and Jean-Nicolas-Louis Durand” (DA).
* On Cacialli see DBI, vol. XVI, pp. 60-62; DA V.363.
F or
10
Birthday Broadside for a 75-Year-Old Architect
19.
[BROADSIDE] / BIRKEN, Sigmund von / SANDRART, Jakob. Johann Carl Zeuchmeister und Ingenieur
in Nürnberg... [Nuremberg], Michael Endter, 1662. Engraved broadside [25.3 x 15.3 cm], trimmed to the
edge of the image, two blank corners clipped, insignificant mounting traces on verso. A strong impression,
very good. $1850
Very rare broadside portrait celebrating the 75th birthday of Hans (Johann)
Carl, showing the architect and engineer surrounded by a number of his accomplishments: the protestant Trinity Church in Regensberg; a proportional
compass of his own invention; and a cannon from the series of miniature
armaments he designed for the Nuremberg armory.
Carl (1587-1665) spent much of his life as the Zeugmeister, the master technician
in charge of Nuremberg’s arsenal. Among his many projects was the systematic
construction of scale models of various artillery and military defenses, here
documented by the miniature cannon. This curious collection, known as the
Kleinen Zeughaus (small arsenal), was most likely built for instructional purposes,
in which miniature weapons and defensive fortifications could be manipulated
to simulate battles. * Hollstein German, v. 38, no. 69; Allgemeines Künstlerlexikon XVI.399;
Dünnhaupt I.345, no. 102; not in Goedeke.
The Multiple Incarnations
of One of Rome’s Great Opera Theaters
20.
GIORGI, FELICE. Descrizione istorica del teatro di Tor di Nona ... Rome, Cannetti, 1795. 4to., 55, (1) pp., with
9 folding engraved plates of floor plans and interior views. Early marbled wrappers. Overall very good. $3500
11
First edition of this illustrated history of six different opera theaters, originally known as the Teatro Tor di
Nona, that stood on the same site in Rome between 1670 and 1795, written by the architect of the theater’s
latest incarnation. The volume’s nine large folding engraved plates depict the floor-plans of the first
five theaters, as well as two plans and two elaborate interior views (stage and a cross-section) of Giorgi’s new
theater, signed by him. A final charming half-page engraving shows a lion guarding the theater entrance, on
whose pedestal a diligent cherub is chiselling “Teatro di Apollo.” The latter theatre (Apollo) was one of the
centers of 19th C Roman operatic life, hosting the premieres of Verdi’s Trovatore and Ballo.
* Cicognara 758; Lozzi 4356; Berlin Kat. 2814.
The Sculptural Reliefs of the Santa Casa di Loreto
21. [LORETO] Spiegazione delli Quattro prospetti dei bassi rilievi in marmo che circondano le mura della S. Casa di Loreto:
qui anessi in puntata, oltre l’altro prospetto del palazzo pontificio, facciata del tempio, campanile, e cupola… [Loreto, Federico
Sartori, c. 1800.] Oblong folio [23.75 x 37.75 cm], title in woodcut border, 5 densely engraved plates with
identifying legends. Bound in linen wrappers. Excellent.
$3500
Very rare pilgrim’s souvenir album showing some of the artistic treasures of the Santa Casa di Loreto, one of
the principal shrines for Marian devotion from the late 13th C to the present day and a major pilgrimage site.
The shrine purports to be the house of the Virgin Mary, miraculously transported from Nazareth to Loreto, a
small town in the Marche 30 kilometers from Ancona.
In 1509, Julius II commissioned Bramante to construct a rectangular structure to contain the Santa Casa. He
12
encased it in an elaborate marble shell, with the sculptural decoration showing nine scenes from the Life of the
Virgin by sculptors including Sansovino and Badinelli. These reliefs are framed by pairs of statues in niches,
set one above the other, executed in the 1540s (artist unknown). There is one plate devoted to each side of
Bramante’s shell, and a final plate shows the courtyard of the basilica, the papal palace and the bell-tower
renovated by Luigi Vanvitelli in 1750-54.
* DA XIX.685ff.
An 18th-Century Take On Diminution
22. [MAZZA, Vincenzo]. Ragionamento intorno al forma[re] Logge Arcate L’una soprapposta all’altra in Fabbriche Fornite
di piu’ ordini di Architettura Volendo seguire il sistema di diminuzione in ognuno di essi. Bologna, Lelio dalle Volpe, 1778.
4to. [20.5 x 14.5 cm], 7, 44 pp., including large engraved vignette with Ludovisi arms, 1 large folding plate.
Bound in modern calf. Very good. $2450
Rare first and only edition of this treatise on the proportional dimunition of the Orders in loggias and arches,
and a practical guide to its solution in a variety of settings. The author claims to have studied with the Bolognese architect and Quadratura painter Ferdinando Galli Bibiena (p. 2), and the procedure advocated may owe
something to some of the latter’s illusionistic techniques developed for the theatre. Mazza also reviews both
the treatment of the problem found in the treatises of Vitruvius, Serlio, Scamozzi, Fontana, Vignola, Robert
Wood and Desgodez, as well as the testimony of ancient buildings.
* Cicognara 628.
The Vasari Of Architecture
23. [MILIZIA, Francesco]. Le vite de’ piu celebri architetti d’ogni nazione e d’ogni tempo precedute da un saggio sopra
l’Architettura. Rome, Paolo Giunchi Komarek, 1768. 4to, viii, 492 pp., with one engraved t.p. and 6 folding plates.
Bound in quarter contemporary vellum and patterned paper wrappers over boards. Excellent.
$3450
First edition, and an untrimmed and largely unopened copy, of this compendium of architectural biographies
second in importance only to Vasari, whom the author sought to emulate. After a survey of ancient and medieval monuments, including the building programs traditionally associated with great rulers, Milizia covers the
lives and works of principal European architects from the 15th to the late 18th C, providing capsule summaries
of their lives and principal works. “An enthusiastic disciple of the critical spirit of the age, he wrote with the
polemics of a utopian reformer; his comments were original, lively and frequently mordant” (Arntzen).
* Cicognara 2324; Schlosser 508-09.
F or
13
‘The First Critical Analysis of Palladio’s Work’
24. PALLADIO, Andrea. Le Fabbriche e i Disegni di Andrea Palladio raccolti ed illustrati da Ottavio Bertotti Scamozzi
Opera... Tome primo [-quarto]. Vicenza, Giovanni Rossi, 1796.
[And:] Le Terme dei Romani Disegnate da Andrea Palladio e ripubblicate con la giunta di alcune osservazioni da Ottavio Bertotti Scamozzi giusta l’esemplare del Lord Conte di Birlingthon Impresso in Londro l’Anno 1732. Vincenza,
Giovanni Rossi, 1797. 5 vols. I: (1) f. engraved frontispiece, viii, 128 pp., 53 engraved plates; II: iv, 76 pp.,
LI engraved plates; III: iv, 60 pp., LII engravings on (50) plates; IV: iv, 80 pp., LIV engraved plates; V: (1) f.
engraved frontispiece, 52 pp., XXV engraved plates. Uniformly bound in contemporary cartonnage. Generally
very good.
$6000
Attractive quarto edition of Bertotti Scamozzi’s celebrated 1776 Palladio, bound with what is customarily
considered (according to Fowler) the work’s fifth volume. Scamozzi’s Fabbriche e i Disegni has been hailed as
“the first critical analysis of Palladio’s work, as well as fundamental reading for the study of 18th C architecture
in northern Italy... Here an architect devoted to the revival of the Palladian style lays bare the subtlety of Palladio’s work… He also critically examines the differences between the woodcuts in Palladio’s I quattro libri and
the buildings as constructed, thus examining the Renaissance architect’s oeuvre as a whole for the first time”
(Avery’s Choice 69).
* RIBA vol. I.260 (Fabbriche vols. I-IV), 2381 (Terme); Fowler 235.
F or
14
Lost, Now Found:
Manuscript Record of Pierre Patte’s Early Work
25. PATTE, Pierre. Enumeration des Ouvrages que P Patte architecte de S. A. Ss. le Prince Palatin Duc Regnant de Deux Ponts
a produit. Single bifolium, 4 pages [20 cm x 15.5 cm], manuscript on paper written in ink in a neat cursive hand,
circa 20 lines per page. Signed by Patte and written in his hand. Remnant of fold in middle of sheet, last page
slightly toned; generally very good. $1850
Unpublished manuscript memorandum, apparently unique, drawn up by the architect Pierre Patte in his hand.
The work constitutes an important document in our knowledge of Patte’s career, and pushes back his earliest known projects to 1755. Clearly signed by the architect, it enumerates the printed works as well as the
“Bâtiment ou projects” completed by the author. The names and dates of six publications and eight major
projects are listed, as well as “une multitude de projects que j’ay fait scavoir (?) pour deux Palais…” The date
of the manuscript itself may be determined by the author’s reference to the “fameux incendie de Bolbec en
