Bibliotheca Brookeriana VIII

PEROTTI, NICCOLÒ. Cornucopiae, siue linguae Latinae commentarii, ubi quam plurima loca, quae in aliis ante impressis, incorrecta leguntur emendata sunt. Multa praeterea, quae in iis, etiam, quos ex archetypo excriptos habuimus, mendosa erant, emaculauimus. Graecum, quod ita inuersum, ac deprauatum erat, ut ne legi quidem posset, in suum locum & candorem restitutum est. Index copiosissimus, & nouo ordine, quo facillime quodcunq[ue] q[uae]ritur uocabulum, inueniri potest. … Eiusdem Sypontini libellus, quo Plinii epistola, ad Titum Vespasianu[m] corrigitur, cum graeco, quod in aliis non habetur. Cornelii Vitellii in eum ipsum libellum Sypontini annotationes. Hoc inueniendorum uocabulorum ordine, a nobis nuper inuento, no[n] licet cuiq[uam] in Dominio ill. .S. .V. Hoslinguae latinae commentarios impune imprimere. Add: Commentariolus in prohemium Historiae naturalis Plinii. Cornelius Vitellius: Epistola Parthenio Benacensi. Venice: Aldo Manuzio, July 1499

PEROTTI, NICCOLÒ. Cornucopiae, siue linguae Latinae commentarii, ubi quam plurima loca, quae in aliis ante impressis, incorrecta leguntur emendata sunt. Multa praeterea, quae in iis, etiam, quos ex archetypo excriptos habuimus, mendosa erant, emaculauimus. Graecum, quod ita inuersum, ac deprauatum erat, ut ne legi quidem posset, in suum locum & candorem restitutum est. Index copiosissimus, & nouo ordine, quo facillime quodcunq[ue] q[uae]ritur uocabulum, inueniri potest. … Eiusdem Sypontini libellus, quo Plinii epistola, ad Titum Vespasianu[m] corrigitur, cum graeco, quod in aliis non habetur. Cornelii Vitellii in eum ipsum libellum Sypontini annotationes. Hoc inueniendorum uocabulorum ordine, a nobis nuper inuento, no[n] licet cuiq[uam] in Dominio ill. .S. .V. Hoslinguae latinae commentarios impune imprimere. Add: Commentariolus in prohemium Historiae naturalis Plinii. Cornelius Vitellius: Epistola Parthenio Benacensi. Venice: Aldo Manuzio, July 1499 FIRST ALDINE EDITION of Perotti's (1429–1480) monumental and highly influential study of the language and literature of classical Rome, written in the form of a commentary on the epigrams of Martial. The work was long used as a Latin dictionary. The first edition, printed in Venice by Paganino Paganini in 1489, was edited by the author's nephew Pirro Perotti and by Lodovico Odasio, from whom there are two letters at the beginning of Aldo's edition. In his long preface, Aldo tells the reader that he sees it as his duty to protect the treasures of literature from the ravages of time, and Perotti's "horn of plenty" became the primary source book for generations of Latin writers. Innovatively, the text is numbered by both page and line so that it can correspond exactly with the comprehensive alphabetical index—the first time this had been done and the de facto invention of a modern scholarly system of textual reference (see Ferdinand Geldner, Inkunabelkunde: eine Einführung in die Welt des frühesten Buchdrucks [Wiesbaden, 1978], p. 69). Super-Chancery folio (317 x 217 mm). Roman type, 59 lines plus headline. Collation: π–5π6 a–z10 A–H10 I12: 352 paginated leaves (I12 blank). Two- to five-line initial spaces with guide letters. (A few wormholes to first three and final quires, fore- edge margins of final quire stained, some scattered other soiling and staining, chiefly marginal.) Binding: Eighteenth-century marbled vellum over stiff boards (332 x 227 mm), front cover with central armorial Fortescue blind-stamp , spine in six compartments, second and third with, respectively, red and ivory morocco label, others with with gilt floral ornament, plain endpapers and edges. (Extremities just rubbed.) provenance: Unidentified owner(s), contemporary marginalia — Hon. George Matthew Fortescue (1791–1877), armorial supralibros (see British Armorial Bindings database, Fortescue stamp 1: https://armorial.bibsoc.org.uk/stamps/IFOR004_s1.html); by descent to — John Bevill Fortescue (1850–1938), his only son; by descent to — John Grenville Fortescue (1896–1969), his son; by descent to — John Desmond Grenville Fortescue(1919–2017), his son; his sale, Christie's London, Printed Books from the Aldine Press, the Property of a Gentleman, 24 March 1971, lot 10 (£550). Acquisition: Purchased at Christie's via Quaritch. References: UCLA 32; Aldo Manuzio tipografo 32; BMC V 561 (IB 24495); Goff P296; GW M31090; ISTC ip00296000; Renouard 19/2

View 1 of Lot 227: Perotti, Cornucopiae, siue linguae Latinae commentarii, Venice, Aldo Manuzio, July 1499, eighteenth-century mottled vellum with Fortescue blind armorial stamp on front cover

perotti, cornucopiae, siue linguae latinae commentarii, venice, aldo manuzio, july 1499, eighteenth-century mottled vellum with fortescue blind armorial stamp on front cover

Books, Manuscripts & Music

Sangorski & Sutcliffe Binding—Edward Fitzgerald, translator

Sangorski & Sutcliffe Binding—Edward Fitzgerald, translator Rubaiyat of Omar Khayyam translated into English verse by Edward Fitzgerald with an introduction by A.C. Benson... Reproduced from a manuscript written and illuminated by F. Sangorski & G. Sutcliffe. Bushey, Herts: Engraved & Printed by André & Sleigh Ltd, [1911] SIGNED BY THE BINDERS ON FRONT FREE ENDPAPER ("F. Sangorski | G. Sutcliffe"), folio (341 x 247 mm), on japan vellum, plates, illustrations, and initials printed in gold and colours, text printed in red and black, original vellum gilt, elaborate peacock design in gilt to upper cover, peacock features, flowers, and clouds all heightened with hand-colouring, lower left-hand corner of upper cover numbered "R[egistered] D[esign] No. 562943", gilt spine with black morocco title label and "SIEGEL, HILL, & CO." lettered in gilt at foot, top edge gilt, others uncut, maroon silk moiré endpapers, inner dentelles, original fretwork clasps, each studded with three amethysts, housed in contemporary fleece-lined cloth green cloth box, some marginal soiling, lower clasp slightly damaged, some wear to cloth case A HIGHLY ATTRACTIVE DECORATIVE BINDING BY THE LEGENDARY ARTISANS ACCLAIMED AS THE "ROLLS ROYCE OF BOOKBINDING". The present copy appears to be from the deluxe issue of 25 copies on japan vellum, issued by Siegle, Hill & Co. in 1911, though there is no limitation page present. Standard edition copies were issued in a limited edition of 550 numbered copies, but lack several key features found on the present copy, namely: hand-colouring to the upper cover, padded silk endpapers, and decorative clasps.

View 1 of Lot 85: Edward Fitzgerald, translator | The Rubaiyat of Omar Khayyam..., Bushey, [1911], Sangorski & Sutcliffe original vellum, elaborately gilt with jewelled clasps, signed by Francis Sangorski and George Sutcliffe

edward fitzgerald, translator | the rubaiyat of omar khayyam..., bushey, [1911], sangorski & sutcliffe original vellum, elaborately gilt with jewelled clasps, signed by francis sangorski and george sutcliffe

CAPACCIO, GIULIO CESARE. Delle imprese trattato di Giulio Cesare Capaccio. In tre libri diviso. Nel primo, del modo di far l'impresa da qualsivoglia oggetto, o naturale, o artificioso con nuove maniere si ragiona. Nel secondo, tutti ieroglifici, simboli, e cose mistiche in lettere sacre, o profane si scuoprono; e come da quegli cavar si ponno l'imprese. Nel terzo, nel figurar degli emblemi di molte cose naturali per l'imprese si tratta. Naples: Orazio Salviani for Giovanni Giacomo Carlino & Antonio Pace, 1592

CAPACCIO, GIULIO CESARE. Delle imprese trattato di Giulio Cesare Capaccio. In tre libri diviso. Nel primo, del modo di far l'impresa da qualsivoglia oggetto, o naturale, o artificioso con nuove maniere si ragiona. Nel secondo, tutti ieroglifici, simboli, e cose mistiche in lettere sacre, o profane si scuoprono; e come da quegli cavar si ponno l'imprese. Nel terzo, nel figurar degli emblemi di molte cose naturali per l'imprese si tratta. Naples: Orazio Salviani for Giovanni Giacomo Carlino & Antonio Pace, 1592 FIRST EDITION of Capaccio's emblem book, which contains numerous emblems and devices taken from the natural world. In the first book, Capaccio examines in detail the different theories of emblematics, the differences between devices and emblems in which he emphasizes (as Mortimer notes) the fact that the essence of impresa is an intellectual conceit; he also discusses the interpretation of hieroglyphics and the significance of colours. The second and third books are devoted to devices and emblems respectively. 3 parts in one volume, 4to (192 x 137 mm). Roman type, 38 lines plus headline. Collation: [paraph]4 a-g4 A-X4; AA-OOO4; AAA-PPPP4: 116+148+60 leaves. Woodcut printer's device on title-pages, woodcut initials, head- and tailpieces, woodcut illustrations (mostly emblems within roundels), woodcut printer's device at end. (Occasional light staining.) Binding: Near-contemporary vellum (198 x 154 mm), red edges. (Binding lightly soiled.) Provenance: Libreria Antiquaria Mediolanum, bookseller's label, catalogue 34, item 81. Acquisition: Purchased in 2009 from Mediolanum, Milan. References: Edit16 9062; Landwehr, Romanic Emblem Books 203; Mortimer, Harvard Italian 101

View 1 of Lot 62: Capaccio, Delle imprese, Naples, 1592, contemporary vellum

capaccio, delle imprese, naples, 1592, contemporary vellum

Western Illuminated Manuscripts 

Illuminated initials, cuttings, each c. 67 x 67 mm, tempera and burnished gold on vellum; (a) initial ‘A’ or ‘N’ depicting a king with crown and sceptre but no halo (perhaps King David, or St Louis?), the reverse with traces of music and ‘roma(m)’(?), (b) initial ‘U’ with a young saint holding a book and palm of martyrdom, the reverse with traces of music and text; some rubbing and flaking of pigments and gold.

