Books &amp; Manuscripts

8vo. Publisher's blue cloth stamped in red and blind; board edges a little faded, rear indented from bookend. Original illustrated dust-jacket; rubbed, loss at ends and upper right of front panel.

wait until spring bandini. new york: stackpole sons, 1938

Ask the Dust. New York: Stackpole Sons, 1939

fante, john.

Bibliotheca Brookeriana: A Renaissance Library. Magnificent Books and Bindings

Malipiero, Girolamo. Il Petrarcha spirituale, ristampato nuouamente, et dall’ authore corretto. Venice: Francesco Marcolini, September 1538

Malipiero, Girolamo. Il Petrarcha spirituale, ristampato nuouamente, et dall’ authore corretto. Venice: Francesco Marcolini, September 1538 Revised second edition of a rewriting of the entire Canzoniere, substituting divine themes and religious images for Francesco Petrarca’s secular themes and amatory images (donna becomes Madonna, amore denotes divine Amore, etc.). Ugo Rozzo has termed it “the mother of all expurgations,” as just 17% of the verses of the sonnets and 26% of the canzoni emerge unscathed (“Italian Literature on the Index,” in Church, Censorship and Culture in Early Modern Italy, Cambridge, 2011, p. 210). The work was undertaken by a Franciscan friar (ca. 1480–ca. 1547) independently of the Church—Petrarca’s poems were not banned, only some of his polemical verses and anti-papal letters—and first published in 1536. It was reprinted seven times from 1545 through 1587, initiating a flood of imitations. Twelve bindings with versions of the name “Marcantonio Totila” lettered on their lower covers are presently recorded; seven (including the present) were identified by Anthony Hobson in “Bookbinding in Bologna” (for the other six, see Note below, following References). They cover fifteen books printed between 1520 and 1546 (the great majority in 1542–1546), at Venice (eleven), Rome, Florence, Lyon, and Basel. Two books are in Latin, and the rest in Italian. The bindings were made in four or more workshops and vary greatly in appearance, some being decorated by an arabesque plaque, others individually tooled, however the center of the upper cover is invariably left empty for a title in gilt, and the lower cover for Totila’s name. On both covers the lettering sometimes overruns the available space, giving the impression that it was added to a book already bound for display in a bookshop. Marcantonio Totila (Totile, Totili, Totellis, Totilae) was a member of the guild of apothecaries (Compagnia de’ Speziali), one of the most prominent of the twelve guilds that formed the merchants’ tribunal (Foro dei Mercanti) in Bologna. In October 1529, he was the sole representative of the Speziali in a procession of high-ranking officials and “Massari delle Arti” sent to greet Pope Clement VII as he arrived in Bologna for the forthcoming coronation of Charles V as Holy Roman Emperor. He was named in a criminal case in 1539, accused together with dozens of other Bolognese citizens of having lent to usury. He appears in the accounts of the Fabbriceria di San Petronio in 1546, as a supplier of wine to the architects Giulio Romano and Cristoforo Lombardo. Marcantonio’s son, Francesco (1503–1556), is mentioned in the same accounts, for facilitating payments in 1543 and 1546 for the rival project of Vignola. Francesco had received a degree in civil and canon law at Bologna (30 June 1531), commenced a distinguished legal career in Bologna and in Rome, and died a Count Palatine. None of the recorded volumes appear to have any mark of Francesco’s ownership. This binding was assigned by Anthony Hobson to a Bolognese shop he named “The Binder of Ulrich Fugger’s Bible” (from a copy of the Zurich: Christopher Froschauer, 1543, Latin Bible, with Fugger’s name on the binding and ownership inscription of Bologna 1545, now Biblioteca Apostolica Vaticana, Pal. S. 22). Hobson linked 14 bindings to this shop, including also Marcantonio Totila’s copy of Dioscorides, and speculated that it may have been associated with the local branch of the Gioliti publishers. The other bindings for Marcantonio Totila were credited by Hobson to these shops: “The Second Achille Bocchi binder” (Fanti), “The ‘Pflug and Ebeleben Binder’” (Ficino, Manuzio), and a nameless shop using a two-part plaque (Cornazzano). Hobson’s seventh volume (Dubois) was not assigned. On this volume, the lettering MARCO AN | TOTILA has been obliterated (by the original binder) by over-tooling, and “Constantia” has been lettered in gold on the spine. Another binding from the shop of the “The Binder of Ulrich Fugger’s Bible” has the same mysterious spine lettering. A copy of Il Petrarcha con l’espositione d’Alessandro Vellutello (Venice: Giovanni Giolito De Ferrari, 1538), now in the Russian State Library, has its upper cover lettered in the center “Il Petrarcha del Vellu.” and the spine (from bottom to top) C | O | N | ST | AN | T | I | A. Presumably, the