Normandie, il y a deux ans et demie,” placing it in late 1767. The present manuscript appears to be a document
described as lost by Mathieu in his authoritative biography of 1940, making it of great interest as a record of
his earliest domestic projects.
* Mae Mathieu, Pierre Patte: Sa vie et son oeuvre (1940).
Janus: The Two-Faced God
26. PIALE, Stephano. De Tempj di Giano della Porta Januale confusa dal Nardini col tempio di questo nume e del Tempio
di Giano nel Foro Transitorio etc. ... Rome, Crispino Puccinelli, 1833. 4to. [24 x 17 cm], 22 pp., (1 f.), 1 folding
engraved plate with 2 figures (25.5 x 17 cm). Modern quarter calf. Overall very good. $750
Very rare first edition of this art-historical study by the archaeologist and painter Piale (1753-1835), attempting to identify and distinguish various Roman temples to the two-faced god Janus. Relying largely on classical
sources, the work is of interest for both early 19th C archaeology and the condition of the temples under
discussion. Piale’s plates depict two structures: the Temple of Janus in the Forum, and another on the Via
Nova, thought to have been built by Septimius Severus. Piale, whose works usually began as lectures delivered
at the Accademia di Archeologia, also discusses the Roman custom of closing the doors to the Temple of Janus
when Rome was at peace—a rare occurrence!
* CLIO vol. 5, p. 3585; Porter, Medieval Architecture, p. 392.
Preparing A Critical Edition of Vitruvius
27. POLENI, Giovanni. Exercitationes Vitruvianae Primae –[Tertiae]. Pavia, Giovanni Manfrè, sold in Venice by
Francesco Pitteri, 1739-1741. Large folio [31 x 22 cm], (2) ff., 360 pp., with 2 engraved and 63 woodcut illustrations in text. Bound in contemporary vellum over boards. A wide-margined copy, very good.
$3000
First edition of “the first scientific study of an architectural text” (Millard). In Part I, Poleni thoroughly ex-
15
amines the manuscript tradition of Vitruvius, using editions from the 1486 editio princeps through 1731 and
consulting more than 20 manuscripts. In Part II he includes his own correspondence with Giovanni Battista
Morgagni (regarding passages in Vitruvius relating to medicine), Bernardino Baldi’s seldom-printed 1612 life
of Vitruvius, and a medieval Vitruvian compendium on architecture. Part III consists of nine essays excerpted
from 16th- and 17th C architectural works, including works on theatrical acoustics by Bonaventura Cavalieri
and Athansius Kircher (with an engraving that includes the notorious resonating vases), on the size of pedestals
by Bernardo Baldi (illustrated with pedestals), and on the ratio between a stone and the hole of a ballista—a
war machine for throwing stones.
Poleni’s (1683-1761) contributions to the “science of architecture” led him to be consulted by Pope Benedict
XIV regarding the collapsing cupola of St. Peter’s. The present volume was preparation for what would have
been Poleni’s major architectural study, a definitive edition of Vitruvius; left incomplete upon Poleni’s death,
it was completed in the 19th C by Simone Stratico and became the fundamental text for Italian studies of the
Vitruvian tradition.
* Fowler 250; Millard IV, no. 104.
28. RONDININI, Filippo. De Sanctis Marytibus Johanne et Paulo, Eorumque Basilica in Urbe Roma... Rome, Francesco
Gonzaga, 1707. 4to. [21.5 x 15 cm], xxiv, 263 (1) pp., 2 engraved plates signed by Specchi. Bound in quarter
vellum. Very good. $2450
First edition of this work documenting the architecture and history of Basilica SS. Giovanni e Paolo in Rome,
including plates by the esteemed architect Alessandro Specchi (1668-1729). Specchi’s engravings depict a
ground plan of the interior, as well as an exterior view. Rondinini describes the interior of the church after
its first renovation and enumerates the relics and plaques it contained. An important early Christian memorial site, the church holds the remains of the 4th C Roman martyrs Saints John and Paul. Its long history of
reconstructions makes Rondinini’s description—and Specchi’s plates—a valuable architectural record of the
church between extensive renovations in 1677 and 1715, especially as the Baroque embellishments added in
1715 obliterated the church’s early decoration.
* Getty; Blunt, 58; Bowron/Rishel, Art in Rome in the 18th Century, pp. 148-149.
With Descriptions of Sculpture, Painting and Architecture
Honoring the Patron Saint of Naples
29. SANTA ANNA, Girolamo Maria di. Istoria della Vita, Virtù, e Miracoli di S. Gennaro, Vescovo, e Martire, Principal
Padrone della Fedelissima Città, e Regno di Napoli. Naples, Stamperia di Felice Mosca, 1707. 4to., (8) ff. [including an
engraved plate showing San Gennaro as bishop with an eruption of Vesuvius in background], 344 pp., (6) ff.,
with a double-page plate showing holy medallions for the saint. Bound in contemporary stiff vellum. Overall,
very good. $2250
Very rare first edition of this life of San Gennaro, patron saint of Naples, followed by a lengthy description
16
(pp. 101-270) of the churches and relics associated with him in Naples and elsewhere, including the subterranean chapel in the Cathedral of Naples (1506), one of the prominent monuments of the Neapolitan High
Renaissance. The 17th C was a golden age for Neapolitan art, and the city’s patron was accordingly honored
with an abundance of sculptures, paintings, and silver objets d’art, many of which the author describes here.
18th C Baedeker to the Churches of Naples
30. SARNELLI, Pompeo. La vera Guida Forestieri. Naples, Luigi Mutio, 1713. 12mo.,
Engraved frontispiece, (2) ff., 1-264, 247-275, (1) pp., (3) ff., 1 blank, with 1
double folding engraved map of Naples, 47 engraved plates. Bound in contemporary stiff vellum. Excellent. $1950
Rare early edition of this popular late 17th and 18th C tourist guide to Naples,
recognized as such by Schlosser et al. Although there were guides to Naples
and its environs prior to Sarnelli, the number was modest and—in contrast to
cities such as Rome—there was no canonical plan or order for a visit. After a
thumbnail sketch of the history of Naples in antiquity, the work treats churches,
with the numerous plates showing exterior façades, high altars, and important
funerary monuments. Sarnelli also covers the royal palace, fountains, and other
historic monuments, with a relatively brief section at the end of attractions outside the walls, e.g. Vesuvius.
* Libri per vedere. Le guide storico-artistiche della città di Napoli, p. 74; Lozze 3087;
Schlosser pp. 553, 605.
18th C Carpenter’s Bible, by a Follower of Pozzo
31. SCHÜBLER, Johann Jacob. Sciagraphia artis tignariæ, Oder nuβliche Eröffnung zu der sichern fundamentalen HolzVerbindung, bey dem Gebrauch der unentbehrlichen Zimmerman’s-Kunst…Nuremberg, Johann Trautner, 1736. Fol. [30 x
19.5 cm], (1) f. engraved frontispiece, (12) pp. including title-page, 148 pp., 44 [i.e. 43] ff. of numbered folding
plates. Bound in contemporary speckled calf. Generally good, with plates in clear, dark impression.
$3850
First edition of an architecture and carpentry manual with 44 plates by this Baroque architectural theorist.
Schübler brought perspectival theory in 18th C Bavaria to its highest pitch in his two-part Perspectiva, pes picturae
(Nuremberg 1719/1720), which was largely based on the work of Pozzo. The present volume, a model-book
of precision carpentry and joinery, is more practical. Schübler’s works anticipated the German-Baroque construction frenzy that eventually peaked during the reign of Prussia’s Frederick II (1740-1786). He may also
have wanted to capitalize on the phenomenal success of Paul Decker’s Baumeister, a similar model-book.
* Mansell 531:60.
F or
17
Chimneys: No American Copy Located
32. TARUFFI PERITO, Giovanni Andrea. Breve discorso intorno ad alcuni Avertimenti concernenti L’Architettura... per
levare il fumo alli Camini... Bologna, Stampa de’ Peri, 1724. 8vo., 56 pp., with 1 full-page woodcut on p. 34. Bound
in original wrappers, old shelf sticker on front cover. Former stamp of the Bibliotheca Magnani, Bologna.
Minor foxing in margin of title and a few other leaves; otherwise very good. $1450
Very rare first edition of this guide to the construction
of chimneys, clearly addressed to masons (Capi maestri),
and reflecting the Enlightenment concern for improving the safety of buildings. The author enumerates
the basics of chimney construction from a variety of
materials, discusses optimal placement within domestic
architecture of varying sizes, outlines the four most
common errors committed by practicing masons, and
includes material on fire prevention and what to do in
case of an outbreak of fire. The popular-style woodcut
shows 4 chimney models.
* Cicognara 678; Riccardi II.508 1 (mention, unseen).
