SANDI HABER FIFIELD
(1956)
Between planting and picking
2011
Illustrated monogra…

Description

SANDI HABER FIFIELD (1956) Between planting and picking 2011 Illustrated monographic catalog 29 x 21.5 cm Charta Edition Pages 86 Defects

578

SANDI HABER FIFIELD (1956) Between planting and picking 2011 Illustrated monographic catalog 29 x 21.5 cm Charta Edition Pages 86 Defects

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Estim. 3 000 - 4 000 EUR

ACADEMY OF THE OCCULT. Rime de gli Academici Occulti con le loro imprese et discorsi. In Brescia, 1568 (Colophon: In Brescia, appresso Vincenzo di Sabbio, 1568). 4to, 235x170 mm. Binding in full stiff vellum. Papers 6, 126 i.e. 128, 8, numbering errors. Frontispiece and 15 full-page intaglio illustrations by Bartolomeo da Brescia. Some moisture marks but overall good copy with wide margins. Rare first edition of one of the most famous Italian emblem books. Landwehr: "The first contribution to emblematics by a literary society." Founded in Brescia around 1563, the Accademia degli Occulti became the intellectual and poetic center of literary life in the Lombard city in the second half of the century. Its members adopted Silenus as their Enterprise: it appears at the center of the fanciful Frontispiece, with the motto "Intus Non Extra," whose elitist meaning is illustrated by Bartolomeo Arnigio, in the 'Discourse around Silenus' that opens the volume. The emblems, made by members of the Academy, are followed by an explanatory discourse by Bartholomew Arnigio. Among them is Il Desioso, the painter Francesco Ricchini, a follower of Bonvicino, known as il Moretto. His feat is framed by an elaborate composition of nymphs and cherubs holding drawing and painting instruments. The accompanying speech extols the painter and discusses the relationship between poetry and painting. Fleming: "Each of the 'hidden academics' (members of a private learned society) is represented by a gnomic engraving, a Latin motto, a vernacular gloss, various verses, and an esoteric sobriquet; they are The Abstruse, Adumbrated, Arcane, Closed, Desious, Incognito, Nocturne, Nubiloso, Obfuscato, Oscuro, and Sepolto. Their interests range from rhetoric to metaphysics to agriculture, but in every case, their goal is to understand 'all the worthiest matters that are allowed to the weak light of our Intellects,' via communion with 'superior and intellectual essences.' Ultimately -- as the lover becomes like the beloved, and the moon like the sun -- the occult academics hope to transform themselves into 'the nature of God. ' Obviously, this is a highly Neoplatonic program. "Landwehr, Romanic emblem books, 1976, 10; Praz, II, pp. 3-4; Vaganay 1568, 4, James Gougal Fleming, "The Art del campo" in The Invention of Discovery 1500-1700, Surrey, 2011.See Françoise Lavocat, La syrinx au bûcher. Pan et les satyres à la Renaissance et à l'âge baroque, Droz, 2005, p. 23. 4to, 235x170 mm. Full stiff vellum binding. Leaves 6, 126 i.e. 128, 8, numbering errors. Title page and 15 etching illustrations on full page by Bartolomeo from Brescia. Some sign of humidity but overall a good copy with wide margins. First rare edition of one of the most famous Italian emblem books. Landwehr: "The first contribution to emblematics by a literary society." Founded in Brescia around 1563, the Accademia degli Occulti became the intellectual and poetic center of the literary life of the Lombard city in the second half of the century. Its members adopted Silenus as their mark: it appears at the center of the imaginative title page, with the motto "Intus Non Extra," whose elitist meaning is illustrated by Bartolomeo Arnigio, in the "Discorso attorno al sileno" which opens the volume. The emblems, commissioned by members of the Academy, are followed by an explanatory speech by Bartolomeo Arnigio. Among these is Il Desioso, the painter Francesco Ricchini, follower of Bonvicino, known as Moretto. His coat of arms is framed by an elaborate composition of nymphs and putti holding drawing and painting tools. The accompanying speech exalts the painter and discusses the relationship between poetry and painting. Fleming: "Each of the 'hidden academics' (members of a private learned society) is represented by a gnomic engraving, a Latin motto, a vernacular gloss, various verses, and an esoteric sobriquet; they are The Abstruse, Adombrato, Arcane, Closed, Desioso, Incognito, Notturno, Nubiloso, Offuscato, Oscuro, and Sepolto. Their interests range from rhetoric to metaphysics to agriculture, but in every case, their goal is to understand 'all the worthiest matters that are allowed to the weak light of our Intellects,' via communion with 'superior and intellectual essences.' Ultimately -- as the lover becomes like the beloved, and the moon like the sun -- the occult academics hope to transform themselves into 'the nature of God. Obviously, this is a highly Neoplatonic program."

