Exploration and Discovery, 1576-1939 The Library of Franklin Brooke-Hitching Part 4, Q-Z

FIRST EDITION, PRESENTATION COPY, inscribed by the author, 8vo (235 x 165mm.), xxiv, 342pp. [ii pp. adverts], folding coloured map, 145 photographic illustrations on 87 plates (18 in colour, 4 large panoramas), and 2 reproductions of sketches on one plate, original russet cloth, top edge gilt, photographically illustrated dust-jacket, scattered light spotting, minor wear and restoration to dust-jacket, dust-jacket price-clipped

on ancient central-asian tracks. brief narrative of three expeditions in innermost asia and north-western china. london: macmillan and co., 1933

FIRST EDITION, 4 volumes, 4to (330 x 246mm.), (vol.1, text) xxxix, 547pp., 288 photographic illustrations on 44 plates; (vol.2, text) xii, 549-1159pp., 217 photographic illustrations on 33 plates; (vol.3, plans and plates) xipp., 59 plans, and 138 numbered plates (including XCIX.A), comprising 124 photographic plates (13 in colour) and 14 plates of sketches; (vol.4, map box: 'Maps of Chinese Turkestan and Kansu from surveys made during the explorations of Sir Aurel Stein, K.C.I.E., 1900-01, 1906-08, 1913-15) 52 folding maps (index map, numbered maps 1-47, and A to D), text volumes in original russet cloth, top edges gilt, dust-jackets, map box in matching original russet cloth, slipcases, slight spotting to dust-jackets

innermost asia. detailed report of explorations in central asia, kan-su and eastern iran. oxford: clarendon press, 1928

Fine Books and Manuscripts Including Americana Online

4 volumes (including box of maps), 4to (13 x 9 5/8 in.; 330 x 243mm). 700 plates, 16 colored, 47 folding maps; library stamps, one or two closed marginal tears. Original brown cloth covered boards, boards ruled in blind, upper boards gilt lettered with gilt central medallion, rounded spines, gilt-lettered; corners bumped, minor rubbing, some fraying. 

'innermost asia, detailed report of explorations in central asia, kan-su and eastern iran'. oxford: clarendon press, 1928

Saturday at Sotheby's: Asian Art

comprising A Descriptive and Illustrative Catalogue of Chinese Bronzes: Acquired during the administration of John Ellerton Lodge, Washington, 1946; Daisy Lion-Goldschmidt and Jean Claude Moreau-Gobard, Chinese Art: Bronze, Jade, Sculpture, Ceramics, New York, 1960; Zheng Zhenze, Weidade yishu chuantong tulu [Catalogue of the greatest art traditions], vols. 1 and 2, Shanghai, 1955; Jitsuzo Tamura and Yukio Kobayashi, Keiryo [Tomb Qing], vols. 1 and 2, Kyoto, 1953; Tajiro Tonomura, Tian-long shan sekkutsu [Tianlongshan grottos], Tokyo, 1922; Sueji Umehara, Rakuyo Kin-son kobo shuei [Tombs in the Jincun village, Luoyang], Kyoto; Charles Fabens Kelley; Meng-chia Ch'en, Chinese bronzes from the Buckingham Collection, Chicago, 1946; Shouxian caihoumu chutu yiwu [Excavations from the Caihou tomb in Shouxian], Beijing, 1956; Mayuyama Seventy Years, vols. I and II, Tokyo, 1976; Shukan iho [The lost treasures of Zhou and Han dynasties], Tokyo, 1932; Siren Osvald, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. III, New York, 1925; Sekai toji zenshu, vols. 7, 10, 13, and 14, Tokyo; Bernhard Karlgren, A Catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection, Minneapolis, 1952; Shang Chengzuo, Changsha chutu chu qiqi tulu [Chu lacquer wares excavated in Changsha], Shanghai, 1955; Huixian fajue baogao [Excavation report of Huixian], Beijing, 1956; Aurel Stein, Innermost Asia. Detailed Report of Explorations in Central Asia, Kan-Su and Eastern Iran, vols. II and III, Oxford, 1928; Sir Percival David, Chinese Connoisseurship, London, 1971; Canjia lundun zhongguo yishu guoji zhanlanhui chupin tushuo/ Illustrated Catalogue of Chinese Government Exhibits for the International Exhibition of Chinese Art in London, vols. 2 and 4, Shanghai, 1936; Berthold Laufer, Jade: A Study in Chinese Archaeology and Religion, Chicago, 1912; Kadokawa Shoten, A Pictorial Encyclopedia of the Oriental Arts. China, vols. 1 and 2, New York, 1969; The Chinese Exhibition: A Commemorative Catalogue of the International Exhibition of Chinese Art, London, 1936 (30)

a group of thirty chinese art reference books |

Innermost Asia, detailed report of explorations in Central Asia, Kan-su and Eastern Iran. Oxford: Clarendon Press, 1928

stein, marc aurel.