Illuminated initials, cuttings, each c. 67 x 67 mm, tempera and burnished gold on vellum; (a) initial ‘A’ or ‘N’ depicting a king with crown and sceptre but no halo (perhaps King David, or St Louis?), the reverse with traces of music and ‘roma(m)’(?), (b) initial ‘U’ with a young saint holding a book and palm of martyrdom, the reverse with traces of music and text; some rubbing and flaking of pigments and gold. TWO ATTRACTIVE ITALIAN INITIALS IN THE STYLE OF FRATER ALFONSUS DE HISPANIA PROVENANCE 1. Part of the important collection of Adolf von Beckerath 1834-1915). He was the youngest son of a textile merchant from Krefeld and became a silk merchant himself. He cultivated a reputation as a patron of the arts and music, with a particularly interest in Renaissance art. Sold by; 2. Rudolph Lepke's, Berlin, Nachlass Adolf von Beckerath Berlin, zweiter Teil, Buch-Miniaturen, 29 November 1916, lot 43. 3. Sotheby’s, London, Medieval and Renaissance Manuscripts Sale, 5 July 2016, lot 29. 4. Acquired by present owner from the above sale. These two attractive initials are executed in a distinct style reminiscent of the works of Frater Alfonsus de Hispania, created in Northern Italy around 1490 to 1500. The shading, the pale skin tones of the figures, as well as the depiction of textiles, are particularly closely aligned with the known work of this artist. Intriguing are the cool toned paleness of both figures and the androgynous character of the young saint. In this respect, the figures seem somewhat inspired by the occasionally ambiguous representations of saints by Leonardo da Vinci. With their almost muted palette and unusual style, the two miniatures stand out among Italian book illumination of the late 15th century. We thank Peter Kidd for his expertise. LITERATURE Freuler, Gaudenz. Italian Miniatures. From the twelfth to the sixteenth Centuries, vol. 2, Milan: SilvavanaEditoriale, 2013. Paolo D'Ancona and Erhard Aeschlimann. Dictionnarie des miniaturistes du Moyen Âge et de la Renaissance dans les différentes contrées de l'Europe, Milan 1049, p. 4.

View 1 of Lot 9: A King and a Saint, historiated initials ‘A’ or ‘N’ and ‘U’ from a Choirbook on vellum, illuminated by an unknown Master | Italy | c.1490-1500.

a king and a saint, historiated initials ‘a’ or ‘n’ and ‘u’ from a choirbook on vellum, illuminated by an unknown master | italy | c.1490-1500.

SCRIPTORES REI RUSTICAE. Libri De re rustica, M. Catonis Marci Terentii Varronis, L. Junii Moderati Columellae, Palladii Rutilii, quorum summam pagina sequenti reperies. Paris: Antoine Augereau for Jean Petit, February 1533 (=1534 n.s.)

SCRIPTORES REI RUSTICAE. Libri De re rustica, M. Catonis Marci Terentii Varronis, L. Junii Moderati Columellae, Palladii Rutilii, quorum summam pagina sequenti reperies. Paris: Antoine Augereau for Jean Petit, February 1533 (=1534 n.s.) A rare Parisian edition of the writings of the Latin agronomists known as the Scriptores rei rusticae: Cato, Columella, Palladius, and Varro. Folio (332 x 216 mm). Roman and occasional Greek type, 45 lines plus headline. Collation: A6 B-C8 a6 [2]a-z8 A-G8 H10: 277 of 278 leaves (lacking final blank). Woodcut printer's device on title-page, woodcut diagrams, initial spaces. (Marginal dampstaining, small ink stains to [2]a3, i3, m4, t8v, A6r, E3r and E5, marginal worming to [2]a2-b3, 1mm hole to foot of H1, worming to G4-endpaper slightly affecting text.) Binding: Contemporary vellum (334 x 233 mm) with fore-edge flaps, flat spine with traces of manuscript title, 7 cords piercing spine, plain edges. (Binding damaged and heavily restored.) Provenance: Unidentified Jesuit College, possibly Passau, inked-over ownership inscription to title-page "Collegii Patav.(?) Soc: Jesu". Acquisition: Purchased in 2018 from Librairie Paul Jammes, Paris. References: USTC 187048

View 1 of Lot 273: [Scriptores rei rusticae] Libri de re rustica, Paris, 1533, contemporary vellum

[scriptores rei rusticae] libri de re rustica, paris, 1533, contemporary vellum

Three circular miniatures from the margins of a Choirbook, 80 mm, 66 mm, and 57 mm in diameter, tempera and burnished gold on vellum, depicting half-length figures, with blank versos, Christ as Salvator Mundi, a grieving female saint, possibly the Virgin Mary or Mary Magdalene due to facing left, typical for Crucifixion scenes, Saint Symon (of Trent?), dressed in a monks habit, holding a book, each roundel framed against velvet, c.1365.

Three circular miniatures from the margins of a Choirbook, 80 mm, 66 mm, and 57 mm in diameter, tempera and burnished gold on vellum, depicting half-length figures, with blank versos, Christ as Salvator Mundi, a grieving female saint, possibly the Virgin Mary or Mary Magdalene due to facing left, typical for Crucifixion scenes, Saint Symon (of Trent?), dressed in a monks habit, holding a book, each roundel framed against velvet, c.1365. UNUSUAL FRAGMENTS: THREE FINELY ILLUMINATED ROUNDELS BY NICCOLO DI GIACOMO DA BOLOGNA PROVENANCE 1. From the collection of Dr. F.G. Zeileis (Più ridon le carte: Buchmalerei aus Mittelalter und Renaissance, 2004, no.36). 2. Sotheby's London, Medieval and Renaissance Manuscripts Sale, 5 July 2016, lot 22. 3. Acquired by present owner from the above sale. COMMENTARY These three beautiful roundels were created by Niccolò di Giacomo da Bologna one of the most famous and prolific illuminators of the region. His activity is documented between 1349 and 1403, during which he created a monopoly in secular and liturgical manuscript production in Bologna. The vast number of extant works signed by him are testament to his preeminent station as the head of a larger workshop and in 1380s he was appointed illuminator to the city. Due to his versatility, he was involved in the decoration of choirbooks for churches outside of Bologna as well as humanist texts for distinguished patrons affiliated with the university. Niccolò’s style is imbued by local miniature tradition and his visual language references the expressive and decorative works of the Master of 1346, who might have acted as his teacher. Niccolò’s adaptability and versatility as an artist as well as his fine use of colour for a greater narrative impact made his works sought-after in and outside of Bologna. The tonsured figure below the inscription ‘Beatus Symon’ is dressed in a dark Augustinian habit typical for monks of that order. This figure has previously been identified as the Augustinian Simon of Cascia, an ascetic, preacher and prolific writer who among many other works, authored one of the first catechisms in the Italian language. His main work De Gestis Domini Salvatoris [The Works of our Saviour] was widely read during the Middle Ages and it is assumed that the German reformer, Martin Luther, was influenced by his ideas. Simon preached in Bologna, Siena, Perugia and Florence where he founded the convent Sant'Elisabetta delle Convertite and helped unmarried women and prostitutes. This context supports an identification of the female figure as Mary Magdalene, who was associated in the Middle Ages with the figure of the repentant prostitute. Based on this identification, the manuscript from which these roundels originate could have been commissioned for the church of Santa Maria Maddalena in Bologna. According to Gaudenz Freuler (cited in Zeileis’ 2004 catalogue), the fragments could also relate to the Augustinian church San Giacomo Maggiore in Bologna, for which Niccolò produced several Choirbooks which survive only as fragments. The three roundels by Niccolò di Giacomo da Bologna provide an intriguing mystery and highlight the regional artistry and religious specifics of central Italy. Literature Medica, Massimo ed. Haec Sunt Statuta: Le corporazioni medievali nelle miniature bolognesi. Exhibition, Rocca medievale Boncompagni, 27 March-11 July. Catalogue, Modena. 1999, pp. 126-27. Conti, Alessandro. La miniatura bolognese: Scuole e botteghe 1270-r340. Bologna. 1981, pp. 94-95. Filippini, Francesco, and Guido Zucchini. Miniatori e pittori a Bologna: Documenti dei secoli XIII e XIV. Florence, 1947, pp. 175-81.

View 1 of Lot 8: Three illuminatd roundels from the margins of a Choirbook on vellum illuminated by Niccolò di Giacomo da Bologna | Italy, Bologna | c.1365

three illuminatd roundels from the margins of a choirbook on vellum illuminated by niccolò di giacomo da bologna | italy, bologna | c.1365

BILLY, JEAN DE. Exhortation au peuple françois pour exercer les oeuvres de misericorde envers les pauvres. Paris: Guillaume Chaudière, 1584

BILLY, JEAN DE. Exhortation au peuple françois pour exercer les oeuvres de misericorde envers les pauvres. Paris: Guillaume Chaudière, 1584 A RARE WORK IN A CONTEMPORARY PARISIAN VELLUM BINDING. Jean de Billy (1530-1580) was prior of the charterhouse of Notre-Dame de Bonne-Espérance, near the castle at Gaillon in Northern France. USTC lists two institutional copies of this volume. 8vo (168 x 106 mm). Roman and italic type, 22 to 33 lines plus headline. Collation: ã8 A-Y8: 184 leaves. Woodcut arms on title-page, woodcut initials and head- and tailpieces, ruled in red. (Slight browning and spotting.) Binding: Contemporary Parisian ivory limp vellum (175 x 112 mm), double gilt fillet border, gilt foliage cornerpieces with angel heads with wings, central gilt laurel wreath, fore-edge flaps, flat spine with 6 false bands formed by egg and dart roll, azured quadrelobes in compartments, 2 pairs of chamois ties, edges gilt. (Binding slightly rubbed at extremities.) Provenance: Nicolas Rauch, Geneva, 2 March 1953, lot 83 (binding illustrated and attributed to Nicolas Ève)—Librairie Patrick et Élisabeth Sourget, Catalogue 6: Manuscrits enluminés et livres précieux (Chartres 1989), item 54. Acquisition: Purchased in 1990 from Librairie Sourget, Chartres. References: USTC 34027 (listing institutional copies only at the Bibliothèque de l'Arsenal and the Bibliothèque nationale de France)

View 1 of Lot 47: Billy, Exhortation au peuple francois, Paris, 1584, contemporary Parisian limp vellum gilt with fore-edge flaps

billy, exhortation au peuple francois, paris, 1584, contemporary parisian limp vellum gilt with fore-edge flaps

HOUBRAKEN, ARNOLD. De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen. Waar van 'er vele met hunne Beeltenissen ten Tooneel verschynen, en hun levensgedrag en Konstwerken beschreven worden: zynde een vervolg op der Schilderboek van K. v. Mander. I. Deel [-III. Deel]. Amsterdam: the author, 1718 (widow of the author, 1721)

