CURZIO RUFO. Opera. Venice: Aldus, 1520.
First and only Aldine edition of the wo…

Description

CURZIO RUFO. Opera. Venice: Aldus, 1520. First and only Aldine edition of the works of Curtius Rufus, which include the 'Histories of Alexander the Great,' a work that significantly influenced the tradition of the novel both in Europe and the East. 8vo, (160 x 130mm). Aldine anchor to title and colophon (some slight marginal wear). Eighteenth-century full calf binding, title gilt to spine, red edges. (1)

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CURZIO RUFO. Opera. Venice: Aldus, 1520.

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Estim. 700 - 1 400 EUR

Venetian lantern in carved and gilded wood in Mecca, Venice, 18th century 227 x 40 cm wooden base painted with fake marble, incomplete defects and shortcomings

Estim. 3 000 - 4 000 EUR

BOCCACCIO, John. Ameto. Venice, Gregorio de Gregori, 1526 In 8vo. 150x100 mm. Binding in brown Morocco decorated in blind and gold. Concentric gold frames, the outer one with scroll decoration, the inner one with fillet decoration and fleuron at corners. In center of plates "Fortune" riding a dolphin and the motto VIRBIAM SERVO. 95 cards, 1 blank. Frontispiece enclosed within xylographic frame with phytomorphic elements and birds. Colophon at paper 95. Early hand annotation to first paper. On third paper coeval possession note by G. Giacomo Bosso. Defects to binding, internally slight traces use, some spotting, genuine specimen. Joined with: BOCCACCIO, Giovanni. Fiammetta Amorosa ... Nouamente ricorretta. Venice, Bindoni and Pasini, 1527. Papers 88 unnumbered. Marks: A-L8. Colophon to paper L8 recto. Frontispiece within woodcut frame with columns, putti and other decorations. Woodcut capilettera on criblé background. Cut to B4 paper. Good conservation. Magnificent Venetian binding of the second half of the 16th century, executed in Venice, of the "aldino" genre. The ornamental layout is reminiscent of bindings executed in Venice by bookbinder Andrea di Lorenzo, active between c. 1520 and 1550. Hobson: "The aspect of Fortuna that Italian bookbinders like to bring out is fleetingness, so they put her on the back of a dolphin, a symbol of speed." Of it, numerous versions are known in male and female variants. In Italy, Fortuna is mainly found on brown or reddish, but also white, morocco bindings from the first half of the 16th century, executed in Venice, Padua and Bologna. "Sander 1058. See Exhibition of Manuscripts, Documents and Editions, Certaldo, 1975, v. 2, no. 72.For the binding: A. Hobson, Humanists and bookbinders: the origins and diffusion of the Humanistic bookbinding 1459-1559 ..., 1989, pp. 163-164. In 8vo. 150x100mm. Brown morocco binding gilt and blind tooled. Concentric gilt frames, the outer one with volute decoration, the inner one with fillet with fleuron at the corners. At the center of the covers, "Fortuna" rides a dolphin and the motto VIRBIAM SERVO. 95 leaves, 1 blank. Title page enclosed within a woodcut frame with plant elements and birds. Colophon on leaf 95. Ancient handwritten note on first leaf. On the third leaf contemporary note of possession of G. Giacomo Bosso. Defects on the binding, internally slight traces of wear, some stains, unsophisticated copy. Bound with: Fiammetta Amorosa ... Nouamente ricorretta Venice, Bindoni and Pasini, 1527 88 unnumbered leaves. Collation: A-L8. Colophon on leaf L8 recto. Title page within a woodcut frame with columns, cherubs and other decorations. Woodcut Initials a criblé background. Cut to leaf B4. Good conservation Magnificent Venetian binding from the second half of the 16th century, made in Venice, of the "Aldine" type. The ornamental layout recalls the bindings made in Venice by the binder Andrea di Lorenzo, active between about 1520 and 1550. Hobson: The aspect of Fortune that Italian binders wished to emphasize was fleetingness. They did this by placing her on the back of a dolphin. [...] Fortune standing on a dolphin back was a reminder to the reader that opportunity passes in a flash." Numerous versions of it are known in male and female variants. In Italy the Fortuna is found mainly on bindings in brown or reddish morocco, but also white, from the first half of the 16th century, made in Venice, Padua and Bologna.