Historical researches on the wars and sports of the Mongols and Romans. 1826, first edition, 4to, folding map, plates, contemporary calf, joints split--Windt, H. de. From Pekin to Calais by land. 1889, first edition, illustrations, map, library markings, recased retaining original covers and spine--Cobbold, R.P. Innermost Asia. Travel and Sport in the Pamirs. 1900, first edition, illustrations--Swinburne, T.R. A Holiday in the Happy Valley with pen and pencil. 1907, first edition, illustrations--Candler, E. On the edge of the world. 1919, first edition, illustrations, map, bumped--Fell, E.N. Russian and Nomad. Tales of the Kirghiz Steppes. New York, 1916, first edition, illustrations, library stamps to front endpapers--Etherton, P.T. In the Heart of Asia. 1925, first edition, folding map--Le Coq, A. von. Buried Treasures of Chinese Turkestan. 1928, first edition in english, illustrations--Nazaroff, P.S. Hunted through Central Asia. 1932, first edition in english, frontispiece, map--Polovtsoff, A. The land of Timur. Recollections of Russian Turkestan. 1932, first edition, illustrations, map, spine faded--Carruthers, D. Beyond the Caspian. 1949, first edition, illustrations, folding map; all 8vo and original cloth, except where stated, some wear and soiling to bindings; and 13 others (24)

central asia--ranking, j.

Travel, Atlases, Maps and Natural History Including the Library of Colin and Joan Deacon

Sand-buried ruins of Khotan. Personal Narrative of a Journey of archaeological & geographical exploration in Chinese Turkestan. London: T. Fisher Unwin, 1903, half-title, photogravure frontispiece, photographic illustrations in the text, folding coloured map, original pictorial russet cloth, top edge gilt, [Yakushi (1994) S713a], slight spotting, text block cracking at places, short tears to maps, hinges starting, lightly rubbed

Sand-buried ruins of Khotan. Personal Narrative of a Journey of archaeological & geographical exploration in Chinese Turkestan. London: T. Fisher Unwin, 1903, half-title, photogravure frontispiece, photographic illustrations in the text, folding coloured map, original pictorial russet cloth, top edge gilt, [Yakushi (1994) S713a], slight spotting, text block cracking at places, short tears to maps, hinges starting, lightly rubbedRuins of Desert Cathay. Personal narrative of explorations in Central Asia and Westernmost China. London: Macmillan and Co., 1912, 2 volumes, half-titles, 3 folding coloured maps, 8 coloured plates (each with a printed tissue guard), 212 plates (6 folding panoramas), 2pp. advertisements at end of each volume, original russet cloth, each with gilt medallion on upper cover, top edges gilt, [Ghani p.694; Yakushi (1994) S716], [Hill, signatures dated 24.06.39; Angus & Robertson, ink stamps; Dymock's, Sydney, bookseller's tickets], folding map in volume 1 with crude tape repairs, a few scattered tears or spotting, slightly rubbedOn ancient Central-Asian Tracks. Brief narrative of three expeditions in innermost Asia and North-Western China. London: Macmillan and Co., 1933, half-title, folding coloured map, plates, 2pp. advertisements at end, original russet cloth, gilt medallion on upper cover, top edge gilt, [Yakushi (1994) S723a], scattered spotting and slight rubbing of clothFIRST EDITIONS, 8vo, (4)

a collection of three works:

Judaica

8 pages (23  1/2  x 17  1/2  in.; 600 x 445 mm). As issued folio. Main bifold strengthened with tape repair, affecting only the innermost words on p.2. Folds, as expected. Page one light soil. Recipient address (Market Harborough, Leicestershire) in black ink top of page 1.

celebration of the passover by the jews (haggadah of the london times), london: 17 august 1840

Indian and Southeast Asian Works of Art

The present painting is a Jain schematic diagram of the cosmos representing the World of Mortals or manushyaloka and its demarcation into various levels of material and spiritual experience that man must traverse in the journey towards Enlightenment, which is at the epicenter of the mandala.