Specialized Guide to Vienna for Foreign Diplomats
33. [VIENNA] / KÜCHELBECKER, Johann Basilius. Allerneueste Nachricht vom Römisch-Kayserl. Hofe; Nebst
einer ausführlichen Historischen Beschreibung der Kayserlichen Residentz-Stadt Wien, und der umliegenden Oerter... Hanover,
J.J. Förster, 1732. 8vo [16.5 x 10 cm], (1) f. engraved portrait, (7) ff. including title, 926 pp., (19) ff. index, and
with (9) folding engraved plates. Bound in stiff vellum with author and title on letterpiece. Title cropped in right
margin. Even toning typical in works of
the period; some repairs to clean tears
of a few plates. Generally very good.
$1850
Rare second edition (first 1730) of this
travel-guide to Vienna, unusual among
such works for being created specifically
for resident foreign diplomats and government officials (rather than tourists),
and highlighting the magnificent estates
of Prince Eugene of Savoy (1663-1736).
Of the volume’s nine folding plates,
three depict the Upper Belvedere (both
the garden and pool façades) of Savoy’s
palace complex, showcasing its Baroque
18
architecture and intricately landscaped parks. A handful of chapters treat the city’s university, civic buildings,
palaces and cathedrals (with engravings of the façade and floorplan of St. Stephen’s); subsequent engravings
also illustrate some Imperial ‘curiosities,’ among them a steam-driven water-pump and an exotic cactus from
the Emperor’s greenhouses.
34. VIGNOLA, Giacomo Barozzio da. Regola delli Cinque Ordini
d’Architettura. Con la nuvo agionta di Michelangelo Buonaroti di carte sette.
Rome, Francesco de Pauli, n.d. (after 1602). Fol. [40 x 25.5 cm], 44
engraved plates, including architectural frontispiece with author portrait. Bound in contemporary limp vellum. Overall good.
$3350
Extremely rare engraved edition of Vignola’s landmark of Renaissance architectural theory and illustration, which remained popular
well into the 18th C due to its overwhelming dependence on plates as
models. In departing from Serlio’s five-part canon, Vignola “was the
first to conceive of a coherent system of proportion which encompassed all the elements of the Orders” (Wiebenson). He determined
a fixed relationship between pedestal, column and entablature for all
of the Orders (4:12:3), and defined the Orders with respect to the radii of their columns, allowing the adaptation of any order to a given
height. The last seven plates depict architecture by Michelangelo.
Plate 35 shows Vignola’s own door to the church of San Lorenzo
in Damaso (Rome); Fowler notes that the Michelangelo doors likely
first appeared in the 1602 Orlandi Rome edition.
* Fowler p. 282; Wiebenson, Architectural Theory and Practice from Alberti to Ledoux, III-A-4.
First Vitruvius Published In Germany
Extensively Annotated in an 18th C Hand
35. VITRUVIUS /RYFF, Walter (ed). De Architectura Libri Decem…nuc in primum in Germania qua potuit diligentia excusi, atque hinc inde schemetibus non iniucundus exornati… FRONTINUS. …de Aquaeductibus urbis Romae…
CUSANUS, Nicolaus. De staticis Experimentis, fragmentum. Strasbourg, Knobloch, 1543. 4to. [19.5 x 13.5], (26)
ff., 314 pp (i.e. 312), (26) ff., including numerous woodcut initials and numerous woodcuts in text. Bound in
early stiff vellum. Very good. $6500
Scarce first edition of the first edition of Vitruvius published outside Italy, illustrated with reduced copies
of the woodcuts found in the 1521 Como edition, extensively annotated in a 17th C hand.
Ryff ’s redaction of Vitruvius was his first piece of original scholarship in the field of architecture; along with
his subsequent German translation of 1548, the work cemented his reputation as a Vitruvian authority with “an
extensive knowledge of published Renaissance writings on architectural theory” (Kruft).
19
The work is followed by an edition of Frontinus on aqueducts—the most important
ancient treatise on the subject—as well as the
second edition (editio princeps, Strasbourg
c. 1500) of an important text by Nicolaus of
Cusa containing the first experiment in plant
physiology. * VD16 V-1763; Fowler 401; Berlin Kat. 1806.
Perrault’s Précis of Vitruvius in Spanish
36. VITRUVIUS / PERRAULT, Claude / CASTAÑEDA, José. Compendio de los diez libros de arquitectura de
Vitruvio escrito en Francés. Madrid, D. Gabriel Ramirez, 1761. 4to. [18 x 11.5 cm], (1) f. engraved frontispiece, (8)
ff. preface, 133 pp., (15) pp., and with 11 engraved architectural plates (1 folding). Bound in contemporary calf.
Nearly immaculate, with plates in dark impression.
$3850
Rare first edition of Perrault’s popular illustrated précis of Vitruvius in Spanish, only the second appearance of any Vitruvian
text in Spanish since the first Spanish translation of 1582, with
a frontispiece depicting not Perrault’s Louvre, as in the French
edition, but the façade of El Escorial in the environs of Madrid.
The remaining eleven numbered engraved plates are copied from
Perrault’s Abregé des dix livres d’architecture de Vitruve (Paris 1674).
Translated by the head of the architecture faculty of the Real
Academia di San Fernando, the translation attempts to supplant
the Baroque style with Perrault’s severe version of French Classicism. In the dedicatory preface, Castañeda also acknowledges
using the 18th C Italian translation of Perrault by G.B. Abrizzi
(1747).
* RIBA 3542; Correa 708; Ebhardt p. 79; Vagnetti 76; Zamora
Lucas 129. Not in Fowler.
F or
20
Archaeology
No Copy in America
37. NEGRI, Alessandro. Maniliani Bononiensis Monumenti Historico-Mystica Lectio. Bologna, [Heirs of Vittorio Benacci for] Heirs of Ducci, 1661. Small 4to. [19.5 x 14 cm], engraved allegorical frontispiece, (4) ff., 37 (1) pp., 1
blank, 12 pp., with 1 engraved plate of the monument. Bound in original colored wrappers. Excellent.
[ISSUED WITH:] ______. Epistola de vetustissima lapideae cuiusdam inscriptionis erasione. (Bologna, Heirs of Vittorio Benacci, 1660).
$1250
Very rare first and only edition of this antiquarian investigation that uses literary and historical sources, along
with numerous other inscriptions, to explain the inscription and iconography (lions, eagles, a head of Hermes,
dolphins) of a funerary stele to the 1st C B.C. centurion Quintus Manilius Cordus, which was found in Bologna in 1601 (now in the museum of Bologna). Three inscriptions (pp. 8, 9, 11) mention the bull sacrifice
(taurobolium) associated with the cult of Mithras and Cybele. The second work continues a verbal argument
with Negri’s fellow antiquarian on whether the name effaced from several inscriptions in the Roman baths of
Bologna was “Claudius” or “Caligula.” Negri (d. 1661), an avid antiquarian of material relating to his native
Bologna, also produced two other works on ancient inscriptions.
* Cicognara 3284. Not in Lozzi or Piantanida.
Etruscan Archaeology, by the Field’s Leading Expert
38. PASSERI, Giovanni Battista. De tribus vasculis Etruscis encaustice pictis... Florence, Moück, 1772. Small folio [28
x 21 cm], lix pp., (l) f., including engraved emblem on title-page, 6 full-page plates, and 4 additional decorative
emblems. Bound in contemporary marble paper wrappers. Excellent.
$1250
Rare first edition of this illustrated work on Etruscan vases by the 18th C’s leading Etruscologist. The work describes and illustrates three large black-figure
amphorae: the first pictures the head of a goddess, the second two domestic
scenes, and the third a pair of divine colloquies. The author’s interest centers
on iconography and religious cult, with the second vase producing an excellent discussion on representations of the toga and Etruscan dress. Passeri
(1694-1780) served as “chief antiquary” to the Duke of Tuscany, served in a
similar capacity to Pope Clement XIV, and was particularly influential in Britain.
He was also unusual among 18th-C archaeologists in arguing for the aesthetic
superiority of Etruscan over Roman art: a highly unorthodox view at the time.
* Cicognara 2616; NBG xxxix.307-08; Cristofani, La scoperta degli Etruschi (l992)
94-98.
F or
21
PIALE, Stephano. De Tempj di Giano della Porta Januale... Rome, Crispino Puccinelli, 1833. (see item #26)
Antiquarian Show & Tell
39. PRONTI, Domenico. Nuova Raccolta Rappresentante I Costumi Religiosi Civili, E Militari Degli Antichi Egiziani,
Etruschi, Greci, E Romani. Tratti Degli antichi Monumenti Per uso de’ Profesori delle Belle Arti. Rome, Domenico Pronti,
n.d. [c. 1800]. Oblong small folio, title, 48 numbered and (1) unnumbered plates. Bound in early patterned
wrappers. Foxing in margins extending into plates on a few leaves, but generally very good.
$750
First and sole edition of this model book of Egyptian, Etruscan, Greek and Roman antiquities, of
use to craftsmen and decorative artists working in