HOUBRAKEN, ARNOLD. De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen. Waar van 'er vele met hunne Beeltenissen ten Tooneel verschynen, en hun levensgedrag en Konstwerken beschreven worden: zynde een vervolg op der Schilderboek van K. v. Mander. I. Deel [-III. Deel]. Amsterdam: the author, 1718 (widow of the author, 1721) FIRST EDITION of Houbraken's biographical dictionary of Dutch artists. Houbraken (1660-1719) was, like Vasari, primarily a painter, but remembered for this Great Theatre of Dutch Painters, which provides portraits of many of the artists; the production of the book was a family affair, with engravings by his son Jacob and the publication completed after his death by his widow. 3 volumes, 8vo (197 x 122 mm). Roman type, 35 lines plus headline. Collation: *6 A-Aa8 Bb-Cc2; π2 A-Z8; π2 A-2C8: 598 leaves (Cc2 blank). Additional engraved title-page, engraved headpieces and illustrations, woodcut initials, engraved dedication at start of volume 2, 46 engraved plates (2 folding), engraved illustrations. (Occasional light marginal foxing.) Binding: Contemporary Dutch vellum (206 x 132 mm). blind-stamped centrepiece and blind-ruled borders, flat spines with manuscript lettering, red speckled edges. (Bindings slightly soiled and a little warped.) Provenance: M. Nicolls, pencil signature on flyleaves. Acquisition: Purchased in 1989 from Pierre Berès, Paris. References: STCN 189094699

View 1 of Lot 167: Houbraken, De Groote Schouburgh der Nederlantsche Konstschilders, Amsterdam, 1718-21, 3 volumes, vellum

houbraken, de groote schouburgh der nederlantsche konstschilders, amsterdam, 1718-21, 3 volumes, vellum

SERLIO, SEBASTIANO. Tutte l'opere d'architettura di Sebastiano Serlio bolognese; Dove si trattano in disegno, quelle cose, che sono più necessarie all'Architetto; et hora di nuovo aggiunto (oltre il libro delle porte) gran numero di case private nella Città, & in villa, et un indice copiosissimo. Raccolto per via di considerationi da m. Gio. Domenico Scamozzi [part 2:] Libro estraordinario di Sebastiano Serlio Bolognese nelquale si dimostrano trenta porte Rustica mista con diversi ordini… [part 3:] Il settimo libro d'architettura di Sebastiano Serlio Bolognese. Nel qual si tratta di molti accidenti, che possono occorer al Architetto: si come nella sequente pagina si legge. Venice: Francesco de Franceschi, 1584

SERLIO, SEBASTIANO. Tutte l'opere d'architettura di Sebastiano Serlio bolognese; Dove si trattano in disegno, quelle cose, che sono più necessarie all'Architetto; et hora di nuovo aggiunto (oltre il libro delle porte) gran numero di case private nella Città, & in villa, et un indice copiosissimo. Raccolto per via di considerationi da m. Gio. Domenico Scamozzi [part 2:] Libro estraordinario di Sebastiano Serlio Bolognese nelquale si dimostrano trenta porte Rustica mista con diversi ordini… [part 3:] Il settimo libro d'architettura di Sebastiano Serlio Bolognese. Nel qual si tratta di molti accidenti, che possono occorer al Architetto: si come nella sequente pagina si legge. Venice: Francesco de Franceschi, 1584 This copy of the first collected edition of Serlio was owned by the Roman painter and poet Giuseppe Ghezzi (1634-1721). The woodcut diagrams on several leaves (G3r, G4r, G6v, I1v, I2r, and O1v) are annotated in an early modern hand with the measurements of architectural features, which may suggest that the book was previously owned by Giuseppe's father Sebastiano Ghezzi (1580-1645), a painter and architect who was appointed papal engineer by Pope Urban VIII. 4to (230 x 175 mm). Italic and roman type: 47 lines plus headline. Collation: a-f4 A4 B-F8 xG6 G8 H-I8 K-P8 Q-S8 T4 II-QQ4 RR-ZZ8 AAa8 [2]a-c8 [2]d4 *4 [2]A-O8 [2]P10: 398 leaves. Title-page with woodcut device, 232 full-page woodcut illustrations and numerous other woodcut illustrations. (Margins closely trimmed, old paper repairs at margins of a4v, B2v, and N8v, marginal soiling to early leaves, marginal dampstaining towards end). Binding: Eighteenth-century vellum (237 x 182 mm), spine with title lettered in gilt, red edges. (Slight wear at head of spine, some staining and soiling.) Provenance: Giuseppe Ghezzi (1634-1721), inscription at foot of title — obscured Italian institutional inscription on title-page — J. Man, inscription on verso of title — erased presentation inscription to front free endpaper ("Presented to [illegible] ?Wilson Esq. | by | Josiah Harris | [...] 1904"). Acquisition: Purchased in 1992 from Marlborough Rare Books, London. References: BAL RIBA 2973; Edit16 36267; Fowler 333

View 1 of Lot 281: Serlio, Tutte l'opere d'architettura, Venice, 1584, later vellum, Ghezzi copy

serlio, tutte l'opere d'architettura, venice, 1584, later vellum, ghezzi copy

HOUWAERT, JAN BAPTIST. Sommare beschrijvinghe vande triumphelijcke Incomst vanden... Aerts-hertoge Matthias, binnen die Princelijcke stadt van Brussele, in t'iaer ons Heeren M.D.LXXVIII. den xviij dach Januarij. Midtsgaders die tanneelen, poincten, figuren ende spectaculen, die inde voorseyde incompste (ter eeren van sijne doorluchticheyt) zijn verthoont ghevveest, met meer ander saken, die doen ter tijt gheschiet zijn. Antwerp: Christophe Plantin, 1579 [bound with:]

HOUWAERT, JAN BAPTIST. Sommare beschrijvinghe vande triumphelijcke Incomst vanden... Aerts-hertoge Matthias, binnen die Princelijcke stadt van Brussele, in t'iaer ons Heeren M.D.LXXVIII. den xviij dach Januarij. Midtsgaders die tanneelen, poincten, figuren ende spectaculen, die inde voorseyde incompste (ter eeren van sijne doorluchticheyt) zijn verthoont ghevveest, met meer ander saken, die doen ter tijt gheschiet zijn. Antwerp: Christophe Plantin, 1579 [bound with:] Oratie der Ambassadeuren vanden doorluchtighen Prince Matthias Aertshertoge van Oostenrijcke… Verhaelt inden Rijckxdach ghehouden tot Wormes, voor die Raetsheeren ghedeputeert by die Princen Electeurs, ende ander Ambassadeurs ende Ghecommitteerde van t'heylich Roomsche Rijcke, in t'iaer ons Heeren M.D.LXXVIII. den svuensten dach van Meye. Antwerp: Christophe Plantin, 1578 A commemoration of the entrance of Matthias, Archduke of Austria (1557-1619) into Brussels in January 1578, who was the choice of the States General for the post of governor general (William, prince of Orange would enter Brussels later that year, also commemorated in similar fashion by Houwaert; Voet 1411). This is bound with Houwaert's translation of a speech by Philippe de Marnix to the Diet of Worms seeking support for the States General of the Netherlands in their struggle against the Spanish. The woodcut illustrations are most likely by Antoon van Leest. Hoffmann owned a substantial library of more than ten thousand volumes, which were often bound in green vellum, as here; one of Hoffmann's titles, Grünbüchel, means "little green book". The binding was most likely made in Prague. 2 works in one volume, 4to (190 x 140 mm). Gothic, roman and civilité type, 24 lines plus headline. collation: A-I8 K4 l8: 92 leaves (last leaf blank); A-E8 F6: 46 leaves (last leaf blank). Woodcut Plantin device on both title-pages, large woodcut armorial on A2 verso in each part, woodcut initials and tailpieces, some text within woodcut cartouches, full-page woodcut illustrations. (Occasional light staining or foxing.) Binding: Near-contemporary green vellum gilt (196 x 149 mm), probably made in Prague ca 1600, armorial stamp of Ferdinand Hoffmann zu Grünbüchel und Strechau on covers, border of a small gilt roll-tool within fillets of scored (unpainted) vellum, flat spine gilt with manuscript lettering on an uncoloured section of the spine, blue and red speckled edges, stubs of two pairs of green silk ties. (Binding slightly rubbed, small cracks on spine, endleaves browned.) Provenance: Ferdinand, baron Hoffmann zu Grünbüchel und Strechau (1540-1607, privy counsellor to Rudolf II), arms on binding and large engraved armorial bookplate pasted to verso of first title-page — [his library acquired in 1679 by the Princes of Dietrichstein, Schloss Nikolsburg, Moravia], sale, Bibliothek Alexander Fürst Dietrichstein, Gilhofer & Ranschburg, Luzern, 21 November 1933, lot 127 — Pierre Berès (1913-2008), sale, Pierre Bergé & Associés, Paris, 28 October 2005, lot 61. Acquisition: Purchased in 2009 from Robin Halwas, London. References: Voet 1410 & 1409; Watanabe-O'Kelly 2705

View 1 of Lot 168: Houwaert, Sommaire beschrijvinghe... Aerts-Hertoge Matthias, Antwerp, 1579, green vellum with Hoffmann arms

houwaert, sommaire beschrijvinghe... aerts-hertoge matthias, antwerp, 1579, green vellum with hoffmann arms

BEMBO, PIETRO. Gli Asolani di messer Pietro Bembo. (Venice: Aldo Manuzio, March 1505)

BEMBO, PIETRO. Gli Asolani di messer Pietro Bembo. (Venice: Aldo Manuzio, March 1505) A very tall copy of the second issue, without the dedication to Lucrezia Borgia, lacking in numerous copies, but with the uncommonly found errata leaf. Renouard supposed that when Alfonso d’Este, husband of Lucrezia Borgia, fell out of favor, Aldo reset the first signature, suppressing the dedication. Cecil Clough proposed another scenario: that at Bembo’s request, Aldo held back some copies, and these were printed with the dedication once Lucrezia Borgia’s permission had been obtained (Grolier/Legacy 116). 4to (208 x 126 mm). Italic type, 36 lines. Collation: a-m8 n2: 98 leaves, a2 blank. Woodcut Aldine device on m8v. (Small wormhole in text, occasional light staining, a few inscriptions washed.) Binding: Old vellum (214 x 132 mm), navy morocco lettering-piece, edges gilt and gauffered to a knotwork design. (Binding slightly soiled.) Provenance: Charles Butler, Warren Wood, Hatfield, printed booklabel, sale, Sotheby, Wilkinson & Hodge, 5-12 April 1911, lot 135 — Sotheby's, 22-23 July 1968, lot 343, £150, to Alan G. Thomas. Acquisition: Purchased from Colin and Charlotte Franklin, Culham (Oxfordshire), 1979. References: UCLA 88.5; Aldo Manuzio tipografo 90 (with dedication); Edit16 4986; Renouard 48/1; Cecil H. Clough, "Pietro Bembo's Gli Asolani of 1505" in MLN 84 (1969), pp.16-45, "Copies with no dedication but with the Errata", no. 5 (this copy)