The present painting is a Jain schematic diagram of the cosmos representing the World of Mortals or manushyaloka and its demarcation into various levels of material and spiritual experience that man must traverse in the journey towards Enlightenment, which is at the epicenter of the mandala. The circumference of the realm of mortals girds three island-continents separated by oceanic rings. The two outer circles represent the earthly domain into which humans are born. Holy rivers meander through this realm and between them are fords represented by circles, which are crossed by Tirthankaras on their journey towards enlightenment. The innermost circle represents Jambu Dvipa the Realm of the Gods, centered by mount Meru, the final destination of all migrating souls.  

a jain cosmic diagram depicting the world of mortals

Western & Oriental Manuscripts

233 leaves, 216mm. by 143mm., complete, collation: i15 (xiii a singleton), ii-viii16, ix14, x-xiv16, xv12 (last two superfluous leaves cut away), each gathering formed of outermost and innermost bifolia of vellum containing paper leaves between them, written space 147mm. by 85mm., single column c. 22 lines in Sephardic Provençal script with nikkud, titles and incipits in larger square script, two watermarks: the first a letter 'R' similar to Briquet, Les Filigranes, no. 8938: from Palermo with variants from Udine and Naples, all 1450s, and Zonghi (Zonghi's Watermarks, 1953), no. 935: Italy, 1454 (but with a forward pointing spur at the top of the bowl of the 'R' and no surmounting cross); the second a tall thin bell with a sharply pointed clanger and three nodes at its base, similar in dimensions and shape to Briquet, no. 4085: Bergamo, 1442, and almost identical in its base with three nodes to Briquet nos. 4074: Provence, 1399 and 4073: Lautrec and Montpellier, 1399 and 1441 respectively, a few marginal notes from later owners throughout and signed by the censors 'Fra Luigi da Bologna 1599' and 'Gio. Dom. Vistorini 1609' on fol. 233v, some water-damage to leaves of first few gatherings with small area of edges of paper leaves brittle and crumbling between fols. 2 and 22, also some minor worm damage to outer extremities, but almost no damage to text, overall in very good condition, marbled paper over pasteboards with leather spine and corners, small loss of leather at head and foot of spine, paper tickets pasted to spine with 'MON[TEFIORE] 2[03]/ HA N[o. 68] LI[IBRARY]' (with same also pasted inside front board), "Mont[pellier] Mahzor, MS on parchment" (in Hebrew) and 'no. 9' inside blue border on front board, last two in hand of S. D. Luzzatto

mahzor (prayerbook for certain high holidays), identified as the rite of montpellier, with many rare or unique piyyutim (liturgical poems), in hebrew, manuscript on vellum and paper

Age of Wonder

Carter, Howard Autograph note, being the measurements for the four nested shrines enclosing Tutankhamun's sarcophagus. [n.d., but circa December 1923-February 1924, or later] One page (205 x 123 mm), written in pencil, a few numbers erased or emended by hand, very lightly rumpled. The Discovery of King Tutankhamun's Tomb — "everywhere the glint of gold" Beginning in the nineteenth century, Egypt held a special place in the Victorian imagination as a site of almost limitless discovery and wonderous decay (see lot 1024). The influence of "Egyptomania" can be seen in the poetic works of Shelley, or the photographs of Francis Frith, but nothing quite compared to the international frenzy the accompanied Howard Carter's 1922 discovery of the tomb of Tutankhamun, the 18th Dynasty pharaoh who ruled from circa 1341-1323 BC. Carter was working under the auspices of his patron, the Earl of Carnarvon, who had secured the exclusive right to excavate in the Valley of the Kings from the Egyptian Antiquities Service in 1914. Following wartime delays, Carter's search began in earnest in 1917. After passing several seasons with minimal progress, Carter's team began the 1922 season with a exciting discovery: they uncovered an entrance staircase which led to a doorway bearing the seals of the royal necropolis. It marked the beginning of an immense undertaking — the clearance of the tomb, packing and removal of its contents to the Cairo Museum, took Carter and a staff of experts a full ten years to complete. Having worked their way through emptying and cataloging the antechamber in the first season, Carter and his team turned their attention to the Burial Chamber in the second season. As Carter chipped away at the stone and mortar that covered the doorway to to the inner chamber, he wrote that "The temptation to stop and peer inside at every moment was irresistible, and, when, after about ten minutes’ work, I had made a hole large enough to enable me to do so, I inserted an electric torch. An astonishing sight its light revealed, for there, within a yard of the entrance to the chamber, stood what to appearance was a solid wall of gold." (Treasures of Tutankhamun). Carter soon realized that he was looking at one side of a shrine that virtually filled the entire room, identified here as "First (Outermost) Shrine (No. 207) L. 520 W. 340 H.?" The present note, which bears the diminishing length and width measurements of the four nested shrines covering Tutankhamun's sarcophagus, presumably dates from this second archeological season (1923-1924), when Carter and his team began dismantling the four nested shrines that held one of the world's great treasures — the pharaoh's coffin bearing his gold funerary mask. The omission of the height measurements is intriguing in that it indicates a lack of accessibility, perhaps dating this to the early period of the second season, before the shrines were dismantled completely. The note reads, in full: "Base measurements of:—First (Outermost Shrine) (No. 207) L. 525 W. 340 H.; Second Shrine (No. 237), L. 382 W. 255 H.; Third Shrine (No. 238), L. 342 W. 209 H.; Fourth (Innermost) Shrine (No. 239) L. 292 W. 163 H.; Inside measurement L. 280 W. 151 See Sarcophagus; Sarcophagus 274 147.5= Max of cornice." A record of of the greatest archeological discovery of the Twentieth Century REFERENCE: Treasures of Tutankhamun. Metropolitan Museum of Art, 1976, pp. 17-18; Who Was Who in Egyptology, p. 90 PROVENANCE: The Family of Howard Carter (RR Auction, September 2015, lot 8069)