the Neo-classical and Empire styles. The engravings picture outstanding examples of antiquities
from famous collections. Given the title, they
may have been selected to form the basis for a
lecture course on ancient art, with each artifact
representing a specific aspect of ancient daily
life (religion, dress, etc.), e.g. the chicken coop in
which the bird of omen is kept before sacrificing
its liver for augury. Pronti often lists the current
owner of the artifact and, occasionally, its original
provenance.
* Colas 2431; Lipperheid 113; Cicognara 1769.
The Roman Antiquities of Portugal
40. RESENDE, Andrea de / VASCONCELLOS, Diogo Mendes de (ed). Libri Quatuor de Antiquitatibus Lusitaniae. Evora, Martinus Burgensis, 1593. Small folio [28 x 20 cm], (17) ff., 259 pp., [verso blank]; 46 (i.e. 45) (1)
pp.; 1 blank leaf; (9) ff., 1 blank, including elaborate woodcut head- and tail-pieces and numerous large initials.
Contemporary speckled calf. Excellent.
$6850
Rare first edition of this description of antiquities in Portugal, chiefly Roman, but extending to medieval ruins
as late as the 14th C: one of the earliest antiquarian works we have encountered that treats the extensive Roman
heritage on the Iberian peninsula. It is of particular interest for its examination of several hundred Latin inscriptions, which the author reproduces diplomatically, transcribes and explains. The inscriptions were judged
to be of sufficient importance that the work received a Roman edition four years later, and a Cologne edition
in 1600. An important document for the study of the Roman past outside a major center.
* Palau XVI.262,167.
F or
22
Festivals
No Copy in America: A Habsburg Fête in the Prague Ghetto
41. [JUDAICA]. Beschreibung einer Freudens-Bezeigung welche wegen Hoher Geburth…des Ertz-Hertzogens von Osterreich…
Leopoldi…Die in Prag wohnende Judenschafft in grossen Jubel den 18 May dieses 1716 Jahres mit Anstellung eines schön und
kostbahren Auffzugs und Auffrichtung einer herrlichen Ehren-Pforten gehalten. Prague, Johann Wentzel Helm, 1716. Small
folio [29.5 x 19.5], 11 pp., 3 plates. Bound in modern blue boards. Generally good. $4850
Exceptionally rare first and sole edition of this festival-book commemorating the birth of Leopold, son of
HRE Charles VI, with a procession by the Jews of Prague, and demonstrating the complex relationship between
the reigning Habsburgs and the Jewish populations of the Empire. Although such ceremonies are attested in
the larger and more prosperous ghettoes of Europe on such ceremonial occasions, they produced relatively
little printed documentation, its survival rate is poor, and it is rarely illustrated as extensively as in the present
publication.
The volume’s three engraved plates, depicting a triumphal arch, the procession of May 18 through Prague’s
Jewish quarter, and a building illuminated in celebration of Leopold’s birth, amply testify to the assimilation of
Habsburg culture by Czech Jews as an exercise in public relations.
* Muneles, Bibliographical Survey of Jewish Prague, pp. 66-7, #232; Vilimková, The Prague Ghetto, p. 47, print #23.
F or
23
Royal Wedding Circa 1714:
An 18th C Life Magazine Account
42. MAGGIALI, Giuseppe. Ragguaglio della Nozze delle Maestà Filippo Quinto e di Elisabetta Farnese...celebrate in Parma
l’Anno 1714. Parma, Stamperia di S.A.S., 1717. Folio [31.5 x 20.5 cm], (1) f., 115, (1) pp., including frontispiece
and 5 large folding plates. Bound in original Spanish calf. Generally excellent.
$8500
A very fine example of this fête book celebrating the nuptials of Philip V of Spain, the Founder of the Bourbon dynasty, and Elizabeth Farnese, at Parma Cathedral in September of 1714. The prose account recounts the
entry of the massive Vatican entourage into Parma, the tour of the Farnese apartments and other possessions
and selected local attractions. The elaborate procession to the Cathedral is set out, with remarks on costumes
and the lavish decoration of the cathedral itself.
The Farnese court painter Ilario Spolverino (1657-1734) was commissioned to make a series of paintings of
the event, from which a number of engravings were made for the present work by the Bolognese Francia. The
plates include an allegorical frontispiece in which winged figures present an oval portrait of Elizabeth Farnese
to the King; an “extra” large plate showing the entry of the Vatican party into Parma, complete with 24 mules;
the exterior of the cathedral decorated with draperies and family arms; the decorated interior, with draperies
and allegorical emblems; the wedding proceedings “live,” including the panoply of the filled cathedral; and an
architectural plan of the cathedral.
* Berlin Kat. 3060; Lipperheide Si 36; Cicognara 1491; Riccardi, Ilario Spolverini (1979), #55-73.
F or
24
43. VASARI, Giorgio. Descrizione dell’ apparato fatto nel tempio di S. Giovanni di Fiorenza per lo Battesimo della Signora
prima figliuola dell’ Illustrissimo...Don Francesco … Florence, Giunti, 1568. 8vo. [16 x 9.5 cm], 24 pp. Bound in later
blue morocco and marbled paper. Internally excellent.
$3850
Rare first edition of this occasional work describing the baptism of the first child of Francesco de Medici and
his first wife, Johanna, Queen of Austria. The work is notable for Vasari’s description of the Baptistry as it was
on a certain day in February 1567, and for the eyewitness account of the ceremony. Published the same year
and by the same house as the second edition of his Lives.
At the time, prominent artists were called upon to design elaborate ceremonies, and Vasari enjoyed great
favor among the Medici in this role. Vasari’s “tour” thus allows the reader to consider particular works of art,
Donatello’s Magdalene, for instance, in the context of its place in the ceremony of baptism, instead of (as we
usually do when viewing it), in isolation or in a modern context (Donatello’s oeuvre, the history of Florentine
sculpture etc.).
* Adams V.294; Boase, Giorgio Vasari: The Man and the Book.
Deaccessioning? Selling?
We are always interested in receiving offers
of books published before 1850,
in the fields of Art and Architecture,
in good or better condition.
Please contact us at [email protected].
25
Illustrated
Charming Alphabet-Book, with One Hand-Colored Plate
44. [ALPHABETS / ORNAMENT] / BETTI, Giovanni Battista. A’ Dilettanti delle bell’arti. Florence, Niccolo
Pagni, 1785. Oblong 8vo. [23x 30.5], title and (24) leaves of the alphabet (omitting J & W and complete thus),
one hand-colored. Disbound, with leaves stitched together, final leaf followed by a somewhat later, heavier back
cover. Title soiled, some foxing in upper extremities of some leaves, small, pale waterstain on first two leaves.
Otherwise a fresh copy with good strikes of the plates. $3850
Scarce second edition of this charming and imaginative illustrated alphabet-book by the Florentine engraver Giovanni
Betti. The work contains 24 full-page oblong plates of richly
ornamented capital letters, each letter standing in a bucolic
landscape with a corresponding figure from Greek or Roman
mythology—Endimione, Fauno, Ganimede.
Betti’s volume draws deeply from the romantic imagery of
pastoral Greece; in the ‘O’ plate, for instance, Orpheus plays
his violin to an attentive audience of a peacock, owl, dog and
lion. A 1779 edition preceded the present one, noted by DBI
as “rare and distinctive for the range of its subjects.”
* Berlin Kat. 5302; Deber, Das Figurenalphabet (1968), 748; DBI.
(detail)
Requiem Mass, in a Striking Funeral Binding
45. [BINDING/MEMENTO MORI]. Missae in agenda defunctorum tantum deservientes ex Missali Romano... ad Usum
et Commoditatem Omnium Ecclesiarum. Lucca, Salvatore & Giandomenico Marescandoli, 1770. Folio [35 x 24 cm],
(12) ff., printed in red and black throughout, including woodcut vignette on title, two pages of music, 1 fullpage woodcut of the crucifixion. Additional prayer written in contemporary manuscript and affixed to inner
pastedown. BINDING: Bound in contemporary funerary wrappers. A good, if well-thumbed copy. $7850
Extremely rare survival of late Baroque Italian ecclesiastical culture: a mass for the dead bound in a striking
funeral binding, with “Death in the Counting House” on the front cover and “Death Before a Tomb” on the
other. While the missal texts of 18th C requiem masses are common, surviving examples of these ephemeral
cartonnato bindings are rarely seen.
26
The woodcut on the lower cover is a reversed copy of a woodcut which appears in Vesalius’s De Humani Corporis Fabrica (Basel 1543), attributed to Stephan van Calcar. In it, Death stands before a raised tomb reading from
an open book (‘Memorari novissima’) and contemplating a skull. On the front cover, Death is depicted emptying
a bag of gold coins onto a floor, which is already littered with a fallen crown, bishop’s mitre and crosier, sword,