View 1 of Lot 35: Bembo, Gli Asolani, Venice, Aldus, 1505, second issue, later vellum, Charles Butler copy

bembo, gli asolani, venice, aldus, 1505, second issue, later vellum, charles butler copy

ZANTANI, ANTONIO. Le imagini con tutti i riversi trovati et le vite de gli imperatori tratte dalle medaglie et dalle historie de gli antichi. Libro primo. [Venice]: Enea Vico, 1548

ZANTANI, ANTONIO. Le imagini con tutti i riversi trovati et le vite de gli imperatori tratte dalle medaglie et dalle historie de gli antichi. Libro primo. [Venice]: Enea Vico, 1548 4to (224 x 160 mm). Roman type. 60 leaves. Engraved title with architectural border, 12 sectional titles within engraved borders with medallion portraits, 62 full-page engraved illustrations, final leaf with printer’s device (otherwise blank). (Flyleaf defective, title slightly wormed at head.) Binding: Contemporary Austrian/Bohemian limp green vellum (232 x 162 mm), rear flyleaf with watermark of a P surmounted by a shield containing a cross (similar to Briquet 8792-8799, all Austria-Bohemia, 1530s-1590s). (Binding somewhat worn with a few tears to spine.) Provenance: Jodocus Nass (Jobst Nass?), letterpress stamp at end of text dated 1564 — HD 7168, early note in ink on lower pastedown — [Marlborough Rare Books, London, sold in 1972 to] — Arthur and Charlotte Vershbow, bookplate, sale, Christie's, New York, 10 April 2013, lot 350. Acquisition: Purchased at the preceding sale. References: Edit16 40081; Dekesel V15; Mortimer, Harvard Italian 556

View 1 of Lot 337: Zantani, Le imagini con tutti i riversi trovati, Venice, 1548, contemporary green limp vellum

zantani, le imagini con tutti i riversi trovati, venice, 1548, contemporary green limp vellum

COUNCIL OF TRENT. Catechismo, cioe' istruttione, secondo il decreto del Concilio di Trento, a' parrochi, publicato per commandamento del Santiss. S. N. Papa Pio V. Et tradotto poi per ordine di Sua Sant. in lingua volg. dal r.p.f. Alesso Figliucci, de l'ord. de' Predicatori. Venice: Aldo Manuzio, 1582

COUNCIL OF TRENT. Catechismo, cioe' istruttione, secondo il decreto del Concilio di Trento, a' parrochi, publicato per commandamento del Santiss. S. N. Papa Pio V. Et tradotto poi per ordine di Sua Sant. in lingua volg. dal r.p.f. Alesso Figliucci, de l'ord. de' Predicatori. Venice: Aldo Manuzio, 1582 8vo (153 x 105 mm.). Roman type, 38 lines plus headline. Collation: +8 A-Z8 Aa-Oo8 Pp4: 308 leaves (P4 blank). Title within woodcut border, woodcut initials and headpieces, woodcut illustrations (some full-page). (Title-leaf defective at foot with loss of imprint and laid down, +2 slightly torn, paper flaw at lower corner of Q3, last leaf torn and repaired, slight staining in gutter at end, without final blank leaf, cut somewhat close at head.) Binding: Later vellum (160 x 117 mm), manuscript title on spine, plain edges. (Recased with new endleaves.) Provenance: Montserrat (ink stamp on final leaf) — small armorial blind stamp on lower flyleaf — Van Gendt Book Auctions, Amsterdam, 29-31 October 1973, lot 588. Acquisition: Purchased from Van Gendt sale. References: UCLA 942; Edit16 12091; Renouard 230/2

View 1 of Lot 99: Council of Trent, Catechismo, Venice, Aldus, 1592, old vellum

council of trent, catechismo, venice, aldus, 1592, old vellum

ANEAU, BARTHÉLEMY. Picta poesis. Ut pictura poesis erit. Lyon: Macé Bonhomme, 1552

ANEAU, BARTHÉLEMY. Picta poesis. Ut pictura poesis erit. Lyon: Macé Bonhomme, 1552 First Latin edition of this emblem book. The illustrations, including an early depiction of tennis (p.75), are thought to be by Pierre Eskrich and were also used for the French text edition issued in the same year. Aneau had translated Alciati's emblem book for Bonhomme and Rouille's 1549 edition. Aneau's own device appears on A5. 8vo (155 x 95 mm). Italic type. Collation: A-G8 H4: 60 leaves. Woodcut printer's device on title-page, wood or metalcut illustrations, head- and tailpieces. (Occasional light browning, final quire torn along foot of gutter.) Binding: Old limp vellum (158 x 100 mm), later manuscript lettering on spine. (Binding slightly soiled and creased.) Provenance: Laurentii Fontanae (Lawrence Fountain?), old inscription on flyleaf — [Seven Gables Bookshop, sold in 1977 to] — Arthur and Charlotte Vershbow, bookplate, sale, Christie's New York, 10 April 2013, lot 89. Acquisition: Purchased at the preceding sale. References: Adams, Rawles & Saunders F.085; Landwehr, Romanic Emblem Books 113; Mortimer, Harvard French 25; von Gültlingen VIII, p.94, Bonhomme 154

View 1 of Lot 21: Aneau, Picta poesis, Lyon, 1552, contemporary limp vellum, Vershbow copy

aneau, picta poesis, lyon, 1552, contemporary limp vellum, vershbow copy

VITRUVIUS POLLIO, MARCUS. De architectura libri decem, summa diligentia recogniti, atque excusi. Cum nonnullis figuris sub hoc signo * positis, nunquam antea impraessis. Additis Iulii frontini de aqueductibus libris, proter materiae affinitatem. [Lyon: Lucimborgo da Gabiano, 1523]

VITRUVIUS POLLIO, MARCUS. De architectura libri decem, summa diligentia recogniti, atque excusi. Cum nonnullis figuris sub hoc signo * positis, nunquam antea impraessis. Additis Iulii frontini de aqueductibus libris, proter materiae affinitatem. [Lyon: Lucimborgo da Gabiano, 1523] A second example, with intriguing provenance. It bears the inscription dated 1578 of the poet Silvio Pontevico, a courtier at the Gonzaga court in Mantua, and the later signature and undated purchase note (“L 1-0 di moneta di Genova”) of the polymath Bernardino Baldi (1553-1617), also under the protection of the Gonzaga, author of Scamilli impares Vitruviani and De verborum vitruvianorum significatione, both first published at Augsburg in 1612. Baldi’s signature and a comparable purchase note ("mi costa 8 scudi, soldi 10 di moneta di Genova") are found in a Ms of Claudian, De Raptu Proserpinae, in Rome (Biblioteca Angelica, 2266); the same signature and a purchase note ("Costa L i – 8 – 0 di moneta di Genova") is in a Ms of Baptista Massa de Argenta, De fructibus vescendis (1471), in Philadelphia (College of Physicians [SDBM_34260]). A copy of the Venice 1511 Plautus with dated inscriptions of Pontevico (1556) and Baldi (1587) was sold by Christie’s New York, 1 October 1980, lot 128. Three editions of Vitruvius are entered in Baldi’s holograph “Elenchus librorum omnium”, written in 1605 (transcribed by Alfredo Serrai, Bernardino Baldi: la vita, le opere, la biblioteca, Milan 2002): (1) "Vitruuij Architect. Cum Com. Daniel Barbari f. Venetiis" (i.e., the 1567 folio Barbaro Vitruvius; Serrai, p.732 V.4); (2) Vitruuij Architectura 4. Basileae Argentorati (i.e., the 1550 Strassburg Philandrier Vitruvius; Serrai, p. 736 V.26); and (3) "Victruuij Architectura 8. Venetiis" cross-indexed under “Iulius Frontinus de Aqueduct. In Vol. Vitruuii 8” (Serrai, p.736 V.20; p. 532 l.48). This last entry almost certainly refers to this third octavo printing of Vitruvius, the only anonymously printed edition, supposed by early collectors to be a product of the Venetian press of the Manuzio family (hence its inclusion in Renouard). 8vo (158 x 98 mm). Italic type with some Greek, 32 lines plus headline. Collation: A-H8 I-M4 N-Z8 AA-FF8: 216 leaves. Title printed in red within ornamental woodcut border, numerous woodcut illustrations. (Intermittent staining and browning, a few minor edge tears and repairs, illustration on H4 printed upside down, last quire slightly wormed.) Binding: Sixteenth-century vellum over pasteboards (164 x 103 mm), covers undecorated, manuscript title to spine, with three double bands, traces of two sets of ties. (Rubbed, corners bumped, spine damaged with losses to vellum panel, rear pastedown slightly wormed.) Provenance: Silvio Pontevico, inscription dated 1578 on front flyleaf — Bernardino Baldi (1553–1617), inscription on title- page — unidentified owner, inscription "Fa parte della collezione Aldina, Vend a (?)." Acquisition: Purchased from Mayfair Rare Books (Paolo Rambaldi), London, 2017. References: UCLA 1172; Renouard 315/59; not in Shaw; Baudrier, VII, 167; Sergio Bettini, “Bernardino Baldi e Vitruvio” in Seminario di studi su Bernardino Baldi Urbinate (1553-1617), edited by Giorgio Cerboni Baiardi (Urbino 2006), pp. 227-250; Enrico Celani, "Dediche, postille, dichiarazioni di proprietà" in La Bibliofilía 7 (1905), pp. 91-104 (p. 94, listing 10 books with inscription "Bern Baldi"); and 8 (1906), pp. 96-105" (p. 98) one with inscription "Sylvii Pontarici" (in Biblioteca Angelica, OO. 11. 17-21)

View 1 of Lot 327: Vitruvius, De architectura libri decem, [Lyon, Lucimborgo da Gabiano, 1523], sixteenth-century vellum over pasteboards

vitruvius, de architectura libri decem, [lyon, lucimborgo da gabiano, 1523], sixteenth-century vellum over pasteboards

DE L'ORME, PHILIBERT. Nouvelles inventions pour bien bastir et a petits fraiz, trouvées n'agueres par Philibert de L'orme Lyonnois, Architecte, Conseiller & Aulmonier ordinaire du feu Roy Henry, & Abbé de S. Eloy lez Noyon. Paris: Fédéric Morel, 1561