View 1 of Lot 1043: Carter, Howard | The Discovery of King Tut's Tomb

carter, howard | the discovery of king tut's tomb

Bibliotheca Brookeriana: A Renaissance Library. The Aldine Collection N-Z

Sophocles. Sophocleous Tragodiai hepta metexegeseon [Greek]. Sophoclis Tragaediae septem cum commentariis. Venice: Aldo Manuzio, August 1502

Sophocles. Sophocleous Tragodiai hepta metexegeseon [Greek]. Sophoclis Tragaediae septem cum commentariis. Venice: Aldo Manuzio, August 1502 A fifth copy of the editio princeps of Sophocles, bound for Georg von Logau. Logau was described in a "Notabilia" blog post by Robin Halwas as one of a number of "Germans who chose to continue their education at the Italian universities and became there patrons of bookbindings, sending their schoolbooks to be specially bound in the local shops. The Silesian nobleman Georg von Logau (Logus), who in the years 1519–1538 attended the universities of Bologna, Rome, Padua, and Ferrara, is known by three such bindings, two acquired by him in Bologna and the other in Venice. They compare favourably with the luxurious bindings commissioned by Logau’s better-known contemporaries, the students Nikolaus Ebeleben, Damian Pflug, and Heinrich Castell, and suggest a bibliophile of equally refined taste." The binding on one of Logau's books now in the Leipzig Stadtbibliothek—Anthologia Graeca Planudea [Greek], ed. Janus Lascaris (Florence: Laurentius (Francisci) de Alopa, Venetus, 11 August 1494); ISTC ia00765000—"was attributed by Ilse Schunke to an anonymous Bolognese shop she designated the 'Spiegel-Meister' on account of the work it executed for Dietrich (Theodor) von Spiegel, who matriculated at Bologna in 1524. Anthony Hobson renamed the shop the 'German Students’ Binder' and established that it was active from about 1520 until the mid-1530s, when its materials and clients were taken over by a shop he named the 'Pflug and Ebeleben Binder.' The bindings these two shops executed for German students typically showed the book’s title in the centre of the upper cover, and the owner’s name and often a date in the same place on the lower cover" (https://www.robinhalwas.com/n74-georg-von-logau-ca-1500-1553). Logau's Sophocles was bound in Bologna, likely in the shop of the "German Students' Binder." Bolognese binders were readily equipped with a number of portrait-bust stamps of poets. A similar binding appears in De Marinis, La Legatura Artistica in Italia nei Secoli XV e XVI, II:1779, plate 339. 8vo (162 x 99 mm). Greek type, with some Roman and italic, 30 lines plus headline. collation: α–γ8 δ4 ε–η8 θ4 ι–λ8 μ4 ν–σ8 τ10 υ–φ8 χ10 ψ–ω8 αα8 ββ4: 196 leaves (δ4, θ4, and χ10 blank). Woodcut Aldine device on ββ4v, section-titles, four-line initial spaces with guide letters. (Title-page restored at foot, with a few letters on verso supplied in manuscript, final leaf extended, some staining and soiling throughout.) binding: Bolognese brown goatskin (165 x 108 mm), ca. 1520, by the German Students' Binder, covers with border of single gilt fillet flanked by blind fillets, rectangular frame composed of three gilt fillets and multiple blind fillets, in the central compartment an inlaid rectangle of red morocco, with large gilt arabesque at each corner and groupings of three gilt ivy leaves on each side, in the center of inlay on front cover a gilt roundel with a gilt classical bust, representing the author, encircled by gilt-lettered title ΣΟΨΟΚΛΕΟΥΣ ΤΡΑΓΩΔΙΑΙ with a large gilt arabesque above and below, and on rear cover a roundel composed of three concentric gilt French circles containing between the second and third the gilt-lettered name GEORGIVS LOGVS SILESIVS, inside the third, innermost circle are gilt eight stars, the head of Eolus, and a dolphin, spine in eight compartments with three full bands and four half bands gilt, respectively, with rules or hatches, traces of four pairs of fabric ties, edges gilt and gauffered edges to a ropework pattern. (Rebacked, perhaps in nineteenth-century, with restoration to spine and extremities.) Red velvet folding-case with manuscript label. binding: Georg von Logau (ca. 1495 in Schlaupitz, Herzogtum Schweidnitz–1553 in Breslau), supralibros — unidentified owner, inscription "Georgii Fasligium … Anno domini 1633" [possibly Fasliger] on front pastedown— Christian Gryphius (1649-1706), rector of the Maria-Magdalenen-Gymnasium in Breslau, inscription "Christian Gryphium [?] vratislav" and "Pariss Constat. 8 fl. A[nno] MDCLXXVII" on title-page and final page — Peter Kiefer, Auktion 63: Bücher & Graphik, Alte und Moderne Kunst, Pforzheim, 5-6 October 2007, lot 415. acquisition: Purchased from Bibliopathos, Verona, 2019. references: UCLA 60; Adams S1438; Aldo Manuzio tipografo 62; Edit16 36139; Grolier/Aldus 36, 37; Renouard 34/6; USTC 857020