Estim. 6 000 - 7 000 EUR

CIOTTI, John Baptist. First Part of Flowers, and Designs of Various Sorts of Modern Embroidery. Venice, Francesco di Franceschi, 1591 8vo oblong; bind. in cart.; cc. 20 as follows: cc. 2 nn. incl. Frontis. with typogr. mark, 17 cards of wood-engraved plates numbered III-XV, i.e. XVIIII, errata numer. after plate XVI, 1 c. nn.; large typogr. mark and Colophon on recto: "Appresso Nicolo Moretti, Ad instantia di Francesco di Franceschi." Fine copy. Very rare first edition of this work known only in two copies, of which only the first part was published. Important book of models and designs of embroidery, with the most diverse motifs, a precious testimony to a tradition born precisely in Italy in the early sixteenth century; these models were the iconography of reference not only in the area of Venice, where the art of lace-making was historic, but throughout Italy. The practical use that was made of these books, which were often dismembered and whose patterns were pierced to transport the design onto the fabric, makes it particularly rare and valuable to find them in a complete and well-preserved state. Lotz no. 121. Berlin Kat. 1642, describes a specimen with only 15 plates. Oblong 8vo; Binding in boards; leaves 20: 2 not numbered leaves including Titlepage with Printer's device, 17 plates engraved on wood numbered III-XV, i.e. XVIIII, error numbering after plate XVI, 1 not numbered leaf; wide printer's device and Colophon on the recto: "Appresso Nicolo Moretti, Ad instantia di Francesco di Franceschi." Nice specimen. Very rare first edition known in only two specimens of this work published only this first part. Important book of models and designs of embroidery, from different reasons, precious testimony of a tradition actually born in Italy in the early sixteenth century; these models have been the reference iconography not only in the Venice area, where was the historic art of lacemaking, but throughout Italy. The practical use that was made of these books, which often were dismembered and whose models were perforated to carry the design on the fabric, makes it particularly rare and precious the fact to find them in a state of completeness and of good conservation.

Estim. 800 - 1 000 EUR

BOSCHINI, Marco. The Mines of Painting. In Venice, appresso Francesco Nicolini, 1664. 12mo, 150x80 mm. Parchment binding, mss. titles on spine, splash cuts. Pp. [36], 572, [2]. 7 engravings including the antiporta. The allegorical antiporta depicts an angel holding a palette and a cherub with a bird's eye view of Venice below. Fine copy. Rare first edition. This work can be considered the first true guide to Venice. Boschini was a painter, engraver, miniaturist and writer in the Baroque period; his knowledge of painting was such that his advice was often sought by princes and wealthy collectors who wished to create or enrich their collections whenever a reliable opinion was needed to estimate the value of an inheritance or to mediate a purchase. This work is divided into six parts, one for each sestiere of Venice. Schlosser Magnino 548; Cicognara4350; Vinciana 4346; Fossati Bellani 2335; Cicogna 4673. 12mo, 150x80 mm. Vellum binding, handwritten title on the spine, sprayed edges. Pp. 36, 572, 2. 7 plates including the Frontispiece. The pictorial frontispiece depicts an angel holding a palette and a cherub with a bird's eye view of Venice below. Nice copy. Rare first edition. This work can be considered the first true guide of Venice. Boschini was a painter, engraver, miniaturist and writer in the Baroque era; his knowledge of painting was such that his advice was often requested by princes and wealthy collectors who wished to create or enrich their collections whenever a reliable opinion was needed to estimate the value of an inheritance or to broker a purchase. This work is divided into six parts, one for each district of Venice.

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