DE L'ORME, PHILIBERT. Nouvelles inventions pour bien bastir et a petits fraiz, trouvées n'agueres par Philibert de L'orme Lyonnois, Architecte, Conseiller & Aulmonier ordinaire du feu Roy Henry, & Abbé de S. Eloy lez Noyon. Paris: Fédéric Morel, 1561 FIRST EDITION. Philibert de L'Orme (1515-1570) was an influential renaissance architect who worked for Henri II, Diane de Poitiers and Catherine de' Medici. Nouvelles inventions was the first work he published, a practical treatise on new roofing methods, intended to result in lower production costs as less wood was required. De L'Orme's ideas were not put widely into practice until after 1750, but certainly influenced the eighteenth-century dome of the Halle au Blé in Paris, designed by Jacques-Guillaume Legrand and Jacques Molinos. The work is a planned component of his next publication, Le premier tome de l'architecture but was only added to the publication in 1626. Folio (325 x 224 mm). Roman type, 42 lines plus headline. Collation: A-K6 L-M4: 68 leaves (with final blank). Woodcut device on title-page, woodcut initials and head-pieces, 34 woodcut illustrations, of which 23 are full-page. (Some dampstaining). Binding: Contemporary limp vellum (322 x 232 mm), stubs from 2 pairs of ties, later manuscript title to spine. (Textblock becoming detached from vellum at top of spine, some loss to head of spine) Provenance: Sixteenth-century inscription on front free endpaper “Petrus du Pont Insulanus" [i.e. Lille?] — Jesuits of Ghent, inscription at head of title and ink stamp of the Belgian Jesuit Province — Thomas Willement (1786-1871, stained glass artist), inscription to upper pastedown and front free-endpaper, dated Brussels, 1845, his sale Sotheby’s, 22 June 1865, part of lot 293 — bookplate of interlaced B’s with motto “Bonne foy bon droit” and no. 84. Acquisition: Purchased in 1989 from E.P. Goldschmidt. References: BAL RIBA 1954; Mortimer, Harvard French 354

View 1 of Lot 103: De L'Orme, Nouvelles inventions pour bien bastir, Paris, 1561, contemporary limp vellum

de l'orme, nouvelles inventions pour bien bastir, paris, 1561, contemporary limp vellum

PITTONI, GIOVANNI BATTISTA. Imprese nobili, et ingeniose di diversi prencipi, et d'altri personaggi illustri nell'arme et nelle lettere. Le quali, col disegno loro estrinseco, dimostrano l'animo, et la buona, o mala fortuna de gli autori loro. Con le dichiarationi in versi di m. Lodovico Dolce et d'altri. Venice: Francesco Ziletti, 1583

PITTONI, GIOVANNI BATTISTA. Imprese nobili, et ingeniose di diversi prencipi, et d'altri personaggi illustri nell'arme et nelle lettere. Le quali, col disegno loro estrinseco, dimostrano l'animo, et la buona, o mala fortuna de gli autori loro. Con le dichiarationi in versi di m. Lodovico Dolce et d'altri. Venice: Francesco Ziletti, 1583 This 1583 re-edition of Pittoni's fourth emblem book contains the same illustrations as the 1578 Porro edition, with the imprese of rulers, cardinals, churchmen and statesmen, from Charles V to Charles of Lorraine, numerous minor Italian noblemen, and literary and artistic characters such as Girolamo Ruscelli, Lodovico Dolce, Titian and Pittoni himself. Following the title-page, this copy includes an engraving of the monument commemorating the arrival of King Henri III of France to Venice in 1574, then the full-page engraving of a monumental fireplace dedicated to Emanuele Filiberto, Duke of Savoy by Niccolò Nelli. Again, copies of Pittoni and Dolce's imprese seem to have been issued with varying contents and this copy is closest to Landwehr 608. 4to (257 x 206 mm). 71 leaves (unsigned). Engraved title-page, 2 full-page engravings, 68 plates of engraved devices each within a decorative frame, with accompanying poem within a unique frame. (First few leaves reinforced at gutter, small wormholes in second and third leaves indicating that they have been placed there more recently, small tear to fore-edge of plate 16, minor soiling.) Binding: Nineteenth-century vellum (266 x 214mm), frame of single red line, title lettered in red and black on spine, edges gilt. (Binding slightly rubbed, small sections of rear endpaper excised) Provenance: Charles Henri Auguste Schéfer (1820-1898, collector of Islamic manuscripts), armorial bookplate, sale, Paris, 8 May 1899, lot 223 — M. Lugol, armorial bookplate. Acquisition: Purchased in 1990 from Maggs Bros, London. references: Edit16 17419; Landwehr, Romanic Emblem Books 608

View 1 of Lot 241: Pittoni, Imprese nobili et ingeniose, Venice, 1583, later vellum

pittoni, imprese nobili et ingeniose, venice, 1583, later vellum

a single leaf, c.185 × 135 mm, the outer and lower margins excised, pricked in the inner margin, written in two columns of 57 lines in gothic script, below top line, the recto (the reverse, as framed) with part of baruch 5–6, with a large illuminated initial marking the start of chapter 6 (‘Proper peccata que peccastis ante deum …’), known as The Letter of Jeremiah, the verso (framed as the front) with the end of Baruch, the usual prologue to Ezekiel, and the beginning of Ezekiel, the initial ‘E’ (‘Et factum est in xxx anno iiii in v mensis …’; It came to pass in the 30th year, in the fourth month, on the fifth day), depicting the Vision of Ezekiel: he sits to the left, next to the river Chobar, looking up at three heads in the sky, of a man, an eagle, a lion, and a calf (Ezekiel 1:3, 10); the lower and outer margins cropped, without loss of text or decoration, the initials in very fine, bright, condition; framed with a cutout window on the reverse allowing the illuminated initial and adjacent text to be seen.

a single leaf, c.185 × 135 mm, the outer and lower margins excised, pricked in the inner margin, written in two columns of 57 lines in gothic script, below top line, the recto (the reverse, as framed) with part of baruch 5–6, with a large illuminated initial marking the start of chapter 6 (‘Proper peccata que peccastis ante deum …’), known as The Letter of Jeremiah, the verso (framed as the front) with the end of Baruch, the usual prologue to Ezekiel, and the beginning of Ezekiel, the initial ‘E’ (‘Et factum est in xxx anno iiii in v mensis …’; It came to pass in the 30th year, in the fourth month, on the fifth day), depicting the Vision of Ezekiel: he sits to the left, next to the river Chobar, looking up at three heads in the sky, of a man, an eagle, a lion, and a calf (Ezekiel 1:3, 10); the lower and outer margins cropped, without loss of text or decoration, the initials in very fine, bright, condition; framed with a cutout window on the reverse allowing the illuminated initial and adjacent text to be seen. PROVENANCE 1. The parent manuscript had probably lost at least 60 leaves by the 19th century (Kidd, 2021, p. 63), and was certainly further broken up by 1981, when a leaf was for sale in Heidelberg. Some leaves, including the present one, had one or more margins cropped, perhaps to remove water-stains. A carcass of 181 leaves (‘several mutilated … some margins cropped … heavy staining … almost all the decorative elements have been removed’) and the binding appeared on the market in 2014. 2. Bernard Quaritch, c.1988 3. Sold in our rooms, 5 December 2012, part of lot 4, bought by: 4. The Boehlen Collection, Bern, MS 1318 ILLUMINATION The artist of this leaf was first defined by François Avril, who named him the Master of the Sorbonne Ptolemy, after a manuscript of Ptolemy’s Almagest which was in the library of the Sorbonne in the 14th century, and which has a colophon recording that it was copied from the exemplar of Saint-Victor, Paris, and finished in December 1213 (Paris, BnF, MS 16200; Avril, 1976, pp. 38–40 and p. 41 fig. 5). Avril attributed the illumination of copies of a number of other University texts to the same artist, as well as that of several Bibles and glossed Bibles, which provide supporting evidence that he worked in Paris in the 1210s and 1220s. Robert Branner’s posthumous study of 13th-century French illumination was published the following year, describing several manuscripts by the artist, whom he independently named the artist The Almagest Master, after the same manuscript, a name which has gained greater currency (Branner, 1977). Branner’s description of the Sorbonne manuscript could equally be applied to the present leaf: ‘startlingly high in quality … painted in the finest manner’. Branner, who did not know the present manuscript, dated the Bibles illuminated by the artist to 1220–25, and this is fully supported by the present leaf: a date after about 1220 is suggested by the fact that the writing is below top line, while a date before about 1230 is suggested by the prickings in the inner margin, the green edging around the initials, and the pre-modern chapter divisions. About 20 illuminated sister-leaves are known, including two in the library at the University of Colorado at Boulder (Kidd, 2021). REFERENCES F. Avril, ‘À quand remontent les premiers ateliers d’enlumineurs laïcs à Paris?’, Les dossiers de l’archéologie, 16 (1976), pp. 36–44. R. Branner, Manuscript Painting in Paris During the Reign of Saint Louis: A Study of Styles (Berkeley, Los Angeles, London, 1977), pp. 27–29, 201–02. P. Kidd, The McCarthy Collection, III (London, 2021), no. 16.