View 1 of Lot 1435: Sophocles, Tragodiai, Venice, Aldo Manuzio, 1502, Bolognese brown goatskin, ca. 1520, by the German Students' Binder

sophocles, tragodiai, venice, aldo manuzio, 1502, bolognese brown goatskin, ca. 1520, by the german students' binder

Important Chinese Art

A rare gold openwork 'lotus' hairpin Song dynasty 宋 金鏤空蓮花釵 the finial cast as a blossoming lotus flower just before full bloom, the three layers of petals overlapping and with the tips of the innermost petals curving toward the center, each petal rendered with an openwork design, the center of the flower hollow, the post wrapped in a sheet of gold foil worked in repoussé with a stippled pattern imitating the texture of a lotus stem, Lucite stand (2) Length 5⅜ in., 13.6 cm

View 1 of Lot 99: A rare gold openwork 'lotus' hairpin, Song dynasty | 宋 金鏤空蓮花釵

a rare gold openwork 'lotus' hairpin, song dynasty | 宋 金鏤空蓮花釵

Bibliotheca Brookeriana: A Renaissance Library. Magnificent Books and Bindings

Bembo, Pietro. Petri Bembi Epistolarum Leonis decimi pontificis max. nomine scriptarum libri sexdecim ad Paulum tertium pont. max. Romam missi. Venice: Giovanni Padovano & Venturino Ruffinelli, [1535?]