scepter, and other symbols of fleeting earthly glory. A full-page woodcut of Christ’s crucifixion, with the two
Marys and John the Apostle at his feet, is included between two pages of the missal, and a small Resurrection
vignette appears on the title-page as well.
* This edition not located in ICCU. We have found a single copy of a 1720 edition with identical collation and
binding covers at LC.
Rembrandt for Children
46. CAYLUS, Anne Claude Philippe, Comte de. Histoire de Joseph, accompagné de dix figures gravés sur les modèles du
fameux Reimbrandt par Monsieur le Comte de Caylus. Amsterdam, Jean Neaulme, 1757. Folio [30.5 x 19 cm], 2 ff., 22
ff. with numerous woodcut head- and tailpieces and 10 full-page engraved plates by Caylus after drawings of
the School of Rembrandt. Quarter-calf with boards. Very good.
$3500
27
Rare first and only edition of this pedagogical children’s book compiled and engraved by the Comte de Caylus
after drawings attributed to Rembrandt. Of interest for the 18th
C reproductive history of Old Master drawings. Caylus’s foreword
promises that the tale of Joseph will inspire in children both a horror
of crime and a love of virtue, reinforced by Rembrandt’s illustrations.
The 10 chapters are prefaced by well-executed full-page plates of engravings after rather free-drawn compositions. The original drawings
(now in the Louvre) have lost their attribution to Rembrandt himself,
and are now considered the possible work of his pupil, Gebrand Van
Eeckhout.
The Comte de Caylus (1692-1765) was a passionate patron and voracious collector of the arts, and a talented engraver and etcher. He engraved numerous plates of the so-called ‘Receuil Crozat’ published in
1729, reproducing drawings by old masters for the financier Crozat. It
was while working for Crozat that he met the painter Charles-Antoine
Coypel, the first recorded owner of the series of Rembrandt drawings
on Joseph.
* DA; Louvre online; Cohen-de Ricci 210; Sander 300.
With Fine Engravings in the Style of Callot
Printed in Arezzo
47. MORASSINI, Lorenzo. Caterina vergine, e martire: poemetto sagro. Arezzo, Ercole Gori, 1634. 8vo [16 x 11.5 cm],
(11) ff., 129 pp., (1) f. Engraved title and five half-page engravings depicting stages of St Catherine’s life and
martyrdom in the style of Callot. Bound in later calf. Generally good strikes of the plates.
$3850
Very rare first and only edition of this sacred poem on Saint Catherine, illustrated with fine engravings in the
style of Callot. A rare Arezzo imprint, the work appears
to be a collaborative effort of local talent, with each canto
preceded by a fine engraved title-page illustrating stages in
the life and martyrdom of the saint.
Although the engravings were formerly ascribed to Callot,
this attribution is not sustained by the modern catalogue
raisonné of that artist, most likely suggesting the hand of a
student or the widespread dissemination of the style. The
frontispiece and five plates all show graceful and dynamic
draughtsmanship, combining an economy of line with dramatic effect. Arezzo imprints are very rare in US libraries.
* Piantanida 2819, Graesse IV, 601.
F or
28
German Book of Satirical Sketches, with 11 Full-Page Plates
48. [RODE, Christian Bernhard & Johann Heinrich]/[RABENER, Gottlieb?]/[RASCHE, Johann?]. 10
Blatt Satÿrische Kupfer [title inked on front cover letterpiece]. Nuremberg, Raspische Buchhandlung, 1758. Folio
[35 x 25 cm], (11) ff. of engraved plates including title-page.
Bound in contemporary paper over boards, title inked and
pasted on front cover. Generally very good.
$2850
Extremely rare and evidently unrecorded collection of satirical engravings, accompanied by short poems at the foot of
each plate. Of the 11 copperplate engravings, all executed by
the brothers Heinrich and Christian Bernhard Rode, the first
six contain satirical verses drawing attention to the ignorance,
gullibility or philistinism of the middle class. Their authorship
is unclear; they were possibly composed by the poet Christian
Gellert (1715-1769).
In the title engraving, the Roman poet Martial appears as a
satyr, offering the crowd a peek into his “cabinet of curiosities.” One plate depicts Perseus brandishing a heavy sack of
money in lieu of Medusa’s head; in another, a poet stands on
a pile of books with a tattered robe of page-leaves and an
inkpot hat, while a child squats at the base of the monument,
preparing to defecate on it.
What Does the Well-Dressed Renaissance Mercenary Wear?
49. ROSCIO, Giulio. Elogia militaria. Rome, Giovanni Angelo Ruffinelli,
1596 [colophon: ex typographia Bartholomaei Bonfadini, 1596]. 4to. [24
x 17 cm], (4) ff., 212 pp., 75 full-page engraved portraits in sharp impressions. Bound in near-contemporary flexible vellum. Very good.
$4500
Rare first edition, with 75 plates illustrating the biographies of Renaissance
condottieri and other military men from the 14th to 16th C—of interest for
costume history in the early modern period. Each portrait is quite distinct
with respect to physiognomy and costume (hats, jackets, armor, shirts,
even hair styles). A few are certainly copies of contemporary portraits,
such as that of Emperor Maximilian I by Albrecht Dürer.
Among the condottieri are Castruccio, Carmagnola, Cangrande della Scala,
Sir John Hawkwood, Francesco Sforza, and Ferrante Gonzaga. Royalty
from Naples, Spain, France and Hungary figure prominently, as do Italian nobles. On a more exotic note we
find Bayezid I, sultan of the Ottoman Empire, Skanderberg, the Albanian national hero, Tamerlane, ruler of
the Mongols—and two cardinals in full regalia.
F or
29
Ornament
No Copy in America
50. EYSLER, Johann Leonhard. Inventiones von Mascam und
Ornamenten sehr dienlich vor viele Künstler, Erster- / Anderer Theil.
Nuremberg, Johannes Christoph Weigel, c. 1710. Oblong
folio [21.5 x 33.5 cm], 7 ff. comprised of 13 mounted and
numbered engravings (including title). In a contemporary
gray wrapper, with minor stain on frontispiece of first title,
and occasionally in margins not affecting the images. Very
good overall.
$4850
Extremely rare set of ornamental prints of masks for artists and sculptors by Johann Leonard Eysler, the prominent Augsburg silversmith. Each engraved plate illustrates
from one to six anthropomorphic mask vignettes; most
also include detailed swags, cornucopias and elaborate
coiffures. Eysler’s work is unusual even among Mannerist
productions for depicting extreme emotional states—eg
fear, rage and terror—for although the presentation of
such states was de rigueur in artistic anatomies and allied
physiognomic manuals, we have never before encountered
it in a pattern book.
* Berlin Kat. 90.2-3.
(detail)
The Noble Families of Italy
Artists who Celebrated them:
Bernini, Bramante, Michelangelo, Borromini
by the
51. JUVARRA, Filippo. Raccolta di varie targhe di Roma fatte da professori primari, disegnate, ed intagliate da Filippo Juvarra,
architetto. Rome, Giovanni Maria Salvioni, 1715. Small folio [27.5 x 19.5], (6) ff., 1 unnumbered plate, 50 consecutively numbered plates of escutcheons. Bound in contemporary stiff vellum, raised bands on spine, title
written in ink in an old hand. Discreet stamp of the Albani Library (?) on title. Dampstaining along blank edge
of title and scattered leaves. Repair to clean tear in blank area of title. Otherwise very good, with the plates in
good impression. $7850
Rare second edition (first 1711) of this model book of the escutcheons of Italy’s leading noble families,
drawn and engraved for pedagogical use by the great Baroque architect Filippo Juvarra. The 50 models were
designed by some of the greatest names in Italian art and architecture—Bramante, Michelangelo, Bernini,
30
Borromini, and the last by Juvarra himself. Unusually, an itemized list describes the location and composition
of each actual work: e.g. a Medici escutcheon by Michelangelo for the Porta Pia is originally of marble. It is
also worth noting that these escutcheons, even those derived from the Cinquecento, show the stylistic shift to
the Baroque in Juvarra’s renderings.
* Getty (1711 ed.); the most precise collation we have found for the present edition is BVB online; Nagler vii
(1906) p. 364.
Only Copy Located: German Rococo Sammelband, with a Martial Theme
52. WOLFF, Jeremias. Differents desseins inventé par J. le Potre.
[Augsburg, Wolff, 1723]. Oblong 4to. [28 x 19 cm], 39 ff. of
single plates, two folding. Sammelband of 8 suites, 6 complete.
Bound in contemporary mottled calf. Generally very good.
$2850
Extremely rare sammelband of ornamental designs by the
Augsburg engraver Jeremiah Wolff (1663-1724), derived from
17th C French Baroque architects, designers and sculptors, and