View 1 of Lot 2: The Vision of Ezekiel | by the Almagest Master: a historiated initial on a Bible leaf, in Latin, illuminated manuscript on vellum | France, Paris | 13th century (c. 1220s)

the vision of ezekiel | by the almagest master: a historiated initial on a bible leaf, in latin, illuminated manuscript on vellum | france, paris | 13th century (c. 1220s)

SWEERTS, PIERRE-FRANÇOIS. XII Caesarum Romanorum imagines e numismatibus expressae, et historica narratione illustratae. Ex museio Franc. Sweerti F. Antuerp. Antwerp: (Robert Bruneau for) Jan Baptista Vrients, 1603

SWEERTS, PIERRE-FRANÇOIS. XII Caesarum Romanorum imagines e numismatibus expressae, et historica narratione illustratae. Ex museio Franc. Sweerti F. Antuerp. Antwerp: (Robert Bruneau for) Jan Baptista Vrients, 1603 Sweerts (1567-1629) was a Belgian historian, publishing works on inscriptions, coins and local history. The Caesars included are those of Suetonius, and the book is arranged in the manner of an emblem book, with a heading above the portrait, a short prose biography, and a six-line verse by Bochius or Moretus. 4to (187 x 141 mm). Collation: A-D4: 16 leaves (last leaf blank). Engraving on title, engraved illustrations. (Somewhat browned.) Binding: Contemporary limp vellum (190 x 148 mm). (A few small wormholes in binding.) Provenance: Erased inscription on rear pastedown — [John Slocum, according to Vershbow's notes] — Goodspeed's Bookshop, purchased in 1988 by — Arthur and Charlotte Vershbow, booklabel, sale, Christie's, New York, 20 June 2013, lot 706. Acquisition: Purchased at the preceding sale. References: STCV 6619602

View 1 of Lot 292: Sweerts, XII Caesarum Romanorum imagines e numismatibus expressae, Antwerp, 1603, limp vellum, Vershbow copy

sweerts, xii caesarum romanorum imagines e numismatibus expressae, antwerp, 1603, limp vellum, vershbow copy

HORAE. USE OF ROME. Hore intermate Virginis marie secundum usum Romanum cum pluribus orationibus tam in gallico que in latino. (Paris): Thielman Kerver (for Gilles Remacle, 10 January 1503)

HORAE. USE OF ROME. Hore intermate Virginis marie secundum usum Romanum cum pluribus orationibus tam in gallico que in latino. (Paris): Thielman Kerver (for Gilles Remacle, 10 January 1503) A typical Parisian book of hours from the early sixteenth century, with fine metalcut illustrations attributed to the Master of the Apocalypse Rose. 8vo (204 x 133 mm), printed on vellum. Black letter, 29 lines. Collation: A-M8: 96 leaves. Metalcut printer’s device on title-page, each page with historiated metalcut borders, metalcut illustrations, initials supplied in gold on red or blue grounds. (Title-page damaged and repaired with some loss of text and border, first two quires slightly defective along fore-edge, general soiling throughout, final leaf slightly defective at head.) Binding: Contemporary blind-tooled calf (212 x 144 mm), a double frame made using the same roll-tool, laid down onto a modern binding, retaining original vellum flyleaves. (Binding somewhat rubbed, upper joint starting to crack.) Provenance: "D’aymeric(?)", early inscription on flyleaf — Henri Bonnasse (1899-1984), booklabel. Acquisition: Purchased in 1984 from Libreria Antiquaria Pregliasco, Turin. References: Bohatta 755; BP16 100283; Lacombe 137; USTC 26042

View 1 of Lot 163: Horae, use of Rome, Paris, 1503, printed on vellum, contemporary blind-tooled calf

horae, use of rome, paris, 1503, printed on vellum, contemporary blind-tooled calf

ALCIATI, ANDREA. Andreae Alciati Mediolanensis, Iudiciarii processus compendium, atque adeo iuris utriusque praxis, in gratiam studiosorum nunc primum typis excusa. Christophori Hegendorphini, oratio de artibus, futuro iurisconsulto necessariisque, & frugiferis, comparandis. Eiusdem consilium de compendiaria dicendi iura civilia ratione. Venice: (Ottaviano Scoto), 1537 [bound with:]

ALCIATI, ANDREA. Andreae Alciati Mediolanensis, Iudiciarii processus compendium, atque adeo iuris utriusque praxis, in gratiam studiosorum nunc primum typis excusa. Christophori Hegendorphini, oratio de artibus, futuro iurisconsulto necessariisque, & frugiferis, comparandis. Eiusdem consilium de compendiaria dicendi iura civilia ratione. Venice: (Ottaviano Scoto), 1537 [bound with:] [Schussenreid, Werner von] Modus legendi abbreviaturas passim in utroque iure occurrentes, nunc demum integritati suae restitutus. Venice: Melchiorre Sessa, 1531 This legal compendium was first printed in Cologne in 1536; it was probably an unauthorised compilation based on lecture notes, rather than composed by Alciati himself. The second work was a common legal reference work dating from the early fifteenth century and now attributed to Werner von Schussenried of Speyer. The simple contemporary binding demonstrates how the volume was originally shelved, with the fore-edge down, the spine upwards, and the head of the textblock facing out. 2 works in one volume, 8vo (157 x 104 mm). (1) Gothic type, 39 lines plus headline. Collation: a8 A-Y8: 184 leaves (last leaf blank). Title printed in red and black with woodcut printer’s device, woodcut initials, woodcut device beneath colophon. (2) Roman type, 34 lines plus headline. Collation: A-G8: 56 leaves. Title within woodcut border, woodcut initials, woodcut printer’s device on final verso. Binding: Contemporary limp vellum (163 x 113 mm), fore-edge flaps, stubs of two pairs of alum-tawed ties, lettered on upper cover with the date 1552 and later inventory number 116 (from Brandis’s library?), titles written in ink on spine, paper label at foot of spine with number 116 written in red, title written on fore-edge, with an armorial and the letters IIR, manuscript fragments in binding. (Binding somewhat soiled, small hole at foot of spine.) Provenance: Hans Jakob Römer (died 1571, of Schloss Maretsch, Bolzano), arms on head of textblock — Jacob Andrä, Freiherr von Brandis (1569-1629, imperial councillor and historian of the Tyrol), early inscription on title-page — Zisska & Kistner, Auktion 35, Munich, 9-12 May 2000, lot 489. Acquisition: Purchased in 2000 from Maggs Bros, London. References: Edit16 33374 & 29949

View 1 of Lot 17: Alciati, Iudiciarii processus compendium, Venice, 1537, contemporary limp vellum

alciati, iudiciarii processus compendium, venice, 1537, contemporary limp vellum

CAMPEGGI, TOMMASO. Opus Thomae Campegii Bononiensis, episcopi Feltrensis, de auctoritate, & potestate Romani pontificis, & alia opuscula quae indicantur in sequenti pagina. Venice: Paolo Manuzio, 1555

CAMPEGGI, TOMMASO. Opus Thomae Campegii Bononiensis, episcopi Feltrensis, de auctoritate, & potestate Romani pontificis, & alia opuscula quae indicantur in sequenti pagina. Venice: Paolo Manuzio, 1555 FIRST EDITION of Campeggi's treatise on papal authority, dedicated to the newly elected Paul IV. Campeggi was Bishop of Feltre from 1520 until 1559; in 1545, he was one of three bishops present at the opening of the Council of Trent. The earliest known owner, Claudio Dattilo, from Cosenza, a graduate of the theological college of the university of Siena (1599), belonged to the priestly congregation of S. Giorgio, Siena (offshoot of the Oratory of S. Filippo Neri), of which he was rector in 1623. He donated a manuscript “Libro d'Ore usato da S. Francesca Romana” to the newly founded Ambrosiana Library in 1623; many of his books are preserved in the Biblioteca diocesana, Siena. 8vo (157 x 100 mm). Roman type, 29 lines plus headline. collation: *12 A-Z8 a-e8: 236 leaves (final leaf blank). Woodcut Aldine device on title-page, woodcut initials. Binding: Contemporary limp vellum with fore-edge flaps (164 x 113 mm), manuscript title on spine, stubs from two pairs of ties, title lettered along foot of textblock. (Head of spine slightly torn, a few small chips along lower flap.) Provenance: "Claudii Dactyli", early inscription on inside lower cover — Fiammetta Soave, catalogue "Bibliotheca Aldina" (with small sticker on inside front cover), 1991, item 74. Acquisition: Purchased from Fiammetta Soave, Rome, 1991. References: UCLA 486; Edit16 8827; Renouard 164/1

View 1 of Lot 61: Campeggi, De auctoritate et potestate Romani Pontificis, Venice, Aldus, 1555, vellum

campeggi, de auctoritate et potestate romani pontificis, venice, aldus, 1555, vellum

CORTI, MATTEO. Matthaei Curtii De prandii ac caenae modo libellus. Rome: Paolo Manuzio, 1562

CORTI, MATTEO. Matthaei Curtii De prandii ac caenae modo libellus. Rome: Paolo Manuzio, 1562 First edition of one of the first works on dietetics. 4to (219 x 158 mm). Roman type, 32 lines plus headline. Collation: *4 A-K4 L6: leaves 50 leaves. Woodcut Aldine device on title-page, woodcut initials. (Occasional foxing.) Binding: Later half vellum over marbled paper boards (225 x 167 mm), smooth spine with brown morocco gilt lettering pieces. (Chips to spine labels.) Provenance: Bolaffi Aste, Milan, 30 October 2013, lot 342. Acquisition: Purchased at preceding sale via Robin Halwas. References: UCLA 680; Edit16 13600; Renouard 187/12

View 1 of Lot 97: Corti, De prandii ac caenae modo libellus, Rome, Paolo Manuzio, 1562, later half vellum

corti, de prandii ac caenae modo libellus, rome, paolo manuzio, 1562, later half vellum

SERLIO, SEBASTIANO. Den eersten (-tweeden) boeck van Architecturen Sebastiani Serlij, tracterende van Geometrye. Overgesedt Wten Jtaliaensche in nederlandts duer Peeter Coeke van Aelst doen ter tijt Schildere der K. Maiesteyt. Antwerp: Mayken Verhulst (widow of Pieter Coecke van Aelst), 1553 [bound with:]

SERLIO, SEBASTIANO. Den eersten (-tweeden) boeck van Architecturen Sebastiani Serlij, tracterende van Geometrye. Overgesedt Wten Jtaliaensche in nederlandts duer Peeter Coeke van Aelst doen ter tijt Schildere der K. Maiesteyt. Antwerp: Mayken Verhulst (widow of Pieter Coecke van Aelst), 1553 [bound with:] Die aldervermaertste Antique edificien van templen, theatren, amphiteatren, paleisen, thermen, obeliscen, bruggen, archentriumphal &c. beschreven ende gefigureert met haren gronden en maten oock de plaetsen daerse staen en wiese dede maken. Antwerp: Gillis Coppens van Diest for Pieter Coecke van Aelst, April 1546 Reglen van Metselrijen, op de vijve manieren van Edificien, te wetene, Thuscana, Dorica, Ionica, Corinthia ende Composita: ende daer by gesedt die exemplen vanden Antijquen, die in dmeeste deel met de leeringe van Vitruvio overcommen. Met noch toeghesedtte Figuren die int eerste niet en waren, ende sommige texten vanden Aueteur gebetert hier oock bygesedt. Antwerp: Pieter Coecke van Aelst, 1549 Den vijfsten boeck van Architecturen Sebastiani Serli, inden welcken van diversche formen der Templen getracteert wordt nae de maniere vanden Antijken ende oock dienende voer de Kerstenen. Overgesedt Wten Jtaliaensche in nederlandts duer Peeter Coeke van Aelst doen ter tijt Schildere der K. Maiesteyt. Antwerp: Mayken Verhulst (widow of Pieter Coecke van Aelst), 1553 FIRST EDITION IN FLEMISH OF BOOKS 1, 2, 3 AND 5, second Flemish edition of Book 4, 4 parts in one volume, folio (357 x 238 mm). Gothic type. Collation: A-C4 D2 A-G4; A-R4 S6; A-S4; A-D4: 204 leaves. Title-pages to parts 1, 2, and 5 within woodcut strapwork border, title to part 3 in a table above ruins of an arcade, title to part 4 within architectural border, numerous in-text woodcut illustrations, many full-page. (Title-page to part one with several closed tears and chipping at margins, some staining and finger-soiling). Binding: Contemporary limp vellum (365 x 262 mm), spine lettered in ink, slight foredge flaps. (Binding slightly soiled and creased, upper joint split, closed tears to spine and upper foredge flap.) Provenance: Seb. Fred. Moitemont, early inscription to A1v — Thomas Steward Treill (1849-1925, Canadian physician), bookplate and signed pencil note on the significance of this edition to front free endpaper, and neat pencil captions to some diagrams in his hand — [Irving Zucker Art Books, sold in 1973 to] — Arthur and Charlotte Vershbow, sale, Christie's New York, 10 April 2013, lot 312. Acquisition: Purchased at the preceding sale. References: BAL RIBA 2969 (book 3); Fowler 305 (books 1-2), 323 (book 5); STCV 12916197 (books 1-2); USTC 400799 (book 4); Vène, Bibliographia Serliana 22, 23, 11, 10, 24