Bembo, Pietro. Petri Bembi Epistolarum Leonis decimi pontificis max. nomine scriptarum libri sexdecim ad Paulum tertium pont. max. Romam missi. Venice: Giovanni Padovano & Venturino Ruffinelli, [1535?] First edition of a collection of nearly six hundred letters written by Bembo while carrying out secretarial duties for Pope Leo X (r. 9 March 1513–1 December 1521). Bembo’s holograph and corrected manuscript of the Epistolae Leonis Decimi is Biblioteca Apostolica Vaticana, Vat. Lat. 3364. His preface addressed to Pope Paul III is dated: Idibus Ianuarii MDXXXV. This copy is in a deluxe goatskin binding by Niccolò Franzese (Nicolas Fery), a Roman binder who served four popes, binding volumes for their private libraries as well as for the Vatican Library. It is decorated to a panel design, with the outer border impressed by solid tools and inner border filled with a chain pattern. In the centers of the covers are the quartered arms of Ippolito II d’Este (1509–1572), the second-born son of Duke Alfonso I of Ferrara and Lucrezia Borgia, appointed Archbishop of Milan in 1519, aged 10, and in 1538, elevated to Cardinal (Tre gigli d’oro, aquila imperiale bicipite nera). The library of Cardinal Ippolito II d’Este has largely disappeared; from surviving book lists and inventories we learn that he kept in his Roman palaces and at the Villa d’Este books and manuscripts luxuriously bound in silk and velvet of various colors, some with silver, gold, or enamel ornaments, and housed in purple silk or white leather bags, as well as bindings in diverse leathers and materials (capretto, turchino, corame, carta pecora, cartone bianco), colored red, brown, and black. His arms appear on some bindings, impressed in gold from one or the other of two stamps. Yet books with any distinguishing mark of Ippolito’s ownership are very rare. Fumagalli’s L’arte della legatura alla corte degli Estensi, a Ferrara e a Modena (Florence, 1913) could trace none, and only six volumes have since been recognized: three bear his armorial insignia, and three have presentation inscriptions lettered on their bindings. A list of these volumes is given below. As one of the wealthiest cardinals of the time, a voracious collector of antiquities and works of art of all kinds, and from a family with a strong tradition of bibliophily, Ippolito presumably collected a large library. The ongoing investigation of his “Libri di Guardaroba” which has uncovered so far three book lists and deepened our knowledge of the Cardinal’s bibliophile interests, does not yet allow an estimate of the total number of books in his possession. When the Guardaroba maggiore recorded the Cardinal’s property in 1548, prior to his return to Italy after fifteen years at the French court, one hundred books and manuscripts were counted. Around 98 were listed when an inventory was made in 1550, and between 150–200 volumes when one was taken at Tivoli in 1555. Approximately 165 volumes are summarily mentioned in a post-mortem list of the Cardinal’s property in one of his Roman palaces. Just three of the six known volumes relate to entries in these book lists. List of Books with Ownership Marks of Cardinal Ippolito II d’Este (1) Ludovico Ariosto, Orlando furioso di messer Ludouico Ariosto nobile ferrarese nuouamente da lui proprio corretto e d’altri canti nuoui ampliato con gratie e priuilegii (Ferrara: Francesco Rossi, 1 October 1532). Cardinal Ippolito II d’Este (his arms as cardinal illuminated on a frontispiece; i.e. inserted after 20 December 1538). — Guardaroba inventory taken by Antonio Sala, 1550: “Orlando furioso di messer Ludovico Ariosto stampato in carta pecora, coperto di velluto carmesino rosso” (Occhipinti, op cit., 2001, p.317) — Guardaroba inventory taken at Tivoli, 1555: “Orlando furioso in carta pecora coperto di veluto cremisino” (Pacifici, op. cit., p.376; Occhipinti, op. cit., 2001, p.327) — Biblioteca Apostolica Vaticana, Barb. Lat. 3942. Conor Fahy, “Some observations on the 1532 edition of Ludovico Ariosto’s ‘Orlando Furioso’” in Studies in Bibliography 40 (1987), pp.72-85 (p.80, p.85 no. 11); and “More on the 1532 edition of Ariosto’s ‘Orlando Furioso’” in Studies in Bibliography 41 (1988), pp.225-232; Conor Fahy, L’Orlando Furioso del 1532: Profilo di una edizione (Milan 1989), p.22 no. 5. (2) Pietro Bembo, Petri Bembi Epistolarum Leonis decimi pontificis max. nomine scriptarum libri sexdecim ad Paulum tertium pont. max. Romam missi (Venice: Giovanni Padovano & Venturino Ruffinelli, [1535?]). The volume offered here. (3) Marcus Tullius Cicero, Le epistole famigliari di Cicerone [according to De Marinis, op. cit., 1960, no. 922, the edition is “Venezia, Aldo, 1546, in-4°”; however, no edition of 1546 is recorded; Hobson, op. cit., 1975, p. 86 no. 92, identifies De Marinis no. 922 as “Cicero, Ad Atticum. Venice 1549. Perignano, the late Count Sanminiatelli. Arms of Cardinal Ippolito d’Este.” Edit16 records an edition of the Epistolae ad Atticum “Venetiis: Paulus Manutius Aldi filius, 1548 (Venetiis: apud Ald filios, 1549),” but it is an octavo, whereas De Marinis has recorded the format as quarto]. Cardinal Ippolito II d’Este (armorial supralibros). — possibly Guardaroba inventory taken by Antonio Sala, 1550: “L’epistole famigliare di Cicerone in stampa d’Aldo coperti di corrame con fili d’oro” or “Epistole familiari di Cicerone, coperte similmente” (i.e. bound in “corame pavonazzo”) (Occhipinti, op. cit., 2001, pp.317, 319) — Orazio Sanminiatelli (1894-1972). De Marinis, op. cit., 1960, no. 922. (4) Bartolomej Georgijević, Opera noua che comprende quattro libretti: si come nel sequente foglio leggendo, meglio si potrà intendere (Rome: Antonio Barré, 1555). Cardinal Ippolito II d’Este (armorial supralibros). — William Beckford (1760-1844) — Alexander Douglas, 10th Duke of