containing six complete suites (eight total) illustrating ornaments for mantels, mirrors, cornices, friezes, picture-frames
and epitaphs.
The volume’s most artistically significant engravings are two
complete 6-leaf suites of military decoration by Jean Le
Pautre (1618-1682), depicting designs for martial panoplies.
Including Le Pautre, nearly all of the models reproduced by
Woolf were created by French designers, such as Jean Vauquer,
Chauveau, and François de Poilly. The designs of Le Pautre et
al testify to the strong influence of 17th C French design on
the development of German rococo; in fact, of the four suites
for which Wolff has included a title-engraving, three appear in
French—a clear indication that the plates were engraved for a Francophile audience.
* Le Pautre: Berlin Kat. 313, Guilmard p. 74; DA 19.
F or
31
Perspective & Proportion
With 19 Plates of Drawing-Models
53. [DRAWING]. Anfangsgründe zür Zeichnungskünst vor Anfänger in
XX Küpferrissen bestehend. Nuremberg, Christoph Riegels Witwe,
1768. 4to. 20 ff. engraved plates. Bound in contemporary blindruled calf. Generally good. $3850
Extremely rare first edition of this anonymous model-book for
young drawing students. Following an engraved title-page, the
work presents 19 full-page plates of figurative models, beginning
with eyes, ears, and lips and progressing to faces, hands, feet,
arms, legs and torsos.
* National Library of Estonia record.
Rare Dresden Drawing Book
54. [DRAWING] / WENZEL, [Johann Gottfried?]. Zeichenbuch oder Handzeichnungen für die ersten Anfaenger.
Dresden, P.C. Hilscher, [c 1790]. Oblong 4to. [32 x 20.5 cm], (1) ff. engraved title, 17 ff. of engraved plates.
Bound in contemporary marbled boards. Generally good. $4850
Fine example of an unrecorded figure-drawing book printed in Dresden. Plates 2-10 are signed by the drawing
master ‘Wenzel,’ possibly Johann Gottfried Wenzel (c. 1747-1822), an engraver active in Dresden who occa-
32
sionally illustrated sheet-music for Hilscher. This beginner’s drawing-book is chiefly comprised of plates from
two series: the nine signed plates, which exhibit a closer attention to detail and more elaborate cross-hatching,
offer models of eyes, ears, noses, mouths, etc., followed by feet, hands and torsos. The subsequent plates are
proportional studies in the Vitruvian tradition, demonstrating the correct proportions between facial features,
the head and body, and the length of arms and legs. Not in OCLC or KVK.
55. DÜRER, Albrecht / [GALLUCCI, G.P., tr]. Della simmetria de I corpi humani, libri quattro. Venice, Domenico
Nicolini, 1591. Folio [32 x 21.9 cm], (6), 143, (1) ff., with 153
diagrams (110 full-page). Bound in contemporary limp vellum, excellent.
$12,500
A very fresh and appealing copy of the first Italian edition,
first issue, of this important handbook for painters, sculptors and anatomical illustrators, translated from the first Latin
edition (1573) by Giovanni Gallucci, who added a fifth book.
This edition also contains Pirckheimer’s Life of Albrecht Dürer,
originally appearing in the first German edition, which notes
the artist’s relationships with Giovanni Bellini and Andrea
Mantegna and his controversial influence on Italian art. “This
work embodies the first application of anthropometry to
aesthetics, and is technically interesting because it contains
the first attempts to represent shades and shadows in wood
engraving by means of crosshatching” (Choulant).
* Mortimer I. 169; Choulant, Anatomic Illustration, pp. 143-47;
Schlosser, 269, 274.
56. ’S GRAVESANDE, Willem Jacob. Essai de perspective... Usage de la Chambre obscure pour
le dessein. The Hague, la Veuve d’Abraham Troyel, 1711. 12mo. [15.5 x 9 cm], 12 ff.,
200 pp., with 32 leaves of engraved plates. Contemporary vellum. Excellent.
$4850
Rare first edition of this “milestone in the gradual transformation of the science of
perspective into descriptive geometry” (Vagnetti). Praised by Johan Bernoulli, this
important study simplifies the various methods then in practical use, including those
dealing with shadows and gnomics. Gravesande “was the earliest influential exponent
of the Newtonian philosophy in continental Europe” (DSB); the Essai de Perspective is
apparently his earliest published work. An English translation was published in London in 1724.
* Vagnetti, EIVb7; DSB 5.509-511. Bound with 2 other unrelated works.
F or
33
57. LAMY, Bernard. Traité de Perspective, où sont contenus les fondemens de la Peinture. Paris, Anisson, 1701. Small 4to.
[17.5 x 11 cm], xxi (1) pp., (1) f., 227 (1) pp., (4) ff., 8 numbered plates. Bound in contemporary speckled calf. $2250
First edition and fine copy of this handsomely illustrated
classic perspective textbook. As his title suggests, Lamy’s
work is chiefly concerned with perspective as a practical skill
in painting, one whose mathematical rigor is simply a means
to the realistic—and, for the painting’s viewer, more psychologically powerful—representation of objects on a plane. To
this end, Lamy first guides his readers through the creation
of a perspective grid, then demonstrates its use in depicting
buildings, fortifications, human figures and even anamorphic
effects, enhancing his lessons with 8 engraved plates and
numerous in-text woodcuts. An English edition of the work
appeared the following year.
* Vagnetti EIVb1
58. NICERON, Jean François / MERSENNE,
Marin. La Perspective Curieuse...Divisée en Quatre Livres
Avec l’Optrique et La Catoptrique du R.P. Mersenne. Paris,
Jean du Puis/Widow of Langlois, 1663/1651. Folio
[35 x 22.5 cm], frontispiece, 6 ff., 191 (1) pp., with 7
woodcut diagrams in text and 50 numbered plates.
Bound in contemporary calf; some browning but
generally very good.
$7500
Scarce edition of this influential and famous treatise
on perspective by the most scientifically rigorous of
17th C French theorists, of particular interest for its
contention that “the illustrations to earlier treatises
were often defective” (Millard), thus making it the
first work on the subject to treat the problem of didactic illustration in a deliberate and self-conscious
manner. The work first appeared in French in 1638;
this edition has the added treatise by Mersenne first
appearing in 1651.
* Millard French, 124 (1663); Wiebenson III.b.18;
Kemp, Science of Art, pp. 129ff.; Baltrušaitis, Anamorphosis, 51ff.
F or
34
Baroque Italian Set-Design
59. ORSINI, Baldassarre. Della Geometria e Prospettiva Pratica. Rome, Benedetto Franzesi, 1771. 12mo. [11 x 19.5 cm], I: xxxv(1) pp., 247(1) pp., 2
blanks, 35 numbered engraved plates; II: 286 pp., including half-title and
title, (1) f. [erratum], 44 numbered engraved plates; III: 267(1) pp., 67
(ie 68) numbered engraved plates. Handsomely bound in modern green
morocco à l’antique. Excellent. $4850
First edition, rare, of this three-volume work on practical perspective,
including an entire volume on scenography and scene-painting. Orsini’s
particular interest in theater reveals itself in vol. 3, where several of the
plates are given to figurative and architectural studies for stage-designs.
This interest culminated in 1785, when Orsini published Le scene del nuovo
teatro del verzaro di Perugia, a scene-painter’s handbook exhibiting the designs he created for the theater’s premier in 1781. The present volume presents much of that work’s material
for the first time. While Orsini does not diverge from the tenets of Neo-classical scenography, his emphasis on
paintings—especially their function as partial elements of a larger stage production—is entirely new, offering
the first detailed exploration of Baroque Italian set-design.
* Riccardi I.220-21; not in Cicognara or Berlin Kat.
First English Edition
Of The Most Influential
Jesuit Architectural Treatise
Ever Published
60. POZZO, Andrea.
Rules and
Examples of Perspective Proper for
Painters and Architects, etc. In English and Latin: containing a most easie
and expeditious Method to Delineate
in perspective all designs relating to
Architecture, After a New Manner… Done into English from the
Original Printed at Rome in 1693…
London, Benj. Motte, 1707. Folio
[40 x 25.5 cm], 101 consecutively
numbered plates, 200 engraved alphabetic initials with mythological or
architectural vignettes. Bound in quarter and corner calf with marbled paper
over boards, author and title gilt on
letterpiece.
$9850
35
First English edition of this perspective classic. The publication was inspired in part by the three greatest
living British architects—Christopher Wren, Nicholas Hawksmoor and John Vanbrugh—for want of any such
comprehensive perspective treatise in English. This is “the most elaborate and expensive architectural book
ever produced in this country” (Harris).
* Harris 703.
A Student’s Vignola