View 1 of Lot 280: Serlio, Den eersten (-vijfsten) boeck van Architecturen, Antwerp, 1553, contemporary limp vellum

serlio, den eersten (-vijfsten) boeck van architecturen, antwerp, 1553, contemporary limp vellum

The Haggadah, executed by Arthur Szyk, edited by Cecil Roth, London: Beaconsfield Press, Limited, [1940]

The Haggadah, executed by Arthur Szyk, edited by Cecil Roth, London: Beaconsfield Press, Limited, [1940] 4to (282 x 240mm), NUMBER 26 OF 125 COPIES SIGNED BY THE ARTIST AND EDITOR, printed on vellum in Hebrew and English, artwork by Arthur Szyk including decorative initials, borders, and 14 full-page illustrations, original full blue morocco pictorial gilt binding by Sangorski and Sutcliffe, spine gilt in seven compartments, pictorial silk doublures with monochromatic illustration of Moses, housed in original publisher's blue half morocco clamshell case, extremities of case rubbed and bumped LIMITED EDITION — NUMBER 26 OF 125 VELLUM COPIES SIGNED BY SZYK AND ROTH FOR SALE IN THE BRITISH EMPIRE. A FINE COPY of The Szyk Haggadah, representing the culmination of a thousand-year-old tradition of illuminated Hebrew manuscripts. Upon its publication, The Szyk Haggadah was described by the Times Literary Supplement of London as “a book worthy to be placed among the most beautiful of books that the hand of man has produced.” Each individually illuminated text is an example of both extraordinary artistic accomplishment and of profound scholarship. Given the unfolding events in Nazi Europe, the Haggadah became, for Szyk, a personal and political statement. Dedicating his Exodus narrative to King George VI (1895-1952), Szyk acknowledged the key role that England, his temporary place of residence, had to play in Jewish survival: “At the Feet of Your Most Gracious Majesty i [sic] humbly lay these works of my hands, shewing forth the Afflictions of my People Israel. arthur szyk [sic], illuminator of Poland.” Of his accomplishments, Szyk wrote in French on the page opposite the title: “I am but a Jew praying in art, and if I have worked, if I have succeeded to some degree, if I have been favorably accepted among the elite of society, I owe it all to the teachings, traditions, and eternal virtues of my people.” LITERATURE: Irvin Ungar, “Telling the Story: A History of the Szyk Haggadah,” in Byron L. Sherwin and Irvin Ungar (eds.), Freedom Illuminated: Understanding the Szyk Haggadah (Burlingame, CA: Historicana, 2008); Avraham Yaari, Bibli’ogerafyah shel haggadot pesah me-reshit ha-defus ve-ad ha-yom (Jerusalem: Bamberger & Wahrman, 1960), 159 (no. 2285); Isaac Yudlov, Otsar ha-haggadot: bibli’ogerafyah shel haggadot pesah me-reshit ha-defus ha-ivri ad shenat [5]720 (Jerusalem: Magnes Press, 1997), 271 (no. 3713); Isaac Yudlov, “Defusei kelaf be-beit ha-sefarim ha-le’ummi ve-ha-universita’i,” Kiryat sefer 68 (supplement) (1998): 261-273, at p. 273 (no. 42).

View 1 of Lot 102: Arthur Szyk and Cecil Roth | The Haggadah, [1940], number 26 of 125 vellum copies signed by Szyk and Roth

arthur szyk and cecil roth | the haggadah, [1940], number 26 of 125 vellum copies signed by szyk and roth

VITRUVIUS POLLIO, MARCUS. Vitruuius iterum et Frontinus a' Iocundo reuisi repurgatique quantum ex collatione licuit. Florence: Filippo I Giunta, October 1513

VITRUVIUS POLLIO, MARCUS. Vitruuius iterum et Frontinus a' Iocundo reuisi repurgatique quantum ex collatione licuit. Florence: Filippo I Giunta, October 1513 A second copy of the first pocket edition of Vitruvius, from the library of Cosimo Bartoli (1503-1572), best known for translating Alberti into Italian (first edition 1550), but active in several fields as translator, editor, and author. The book is inscribed at the head of the title-page "Di M. Cos: Bartoli No 164". The similar inscription “di coso b[-]rtoli … No 396” is found in the same place in a copy of Leon Battista Alberti’s L’architettura (Venice 1565; Bibliotheca Brookeriana, 9 July 2024, lot 432), and “Di m. Cosimo di Mattio Bartoli. N. 288” and “Cosmę Mathei de Bartolis 304” are written across the title-pages of two volumes in Padua (Biblioteca Universitaria, B.61.b 254 and BOT.3.202). A copy of Leonardo Bruni, Historia Fiorentina (Venice 1476) is known to contain Bartoli’s autograph annotations and textual corrections (Biblioteca nazionale di Firenze, D. 7.3.9). Comparison with it might prove whether the extensive marginalia of a technical nature in this Vitruvius are indeed in Bartoli’s hand, or another owner’s. Heraldic insignia (a hand supporting a flowering branch) drawn on the blank shield of the woodcut frame on the title-page has so far eluded identification. 8vo (164 x 98 mm). Italic type with some Roman and Greek, 30 lines plus headline. Collation: π4 A-Z8 AA4 a-c8 A-C8: 240 leaves. Title within ornamental woodcut border, woodcut initials, numerous woodcut illustrations, woodcut Giunta device on final verso. (Moderately foxed and stained.) Binding: Contemporary limp vellum (174 x 107 mm), traces of ties on fore-edge, flat spine with inked title, remains of early shelfmark. (A few unobtrusive wormholes to lower cover, tail of spine worn with sewing coming loose, endpapers stained and coming loose.) Provenance: Cosimo Bartoli (1503-1572), inscription at head of title-page "Di M. Cos: Bartoli No 164" — unidentified owner, obliterated inkstamp on title-page — Minerva Auctions, Rome, 7-8 July 2016, lot 644. Acquisition: Purchased from PrPh, New York, 2017 via Halwas. References: Renouard XXXVII/45; Edit16 28727; USTC 863682; Decia & Delfiol pp. 80-81 no. 45

View 1 of Lot 324: Vitruvius, De architectura, Florence, Filippo I Giunta, 1513, contemporary limp vellum

vitruvius, de architectura, florence, filippo i giunta, 1513, contemporary limp vellum

Matthew Sutcliffe The Practice, Proceedings, and Lawes of armes. London: Deputies of Christopher Barker, 1593 4to (190 x 140mm), woodcut device and head- and tail-pieces, contemporary vellum reusing a Medieval leaf (Biblical text in Latin from Isaiah (4: 1-6) and Acts (2: 1-11 and beginning of 10:34), first quarter of the 13th century), creasing and minor staining but an attractive copy, housed in a collector's cloth folding box This well-regarded work of its time, dedicated to the Earl of Essex, is by the clergyman, academic and lawyer Thomas Sutcliffe (1550-1629), who became Dean of Exeter, and founded Chelsea College (a royal centre for the writing of theological literature that was later closed by Charles I). Three years later Essex acted on the advice contained here to launch an attack against Spain, capturing Cadiz in 1596. Sutcliffe had several proselytizing links with North America, becoming a member of the council for Virginia on 9 March 1607 and of that for New England in 1620. In July 1624 he was appointed one of the commissioners to wind up the Virginia Company. LITERATURE: ESTC S117986

View 1 of Lot 57: Matthew Sutcliffe | The Practice, Proceedings and Lawes of armes, 1593, contemporary vellum reusing a Medieval leaf

matthew sutcliffe | the practice, proceedings and lawes of armes, 1593, contemporary vellum reusing a medieval leaf

ALCIATI, ANDREA. Omnia Andreae Alciati V.C. Emblemata. Adiectis commentariis & scholiis, in quibus Emblematum ferme omnium aperta origine, mens auctoris explicatur, & obscura omnia, dubiaque illustrantur; per Claudium Minoem Divionensem. Antwerp: Christophe Plantin, 1574

ALCIATI, ANDREA. Omnia Andreae Alciati V.C. Emblemata. Adiectis commentariis & scholiis, in quibus Emblematum ferme omnium aperta origine, mens auctoris explicatur, & obscura omnia, dubiaque illustrantur; per Claudium Minoem Divionensem. Antwerp: Christophe Plantin, 1574 A reissue of the 1573 Plantin edition, which was the first to contain the commentary of Claude Mignault, with a new title-page. Mignault also reordered the emblems, placing a section based on trees (unillustrated) at the end. 16mo (115 x 72 mm). Roman type, 36 lines plus headline. collation: A-Z8 a-m8 *-**8: 296 leaves (last leaf blank). Woodcut Plantin device on title-page, woodcut illustrations. (Occasional light staining, title-page slightly soiled, cut somewhat close.) Binding: Old vellum with foredge flaps (124 x 78 mm). (Binding slightly warped.) Provenance: Ex libris Joannis Muller, old inscription on title-page. Acquisition: Purchased in 1990 from E.K. Schreiber, New York. References: Green, Alciati 87; Landwehr, Emblem and Fable Books Printed in the Low Countries 16; USTC 406073; Voet 26

View 1 of Lot 16: Alciati, Omnia emblemata, Antwerp, Plantin, 1574, contemporary vellum

alciati, omnia emblemata, antwerp, plantin, 1574, contemporary vellum

ALCIATI, ANDREA. Viri clarissimi D. Andree Alciati Iurisconsultiss. Mediol. ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum liber. (Augsburg: Heinrich Steiner, 28 February) 1531