Estim. 1 000 - 1 200 EUR

SERAO, Francis. Istoria dell'Incendio del Vesuvio Accaduto nel mese di Maggio dell'Anno MDCCXXXVII. Written for the Academy of Sciences. Naples, Novello De Bonis, 1738. 4to. 264x200 mm. Coeval binding in stiff vellum, speckled edges. Pages [8], 163,1 blank. 2 folded engraved plates. Frieze on Frontispiece, Italic and Roman Character, Xylographic Initials, text in two columns in Italian and Latin. Ex libris by Antonio Moreno Martín stamped in the guard sheet. Fine specimen with wide margins. Rare first edition. Pioneering work in volcanology. This edition, bearing the Latin text opposite, was intended for the national and international market; two other issues of the same year carried only the Italian or Latin text. Very important scientific description of the devastating eruption of Vesuvius that occurred between May 14 and June 4, 1737, and on May 24 caused the complete destruction of Torre del Greco. The treatise was highly praised by Ferdinando Galiani in his Catalogue of Subjects Belonging to Vesuvius, and translated into French and English. Also of particular interest are the two large copper-engraved plates: one depicts the two craters in section and the other a wide view of Vesuvius. Serao (1702-1783), protomedico of the Kingdom of Naples, was the first to give a rigorously scientific description of the eruptions of Vesuvius. Darley: "Serao was to first use the word lava, derived from the Latin labes for fall or slide. In an attempt to add a positive note, his account ended with some safety measure, suggesting that people build dykes and ditches or divert and divide the main flow of molten material as had proved effective at Etna." This edition, bearing the Latin text opposite, was intended for the national and international market; two other issues of the same year bore only the Italian or Latin text.Prestigious specimen of prestigious provenance, belonging to Spanish bibliophile Antonio Moreno Martín, 1916-1990, who created one of Spain's richest collections. Melzi, Anonime e pseudonime, 1., p. 3. Galiani n. 48; Furchheim pp. 180-82, G. Darley, Vesuvius, London 2011, p. 65-66. For A. M. Martin: María Dolores Segura del Pino, Diccionario Biográfico de Almería, Instituto de Estudios Almerienses / Fundación Cajamar, Almería, 2006, pp. 267-268. 4to. 264x200 mm. Contemporary stiff vellum, marbled edges. Pages [8], 163, 1 blank. 2 folding engraved plates. Woodcut vignette on the title page, Italic and Roman type, Woodcut decorative Initials, text in two columns in Italian and Latin. Ex libris of Antonio Moreno Martín stamped on endpaper. A fine copy with wide margins. Rare first edition. Pioneering work of volcanology. Very important scientific description of the devastating eruption of Vesuvius which took place between May 14 and June 4, 1737, and which on May 24 caused the complete destruction of Torre del Greco. The treatise was highly praised by Ferdinando Galiani in his 'Catalogo delle materie appartenenti al Vesuvio,' and translated into French and English. Also of particular interest are the two large plates engraved in copper: one depicts the two craters in section and the other a broad view of Vesuvius. Serao (1702-1783), protomedical doctor of the Kingdom of Naples, was the first to give a rigorously scientific description of the eruptions of Vesuvius.Darley: "Serao was to first use the word lava, derived from the Latin labes for fall or slide. In an attempt to add a positive note, his account of him ended with some safety measure, suggesting that people build dykes and ditches or divert and divide the main flow of molten material as had proved effective at Etna." This edition, bearing the facing Latin text, was intended for the national and international market; two other issues of the same year carried only the Italian or Latin text.Copy of prestigious provenance, which belonged to the Spanish bibliophile Antonio Moreno Martín, 1916-1990, who created one of the richest collections in Spain.

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