61. VIGNOLA, Jacopo Barozzi da/PREMOLI, Paolo Filippo, ed. La prospettiva pratica: delineata in tavole a
norma della seconda regola. Colophon: Bologna, Lelio dalla Volpe, 1744. 4to. [21.5 x 14.5], 138 pp., with 68
engraved plates in text, many paginated and engraved on verso only, with 2 folding plates within collation.
Frontispiece signed Gio[vanni] Lod[ovi]co Quadri f. 1744. Bound in later red half morocco and paper over
boards.
$1150
Rare abridged edition of Vignola’s Le Due Regole Della Prospettiva Pratica
(first 1583), “the most comprehensive, systematic and authoritative exposition of one-point and two-point perspective construction methods
published in the sixteenth century” (Tuttle). The present abridgement, a
small-format textbook for architecture students, uses engravings derived
from those added by Ignatio Danti to the 1583 edition, beginning with
architectural solids and proceeding to perspectival and shaded-solid renderings of cubes, icosahedrons, etc.
* Cicognara 813l; Vagnetti Eiib8; not in Berlin Kat. or RIBA.
A Taylorist Perspective?
62. ZANOTTI, Eustachio. Trattato teorico-pratico di prospettiva... Bologna, dalla Volpe, 1766. 4to. [25.5 x 18.5 cm],
55 engraved diagrams on 11 folding plates. Bound in later green gilt, a fresh, untrimmed copy. Excellent. $1800
First edition and internally a fine, untrimmed copy of this mathematical treatise on perspective. With the aid
of 11 folding plates of diagrams, Zanotti offers proofs for a variety of theorems on perspective: e.g. for points
transferred from a ground to a vertical plane, for shadows, and for the foreshortening of lines and objects.
A decade before, Zanotti had published similar arguments in an essay for the Bologna Academy of Sciences,
though the less abstruse tone of the present work—as well as its many illustrations—suggests that here he is
targeting a wider audience. Andersen has recently suggested that Zanotti was inspired by Brook Taylor’s New
Principles (1755), and remarks that a similar method of presentation was also used in Lambert’s La perspective
affranchie (1759)—indications that Zanotti was working on the cutting edge of 18th C mathematical perspective.
Eustachio Zanotti (1709-1782) was a member of the circle of Newtonian scientists working in northern Italy,
centered around Francesco Algarotti. A professor of Astronomy at the University of Bologna and a member
of the Academies of Science at Bologna, London and Berlin, he was also director of the Bologna Observatory.
* Andersen, The Geometry of an Art, pp. 397-401.
F or
36
Rome
The Ruins of Tivoli
63. CABRAL, Stefano & DEL RE’, Fausto. Delle Ville e de piu’ Notabili Monumenti Antichi della Città e del Territorio
di Tivoli. Rome, Stamperia del Puccinelli, 1779. Large 8vo. [17.5 x 11 cm], xx, 220, 32 pp., 1 large folding plate.
Bound in early vellum. Very good.
$750
First edition, complete with appendix, of this tourist
guide to the Roman ruins of Tivoli. Arranged geographically according to a hypothetical walking tour
(shown on the topographical plan), the work covers
the major villas (including the 16th C Villa d’Este) and
transcribes a large number of inscriptions, some of
which are possibly published here for the first time.
Cabral is unusual in occasionally proposing a fairly
precise date for a find (p. 12). The number of ancient
Roman celebrities whose summer homes are putatively
identified on the basis of literary evidence, rather than
anything found in the ground, would meet with skepticism nowadays, but it also suggests the extent to which
the interpretation of physical evidence remained secondary to texts. The folded plate contains a map of the area around Tivoli, a plan of the city, and a plan of
Hadrian’s villa.
* Lozzi 5343.
64. CLEMENT XI / [GHEZZI, Pier Leone / FREY, Jacob / WESTERHOUT, Arnold van et al.] / GUIDI, Alessandro. Sei omelie di nostro Signore
papa Clemente Undecimo Esposte in versi da Alessandro Guidi. Rome, Francesco
Gonzaga, 1712. Large 4to. [28 x 20.5 cm], engraved portrait of Clement XI,
xvi pp., full-page engraving, 213 pp., including 5 full-page engravings paginated with text. 18th C vellum over boards. Overall good.
$2250
Extremely rare first edition of this luxuriously illustrated anthology of extracts
from papal sermons delivered by Clement XI between 1703-09, in Latin prose
and facing Italian verse: an unusual example of Baroque ecclesiastical culture
from the pontificate of Clement XI. The volume numbers among those commemorative and honorific volumes that were never sold in the trade, but were
offered instead as ceremonial gifts to cardinals, ambassadors etc.
(enlarged detail)
37
Each sermon is preceded by a full-page engraving on the subject of the sermon (the Holy Family adoring the
Christ Child for Christmas, the Resurrection for Easter, etc.) designed by Pietro Leone Ghezzi, one of the principal artists in Clement’s retinue, and executed by Roman engravers generally also associated with Clementine
projects (Frey, Westerhout etc). The designs were made expressly for the present volume and are echoed, as it
were, in a series of initials and vignettes devoted to the same theme.
If somewhat overshadowed by Maratta in his lifetime and by his epoch-making role as the first professional
caricaturist, Ghezzi (1674-1755) was nonetheless an important painter of religious subjects, who worked on
Clement XI’s most prestigious public projects.
The Pope is Dead. Long Live the Pope!
65. [CONCLAVE OF CLEMENT XI]. Nuova et esatta piñata del conclave con le funtioni e ceremonie per l’elettione del
nuovo Pontefice fatta nella Sede Vacante de Papa Innocentio XII che sede anni IX mesi II giorni XV nel quale entrorno . . . IX
di ottobre MDCC. Rome, Domenico de Rossi, 1700. Broadsheet [69 x 45 cm].
[CONCLAVE OF CLEMENT XI]. Nuova et esatta pianta del Conclave con le funtioni e cerimonie per l’eletione del
nuovo Pontefice fatto in Sede Vaticano di Papa Innocentio 12 che sede Anni 9 Mesi 2 giorni 15. . . . . a de 9 Ottobre 1700.
Broadsheet [51.5 x 39 cm].
[CONCLAVES]. Der Grund-Riss des Conclave und die Beschreibung aller Solennitaeten welche in Rom nach Absterben
eines Pabstes und Bey der Erwehlung seines Nachfolgers vorzugehen pflegen. [Augsburg?, Christoph Weigel the Elder, c.
1700]. Broadsheet [platemark 47 x 37 cm, sheet 50 x 41.5 cm]. Date and publisher from Brown record.
[CONCLAVE OF CLEMENT XIV]. Nuova et esatta pianta del Conclave con le funtioni che si fanno per la morte
del Pontefice e per ‘eletione del nuovo fatto nella Sede Vacante de Papa Clemente XIII che Sede Anni 10 e mesi 6 giorni 27 del
Suo Pontificato; entrerano li Emi Cardinali I 15 Febraro del 1769 in conclave. [Rome], Westerhout, [1769]. Broadsheet
[platemark 52 x 39.5 cm, sheet 56 x 43 cm].
[CONCLAVE OF PIUS VI]. Nova pianta del conclave fatta in sede vacante di Papa Clemente XIV per l’elettione del
$7500
novo Pontefice. . .Ottobre 1774. [Rome, Giovanni Bettamini, 1774]. Broadsheet [41 x 33 cm]. Collection of five separately issued papal conclave broadsheets from 1700-1774, announcing the deaths of
reigning pontiffs and picturing the proceedings for electing their successors.
The conclave of 1700, a deliberation of 46 days that finally resulted in the election of Cardinal Giovanni
Francesco Albani as Pope Clement XI (p. 1700-1721), is represented here by two engravings, the larger by
Domenico de Rossi. Rossi’s is also the most finely detailed of the lot, depicting a foreshortened Piazza di San
Pietro below a floor-plan of the 66 conclave cells, which are pictured above a matching list of 66 Cardinalelectors and framed on each side by seven scenes from the burial and election.
F or
38
The 14 vignettes provide contemporary ‘snapshots’ of the proceedings: worshippers kissing the feet of the
dead pope, who lay in state for 3 days; the skeletal framework (ossatura) of a half-constructed cell; even the
delivery of food to the ensconced cardinals through ruote, small rotating doors. Notably, Rossi’s view of San
Pietro also illustrates a scene specific to the 1700 election: the march of Roman clergy imploring the Vatican
to hasten its decision(!)
Of the four additional broadsheets, an undated German-language engraving by Weigel is most visually similar
to Rossi’s. It is not keyed to any specific conclave, and was possibly produced for educational purposes. Two
additional broadsheets illustrate the conclaves of 1769 (signed by Westerhout) and 1774; the latter is an evident
restrike of a copperplate engraved in 1655 for the election of Alexander VII.
F or
39
19th C Roman Vedute, by a Follower of Vasi
66. COTTAFAVI, Gaetano. Nuova Raccolta delle Principali Vedute di Roma Antiche e Moderne disegnate dal vero ed incise
de Gaetano Cottafavi l’anno 1843. Rome, Tommaso Cuccioni, [1843]. Oblong folio [47 x 31.5 cm], engraved title,