Hamilton (1767-1852); Sotheby Wilkinson & Hodge, Catalogue of the second portion of the Beckford Library, removed from Hamilton Palace, London, 11-22 December 1882, lot 108 — Bernard Quaritch, London - bought in sale (£13) — Joannes Gennadius (1844-1932) — Athens, Gennadius Library, B/TH 4/G 361. Lucy Allen Paton, Selected bindings from the Gennadius library (Cambridge 1924), p.23 & Pl. 21; De Marinis, op. cit., 1960, no. 923 bis. (5) Bartolomeo Ricci, Bartholomaei Riccii Lugiensis Epistolarum familiarium libri VIII (Bologna: [s.n.], 1560). Cardinal Ippolito II d’Este (armorial supralibros). — E.P. Goldschmidt & Co., London. E.P. Goldschmidt, Gothic & Renaissance bookbindings exemplified and illustrated from the author’s collection (London 1928), no. 228 & Pl. 90. (6) Innocenzio Ringhieri, Cento giuochi liberali, et d’ingegno, nouellamente da m. Innocentio Ringhieri gentilhuomo bolognese ritrouati, et in dieci libri descritti (Bologna: Anselmo Giaccarelli, 1551). Cardinal Ippolito II d’Este (armorial supralibros). — George Spencer Churchill (1766-1840), Marquess of Blandford and later fifth Duke of Marlborough; R.H. Evans, White Knights library. Catalogue of that distinguished and celebrated library, containing very fine and rare specimens from the presses of Caxton, Pynson, and Wynkyn De Worde &c … Part II, 22 June-3 July 1819, lot 3582 — unidentified owner - bought in sale (£1 5s) — Richard Heber (1773-1833); Sotheby & Son, Bibliotheca Heberiana. Catalogue of the library of the late Richard Heber, Esq. Part the Ninth. Removed from Hodnet Hall, 11-26 April 1836, lot 2655 — Bohn - bought in sale (£1 8s) — George John Warren, 5th Baron Vernon (18031866) — Robert Stayner Holford (1808-1892); Lt Col. Sir George Lindsay Holford (1860-1926); Sotheby & Co., Catalogue of extremely choice & valuable books principally from continental presses, and in superb morocco bindings, forming part of the collections removed from Dorchester House, Park Lane, the property of Lt.-Col. Sir George Holford, K.C.V.O. (deceased), 5-9 December 1927, lot 707 (“Shown at the Exhibition of Bookbindings held by the First Edition Club in 1926.”) — Bernard Quaritch, London - bought in sale (£80); their Catalogue 520: A Catalogue of rare and valuable works (London 1936), item 711 (£65) — John Roland Abbey . (1894-1969); Sotheby & Co., Catalogue of valuable printed books and fine bindings from the celebrated collection the property of Major J.R. Abbey, London, 21-23 June 1965, lot 584 & Pl. 64 — Jean Hugues, Paris - bought in sale (£480) — Amsterdam, Universiteits Bibliotheek, OTM Band 1 C 15. Burlington Fine Arts Club, Exhibition of bookbindings (London 1891), Case E, p.25 no. 17 & Pl. 26; Anthony Hobson, French and Italian collectors and their bindings illustrated from examples in the library of J.R. Abbey (Oxford 1953), no. 68; De Marinis, op. cit., 1960, no. 1331. Folio (311 x 202 mm). Roman type, 38 lines plus headline. collation: A–Z6 AA–H6 (-HH6): 185 (of 186) leaves (lacking final blank HH6). With initial blank A1. (Lacking quire G [a duplicate of quire C bound in its place], first two leaves with staining and repairs from erased inscription, A1 & A2 with repaired holes in lower margins, slight dampstaining at head, small wormhole in quires P–R.) binding: Contemporary Roman reddish-brown goatskin (317 x 213 mm), by Niccolò Franzese for Cardinal Ippolito II d’Este, gilt fleur-de-lis at outer corners, 3 concentric gold tooled borders separated by double fillets, outer border of foliate and floral arabesque stamps, middle border containing spaced fleurs-de-lis, innermost border of repeated interlaced strapwork tool, central tasseled cardinal’s hat above d’Este arms, above and below 2 groups of solid and empty leaf arabesques including fleurs-de-lis and solid arabesque cornerpieces, traces of 4 pairs of (later) red silk ties, spine with 4 full bands, gilt letters B.R.B. later added horizontally across first compartment, edges gilt and gauffered to a ropework design. (Edges of binding and corners heavily restored, particularly along top edges, ends of spine and upper joint repaired, other restoration.) provenance: Cardinal Ippolito II d’Este (armorial supralibros; possibly Guardaroba inventory taken at Tivoli, 1555: “Epistole di Bembo” [“Conto de librj a stampa et a pena qualli sono in guardarobba,” entry transcribed by Vincenzo Pacifici, Ippolito II d’Este: cardinale di Ferrara, Tivoli, (1920), p. 376]) — Girolamo Baruffaldi (1675–1755), inscription — “B.R.B.” (supralibros, unidentified) — “cL” (?; nineteenth-century blue oval inkstamp, unidentified) — Luigi Lubrano, Naples (Bollettino del Bibliofilo: Notizie illustrazioni 2 (1920), pp. 80–81, item 41; Bollettino del Bibliofilo 3 Supplemento (1921), p.7, item 53, illustrated (Lire 2000) — E.P. Goldschmidt & Co., London (Catalogue 2, 1923, item 140, £27 10s. Purchased by) — Joseph Baer & Co., Frankfurt am Main, 4 May 1925 (E.P. Goldschmidt & Co., Financial records, 1919–1981, Stock Books, #1517, Grolier Club) — Jean Fürstenberg (1890–1982; exlibris) — Martin Breslauer Inc., New York (Catalogue 104/II, 1981, item 158, & Catalogue 107/II, [1984], item 40, $7800 in both). acquisition: Purchased from Martin Breslauer, 1989. references: Edit16 5003; USTC 813391; cf. for the binding: De Marinis, La Legatura artistica in Italia nei secoli XV e XVI, no. 633; De Marinis, Die italienischen Renaissance—Einbände der Bibliothek Fürstenberg, pp. 52–53; Exposition de reliures de la Renaissance: collection Jean Furstenberg: 30 September 1961 (Paris 1961), no. 11; Musée d’art et d’histoire, Collection Jean Furstenberg: 3 mai–5 juin 1966 (Geneva, 1966), no. 10; A. Hobson, Apollo and Pegasus: An Enquiry into the Formation and Dispersal of a Renaissance Library, p. 84 (“List C: Bindings by Niccolò Franzese,” no. 72).