ALCIATI, ANDREA. Viri clarissimi D. Andree Alciati Iurisconsultiss. Mediol. ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum liber. (Augsburg: Heinrich Steiner, 28 February) 1531 FIRST EDITION OF THE FIRST EMBLEM BOOK. It was published by Conrad Peutinger, a friend of Alciati's, though quite possibly without Alciati's approval or involvement. It was printed by Heinrich Steiner, who quickly reprinted it in April that same year with the errata corrected. The woodcut illustrations are now attributed to Jörg Breu the elder (c. 1475/80-1537), who provided numerous illustrations for Augsburg printers. Alciati's emblems were derived from nature, mythology and history, mostly via classical or medieval sources, as well as Erasmus's Adagia. They each contain a motto with an epigram, to which illustrations were subsequently added by the printers. Alciati described his compilation as taking something from history or nature and giving it meaning which could then be used by an artist or craftsman to provide a badge or device; he mentions the dolphin and anchor device of Aldo Manuzio as well as Francesco Calvo's elephant printer's device (Karl Enenkel, The Invention of the Emblem Book and the Transmission of Knowledge, Brill, 2019, p. 4). It has also been suggested that Alciati could have devised his work as a literary coin and medal cabinet for his friend Peutinger. Alciati's little book proved a commercial success and was subsequently translated into various languages with illustrations by artists such as Jost Amman, Virgil Solis and Bernard Salomon and expanded over time from around 100 to over 200 emblems. Its influence on European culture led to the production of other emblem books and the extensive use of Alciati's symbolism in diverse contexts. TOGETHER WITH AN AUTOGRAPH LETTER BY ALCIATI, addressed to the bookseller and printer Francesco Minizio Calvo (active 1516-1545, in Pavia, Rome and Milan), who moved to Rome in 1521. One of Calvo's first publications in Rome was Marliani's Oratio in Martinum Lutherum, with some anti-Lutheran verses signed "Paulus exorcista", who has been identified as Alciati, though Calvo does not seem to have published any of Alciati's own works. Alciati and Calvo were regular correspondents during the 1520s, when Calvo had connections to the Papal Curia. Loosely inserted in the volume is a printed form headed "Report from Messrs. Ellis, 29 New Bond Street" with four extracts from sale catalogues pasted onto it, and dated 24 December 1912; one of the four is for a copy of the 1531 Alciati in vellum. There is also the extract from the Sotheby's 1916 catalogue of autographs, with the price £6-10-0. 8vo (147 x 96 mm). Italic type. Collation: A-E8 F4: 44 leaves (last leaf blank), with errata on F3v verso. Title within a woodcut border, woodcut initials and illustrations. Autograph letter signed ("Alciatus tuus"), to Francesco [Minizio] Calvo, "mercante de libri" (bookseller) in Rome, dated 13 June 1521, arranging letters of introduction on behalf of his friend M. Antonio Capello, and Capello's friend Giovanni Matteo Colombo, which Alciati has already requested from [Mario] Salamonio, 7 lines, tipped onto flyleaf. (Folded with small tear along crease, a few very small holes, address panel slightly browned.) Binding: Modern vellum (152 x 104 mm), spine lettered in black, in black leather folding box. Provenance: book: [perhaps William Wheeler Smith of New York, sale, Sotheby's, London, 13 December 1909, lot 15, described as having a vellum binding in a black pigskin slipcase] — Allan Heywood Bright (1862-1941), bookplate dated 1912 — Yates, Thompson and Bright: a family of bibliophiles, sale, Christie's, London, 16 July 2014, lot 40; letter: sale, Sotheby's, 31 July 1916, £6-10s, presumably added to the book by Allan Heywood Bright. Acquisition: Purchased at Christie's sale in 2014. References: Green, Alciati 2; Landwehr, German Emblem Books 23; VD16 A 1641

View 1 of Lot 10: Alciati, Emblematum liber, Augsburg, 1531, with an autograph letter by Alciati, later vellum

alciati, emblematum liber, augsburg, 1531, with an autograph letter by alciati, later vellum

ALBERTI, LEON BATTISTA. De pictura praestantissimae artis et nunquam satis laudatae, libri tres absolutissimi, Leonis Baptistae de Albertis viri in omni genere scientiarum praecipuè Mathematices doctissimi. Iam primum in lucem editi. Basel: [Bartholomaeus Westheimer], August 1540

ALBERTI, LEON BATTISTA. De pictura praestantissimae artis et nunquam satis laudatae, libri tres absolutissimi, Leonis Baptistae de Albertis viri in omni genere scientiarum praecipuè Mathematices doctissimi. Iam primum in lucem editi. Basel: [Bartholomaeus Westheimer], August 1540 FIRST EDITION of Alberti’s treatise on painting and a significant early work on perspective. The text was written in 1435-1436, with both Latin and Italian versions composed by Alberti himself; this is the first printing of either version. Alberti's treatise is written in a classical style and deals almost exclusively with classical painting; the only later artist to be mentioned is Giotto. While the technique of perspective is described, there are no explanatory diagrams which implies that the treatise was aiming to be more humanist and theoretical than practical. The 1540 text was edited by Thomas Venatorius from a manuscript which is considered to be Alberti's final version. It has been conjectured that the manuscript left Rome in 1468 with Regiomontanus, whose library went to his friend Bernhard Walther, a friend of Albrecht Dürer's parents; subsequently Pirckheimer acquired Regiomontanus's library. There are two Basel editions dated August 1540, both containing Westheimer’s device (h8v), differentiated by their title-pages and by variant readings, though no priority has been established. Some copies contain a two-leaf preface by the editor to Jakob Milichius, which is not here present. For a copy of the other 1540 Basel issue, with the preface, and in a binding for Jacques-Auguste de Thou, see Bibliotheca Brookeriana I, 11 October 2023, lot 2. 8vo (144 x 95 mm). Roman and italic type, 25 lines plus headline. Collation: a-h8: 64 leaves. Woodcut initials, woodcut printer's device on final verso. Last two pages of index transposed (in all copies). (Title leaf slightly worn in gutter.) Binding: Later binding (150 x 104 mm) reusing a vellum manuscript leaf (from a thirteenth-century French Missal, containing the vestal prayers) with text in two columns, placed with the gap between the columns across the spine, the second half of the volume filled out with paper (retaining some manuscript notes in Latin and German). (Binding slightly rubbed at edges.) Acquisition: Purchased in 1997 from Marlborough Rare Books, London. References: VD16 ZV 296

View 1 of Lot 5: Alberti, De pictura libri tres, Basel, 1540, later binding reusing a vellum manuscript leaf

alberti, de pictura libri tres, basel, 1540, later binding reusing a vellum manuscript leaf

LUCKE, JOHANN JACOB. Sylloge Numismatum Elegantiorum quae Diversi Impp. Reges, Principes Comites, Respublicae diversas ob causas ab Anno 1500, ad Annum usque 1600 cudi fecerunt, Concinnata & historia narratione (sed brevi) illustrata. Opera ac studio Joannis Jacobi Luckii Argentoratensis. Strassburg: Johann Repp, 1620

LUCKE, JOHANN JACOB. Sylloge Numismatum Elegantiorum quae Diversi Impp. Reges, Principes Comites, Respublicae diversas ob causas ab Anno 1500, ad Annum usque 1600 cudi fecerunt, Concinnata & historia narratione (sed brevi) illustrata. Opera ac studio Joannis Jacobi Luckii Argentoratensis. Strassburg: Johann Repp, 1620 FIRST EDITION of this numismatic treatise which surveys the history of sixteenth-century Europe through coinage, and largely draws on the collection of its author, Johann Jacob Lucke (1574-1653), numismatist and genealogist, illustrated by Friedrich Brentel (1580-1651). The work is structured chronologically and Lucke uses numismatics to present a history of Europe comprised of biographies of kings, queens and politicians, and accounts of significant political events and battles. Folio (308 x 185 mm). Roman and italic type. Collation: a-c4 A-Z4 Aa-Yy4 (2Y2 + χ2) Zz4 2χ1 Aaa-Bbb4 3χ1: 208 leaves. Engraved title-page, engraved armorial on a2, woodcut initials and headpieces, numerous engraved illustrations of coins throughout. (Title-page slightly frayed at fore-edge and becoming detached, failing repair to large tear at Cc1, small tear to foot of Ii4, small tears to foot and fore-edge of 3χ1, dampstaining throughout, browned.) Binding: Contemporary vellum (315 x 194 mm), foredge flaps, label to spine with manuscript title. (Binding slightly soiled, spine label worn.) Provenance: G.C. Sigler, signature on title. Acquisition: Purchased in 1968 from a bookshop in Germany. References: VD17 23:232008R

View 1 of Lot 197: Lucke, Sylloge numismatum elegantiorum, Strassburg, 1620, contemporary vellum

lucke, sylloge numismatum elegantiorum, strassburg, 1620, contemporary vellum

CONTILE, LUCA. Ragionamento di Luca Contile sopra la proprietà delle imprese con le particolari de gli Academici affidati et con le interpretationi et croniche. Pavia: (Girolamo Bartoli), 1574

CONTILE, LUCA. Ragionamento di Luca Contile sopra la proprietà delle imprese con le particolari de gli Academici affidati et con le interpretationi et croniche. Pavia: (Girolamo Bartoli), 1574 FIRST EDITION. A tall copy with some deckle edges. The final quire was added later, so the previously final leaf Qq4 was excised. A few other leaves were sometimes cancelled, in this copy leaves S1-2, Aa4, Bb3, Cc1, Hh4 and Mm4 appear to be cancels. Folio (349 x 230 mm). Roman type, 54 lines plus headline. collation: *6 A-Z4 Aa-Pp4 Qq4(-Qq4) Rr8: 167 leaves. Engraved title-page, woodcut initials, engraved illustrations (one full-page), woodcut printer's device above colophon. (Title-page somewhat soiled, occasional staining throughout, quire Gg browned, occasional offsetting, repaired tear in Cc1, a few small wormholes towards end.) Binding: Contemporary vellum (345 x 235 mm), holes from two pairs of ties. Modern buckram drop-backed box. (Binding crinkled and somewhat worn, spine slightly torn with old repairs at ends, front hinge repaired.) Provenance: W.D. Worthington, bookplate — Kerr & Richardson, Glasgow, bookseller's label at end. Acquisition: Purchased in 1990 from Thomas Taylor. References: Edit16 13187; Landwehr, Romanic Emblem Books 233; Mortimer, Harvard Italian 136

View 1 of Lot 95: Contile, Ragionamento sopra la proprieta delle imprese, Pavia, 1574, contemporary limp vellum

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