engraved view of Rome from the Janiculum, and 60 plates signed by a number of hands. Bound in original
printed cardboard wrappers. Very good, with plates in excellent impression. $4500
First enlarged edition of a plate-book of Roman vedute, demonstrating the lasting influence of both Piranesi
and Giuseppe Vasi, and distinctive for its relative emphasis on Roman ruins and monuments.
Following the title-page, the volume opens with a sweeping panorama of Rome from the Janiculum, which
identifies 48 major Christian and Roman landmarks. As one might expect, the first handful of engravings are
comprised of basilicas, beginning with a slightly off-center view of the Vatican and Bernini’s colonnades, followed by an interior of San Pietro, and the facades and interiors of San Giovanni in Laterano and Santa Maria
Maggiore. The sharply angled interior view of San Pietro, drawn by Giuseppe Marchi, is adapted from Piranesi.
Though Cottafavi (fl. 1837-1864) was undoubtedly influenced by Piranesi’s iconic vedute, the vast majority of
these views demonstrate an aesthetic affinity not with Piranesi but with the latter’s older Maestro Vasi.
* Millard, Italian p. 450.
The Spaniards are Coming (to Rome)
67. FELINI, Pietro Martire / [MUÑOZ, Alonso, tr.] / [FRANZINI, Girolamo]. Tratado Nuevo de las cosas
maravillosas de la alma ciudad de Roma. Rome, Bartholome Zannette for Giovanni Antonio Franzini and heirs,
1610. 8vo. [16 x 11 cm], (8) ff., 461, (3) pp. Bound in contemporary flexible vellum. Generally a genuine and
attractive copy. $3850
40
Extremely rare augmented Spanish edition, published simultaneously with the
first Italian edition, of this guidebook to Rome, illustrated with over 200 woodcuts. This is only the second instance of a fully illustrated Spanish-language Rome
guide, and one of the earliest Spanish-language guides to give equal weight to
Rome’s pagan antiquities.
Franzini’s chapters on the freestanding antiquities of Rome are especially noteworthy, describing and illustrating seven of the city’s ancient Egyptian obelisks
and 14 famous statues. A chapter on Rome’s libraries, immediately following,
contains a woodcut of the Vatican library with a précis of its history and holdings.
* Palau 87251; Rossetti I, G-569.
LA SENA, Pietro. Cleombrotvs... Rome, Jacobi Facciotti, 1637. (see item #8)
With Remarkable Views of Rome
68. MEYER, Cornelius. L’Arte di restituire à Roma la tralasciata navigatione del suo Tevere. Rome, Lazzari Varese,
1685. Folio [40 x 26 cm], (91) ff., including engraved allegorical vignette on frontispiece, title, and 68 plates (6
double- page).
[Bound with:] [ONORATI, Francesco Maria.] Sac. Congreg. Riparvm Tyberis Romana Remunerationis pro illvstriss. D. Cornelio Meyer. Memoriale. Rome, Rev. Camera Apostolica, 1685. 15 pp. Bound in contemporary vellum.
Generally very good.
$16,500
Second, augmented
edition
of
this
handsome work by
Cornelius
Meyer
(1640-1700),
the
Dutch-born
hydraulic engineer and
inventor who successfully
effected
the restitution of the
Tiber. By 1670, the
river’s course had become so unruly that
the Via Flaminia, the
City’s principal thoroughfare at the time,
was in danger of being washed away. Beyond its considerable technical interest, the volume is of great value
as a document for a large-scale construction project with obvious implications for the architecture and plan of
Baroque Rome.
41
The numerous engraved plates and illustrations rank among the finest ever used in a technical publication
of the period. The artists, besides Meyer himself, include B. de Ballin, I. Blondeau, I. Collin, G. B. Falda and
Gaspar van Wittel (whose son became Luigi Vanvitelli). The engravings constitute a remarkable series of views
of Rome at the end of the 17th C—for example, of the Piazza del Popolo before the execution of Valadier’s
project, of the Ponte Milvio, etc.—as well as of Ancona, Ostia, the Fano country, and Pisa.
The proposal for the fascine walls created the most controversy, not least because it required the re-design of
the principal squares of the City, and it was the object of savage attacks by Fontana, whose own design had
lost out. The tract by Onorati is a defense of Meyer’s expenditures in the face of criticisms by Fontana and de
Rossi, and as it includes a detailed budget, is in itself an important document for the economic history of a
major 17th C construction project.
* Cicognara 3791-2.
Villa Borghese at 1700
69. MONTELATICI, Domenico. Villa Borghese fuori di Porta Pinciana, con l’ornament… e con le figure delle statue…
Rome, G.F. Buagni, 1700. 8vo., (9) ff., including half-title, engraved frontispiece, title, 321 (1) pp., (3) ff., with 26 engraved
plates, some double-page and folding. Bound in contemporary
vellum over boards, head of spine chipped, and a mouthful of
rear cover chewed (?). Some tiny punctures in blank margin of
frontispiece and title; a handful of leaves discolored, but generally a fresh copy, very good. $2250
Scarce first edition of the first pocket guide to Villa Borghese,
one of the great Baroque suburban villas that always had a tradition of receiving the public. The Villa was built as a suburban
retreat and to house the Cardinal’s collection of ancient statuary,
the greatest in Rome and probably the greatest ever assembled
by a private individual. The first half of Montelatici’s work is
devoted to the villa and its gardens; the second half (and virtually all of plates) to the sculpture collection. Highlights include a
Marcus Curtius, Silenus with the infant Bacchus, Bernini’s busts
of Paul V, and—not surprisingly— Cardinal Scipione Borghese
(1576-1633), the original owner of the estate. The only earlier
publication entirely devoted to the villa was Manilli’s Villa Borghese (1650).
* Rossetti G-1060; Schudt 1105; Blunt, Guide to Baroque Rome, p. 266.
F or
42
PIALE, Stephano. De Tempj di Giano della Porta Januale... Rome, Puccinelli, 1833. (see item #26)
RONDININI, Filippo. De Sanctis Marytibus Johanne et Paulo... Rome, Gonzaga, 1707. (see item #28)
TITI, Filippo. Studio di Pittura, Scoltura et Architettura Nelle Chiese di Roma.... Rome, Mancini, 1674. (see item #16)
Touring Rome with Don Quixote
70. VACCONDIO, Juan Baptista, ed (& tr?). Las Cosas Maravillosas de la Santa Ciudad de Roma, en donde de trata
delas Yglesias, Estaciones, Reliquias, y Cuerpos Santos, que ay en ella, y diversos casamientos de pobres Donzellas, que se hazen.
Rome, Roque Bernabo, 1711. Large 8vo. [16.5 x 10.5 cm], 224 pp., including 76 quarter- to half-page woodcuts
in text; 1 double-page woodcut, and 1 double-page engraving of Bernini’s colonnade. Bound in contemporary
stiff vellum. Very good. $1500
Rare edition (first 1700) of this guide to Rome for Spanish-speaking pilgrims and travellers, a partial paraphrase of Franzini’s Le Cose Maravigliose (1588). The woodcuts are rustic copies of those appearing in the
descendants of Franzini, with additions, though the engraving of Bernini’s colonnade, with the non-existent
tripylon – it was at one point planned but never built— appears to be an innovation of the edition of 1711.
In addition to describing the traditional churches to be visited by a pilgrim in the canonical sequence, there is
a paraphrase of Palladio’s work on roman antiquities, a chronological list of all Popes from Peter to Clement
(Albani) XI, a similar list of emperors and kings, and a description of the seven wonders of the world. Not
all of the contents are geared to the pilgrim: there is a short chapter (213-16) on local Roman wines that any
tourist would appreciate.
* Rossetti G-1065; Schudt 169.
F or
43
The condition of all items in this catalogue is guaranteed as described ;
they may be returned for any reason with a week of receipt . N ew Y ork
S tate residents add 8.875% sales tax. Postage and insurance are extra.
Persons ordering for the first time are kindly requested to submit trade
references . V isa , M astercard , and A merican E xpress cards are accepted .
to order or inquire:
M a r t aya n L a n R a r e B o o k s
7 0 H e ro n T ow e r , S i x t h F l o o r
55 East Fifty-Fifth Street
New York, New York
Phone: 800.423.3741
or 212. 308.0018
Fax: 212.308.0074
i n f o @ m a r t aya n l a n . c o m

MARTAYAN LAN RARE BOOKS ART AND ARCHITECTURE

Transcription

Similar documents

PDF Catalogue - Sanctuary Books | Rare Books

edition 2016

“Futurism 1909-1945 · Rare Books Catalog.” * LIBRERIA

Untitled - Copetti Antiquari

Untitled

Flyer Ottobre 2014

nostri poster o stand up da tavolo

ABWI 2015 Media Coverage

Winter 2010 - Loyola University Chicago

Ribouillault_Julius_III_Tower_of_the_winds__2013

My 2016 wish LIst

Italian Plays of the Renaissance

1 - MBTA.com

EdisiVol.9 No.2.pub - Library Binus

Vintage Piero Fornasetti Porcelain Fall Catalogue 2015