View 1 of Lot 9: Bembo, Epistolarum libri sexdecim, Venice, [1535?], Roman goatskin by Niccolò Franzese for Cardinal Ippolito II d’Este

bembo, epistolarum libri sexdecim, venice, [1535?], roman goatskin by niccolò franzese for cardinal ippolito ii d’este

Medieval & Renaissance Manuscripts

outer border of a leaf (cut away at top and trimmed to innermost edge to remove text column), 435mm. by 115mm., including a central medallion with St. Lawrence holding an open book and resting his hand on the metal gridiron on which he was martyred, by the celebrated artist, Vincent Raymond, the saint’s tunic inscribed in shaded gold capitals with “S. LAV/RENT/ DE PA/DVLA” (see below), his book inscribed with “Levita Laurentius bonum opus operates est qui per requiem caecos il”, the variant of an Alleluia for the Gradual sung on the Feast of St. Lawrence (10 August), the lower corner with a rectangular compartment depicting the figure of Fortitude as a woman in flowing classical dress lifting a marble column, the remaining space filled with large flowers, acanthus leaves, detailed grotesque faces with foliate headdresses and a large white stork-like bird, all emerging from a realistic ornamental base with three lion’s feet, all on blue, green and silver grounds and within beaded wooden frame painted in trompe l’oeil style, the innermost edge of the border painted with blue and gold scrolls in same style, recto blank, frame of the border slightly rubbed, a single fold across the top of the cutting with small affect to the top of the medallion containing the saint, another small crease affecting the lower miniature of Fortitude, three small worm-holes in the upper scroll, otherwise in good condition, in a fitted card mount and brown gilt-tooled leather case lined with blue watered silk

st. lawrence, a cutting from a vast choirbook, illuminated manuscript on vellum [italy (rome), c.1535-40]

Selections from the Fox Pointe Manor Library

4to (7 1/4 x 5 1/2 in.; 184 x 140 mm). Title within ruled border embellished with printer's ornaments, text within ruled border with marginal column for printed side-notes, separate title-page for "A Sermon Preached at a Generall Fast before the Commons-House of Parliament: the Second of July, 1625" with continuous register and pagination, and for "The New Creature"  and "The Cuppe of Blessing" but with separate registers and pagination (except for title-page Of "New Creature"which ESTC collation apparently regards as X2), "A Sermon" and "The Cuppe of Blessing" set within woodcut architectural borders, "The New Creature" within a border of printer's ornaments, woodcut initials and headpieces; occasional browning, rough marginal tear the length of 2B4 costing a portion of the blank side-note column. Contemporary black morocco, gilt triple-filleted frame composed of double-rules filed with tiny dots, cornerpieces on two innermost frames, gilt supralibros of William Herbert, 3rd Earl of Pembroke, spine in five compartments gilt, raised bands, edges gilt; extremities rubbed, old tear to upper cover, spine ends chipped, ties perished.  

the saints qualification:or a treatise i. of humiliation, in tenne sermons. ii. of sanctification, in nine sermons: whereunto is added a treatise of communion with christ in the sacrament, in three sermons. london: printed by r[ichard]. b[adger]. for nicolas bourne, 1633

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