binder had on his bench simultaneously two volumes of the 1538 Petrarca (those now in Genoa and Moscow; see no. 11 below) and this volume of the 1538 Malipiero, and muddled their finishing. Additions to Hobson's List of Bindings for Marcantonio Totila (8) Luigi Alamanni, Opere toscane al christianissimo re Francesco primo (Lyon: Sébastien Gryphe, 1532–1533). — Marcantonio Totila (supralibros). — unidentified owner, inscription “A B.” — Guglielmo Bruto Icilio Tirnoleone, Count Libri (Libri-Carrucci) (1803-1869); Commendeur & L.C. Silvestre with P. Jannet, Catalogue de la bibliothèque de M. L**, Paris, 28 June-4 August 1847, lot 865 — unidentified owner - bought in sale (FF 81) — A. Franck, Catalogue d’une belle collection de livres rares et curieux principalement en langue Italienne, Espagnole, Provençale, Française, Grecque, Latine, etc. (Paris [1848]), p.2 item 10 (FF 100) — Florimond Lévêque & Victor Tilliard, Catalogue de livres, la plupart rares et curieux provenant de la bibliothèque de M. Libri Carucci, Paris, 12-28 April 1855, lot 711 — Henri d’Orléans, duc d’Aumale (1822-1897) — Chantilly, Bibliothèque du Château, VIII-C-030. Léopold Delisle, Chantilly. Le Cabinet des livres. Imprimés antérieurs au milieu du XVIe siècle (Paris 1905), nos. 28-29. (9) Donato Giannotti, Libro de la republica de Vinitiani (Rome: Antonio Blado, 1542), bound with: Gaspare Contarini, La republica, e i magistrati di Vinegia (Venice: Girolamo Scoto, 1544), bound with: Girolamo Garimberti, De Regimenti publici de la città (Venice: Girolamo Scoto, October 1544). Marcantonio Totila (supralibros). — Sotheby Wilkinson & Hodge, Catalogue of a valuable and important collection of rare, curious and standard books and manuscripts, London, 8-9 May 1868, lot 50 — Thomas Boone, London - bought in sale (£1) — Henri d’Orléans, duc d’Aumale (1822-1897) — Chantilly, Bibliothèque du Château, VIII-E-025-(2). Delisle, op. cit., no. 825; De Marinis, op. cit., no. 1319. (10) Giovanni Antonio Pantera, Monarchia del nostro Signor Iesu Christo, di messer Gioan’Antonio Panthera parentino (Venice: Gabriele Giolito de Ferrari, 1545). Bibliotheca Brookeriana (to be offered in a future sale). (11) Francesco Petrarca, Il Petrarcha con l’espositione d’Alessandro Vellutello (Venice: Bartolomeo Zanetti, for Alessandro Vellutello & Giovanni Giolito De Ferrari, 1538). Marcantonio Totila (supralibros) — Anton Giulio Brignole Sale (1605-1662) — Genoa, Biblioteca Berio, BCBS B.S.XVI.B.87. Laura Malfatto, Da Tesori privati a bene pubblico: le collezioni antiche della Biblioteca Berio di Genova (Ospedaletto [Pisa] 1998), no. 11. (n.b. A second copy of this work, with “Constantia” lettered in gold on the spine, was bequeathed by Carl D. Becher (1857–1934) to the Deutsche Buch- und Schriftmuseum, Leipzig, confiscated 1939-1945, and is now in the Russian State Library; see Tatiana Alekseevna Dolgodrova, Katalog khudozhestvennykh pereplëtov sobraniia Karla Bekhera [Moscow, 2007], p. 206, no. 239.) (12) Francesco Patrizi, De discorsi del reuerendo monsignor Francesco Patritij sanese vescouo gaiettano, sopra alle cose appartenenti ad una città libera, e famiglia nobile; tradotti in lingua toscana da Giouanni Fabrini fiorentino, à beneficio de figliuoli di messer Antonio Massimi nobile romano, m. Domenico, e m. Horatio, libri noue (Venice: Heirs of Aldo Manuzio, 1545). Marcantonio Totila (supralibros). — Carl D. Becher (1857–1934) — Leipzig, Deutsches Buch- und Schriftmuseum, Bö M 206/8° 8vo (153 x 101 mm). Italic type, 29 lines plus headline. collation: A–V8 X4: 164 leaves (colophon on X3r; X4 blank). Portrait of Petrarch on title-page, lettered: Francisci vera effigies, & imago Petrarcae. (Title-page a trifle soiled.) binding: Bolognese red goatskin (157 x 110 mm), ca. 1538, by “The Binder of Ulrich Fugger’s Bible,” richly gilt frame within 2 gilt fillets and central panel filled with various solid tools around an open center, lettered on the upper cover IL PE | TRARCHA | .SPIR. and on lower cover MARCO AN |TOTILA” (obliterated by the original binder by overtooling), spine with 3 full and 4 half bands and “CONSTANTIA” in gilt running down spine, remnants of 4 pairs of ties, edges gilt and gauffered with small knotwork tools. (Slightly darkened, joints and corners lightly restored.) provenance: Marcantonio Totila (supralibros [obliterated]) — “Constantia” (supralibros[?] lettered on spine; unidentified) — “Franciscus Gianibellus” (Giambelli) (seventeenth-century inscription in red ink on title-page) — William Bateman, FSA (1787–1835; armorial exlibris “W.m Bateman, F.A.S., of Middleton-by-Youlgrave, in the County of Derby”) — Giovanni Gancia, Brighton & Paris (Delbergue-Cormont & Librairie Bachelin-Deflorenne, Paris, Catalogue de la Bibliothèque de M. G. Gancia composée en partie de livres de la première bibliothèque du Cardinal Mazarin et d’ouvrages précieux, Paris, 27 April–2 May 1868, lot 560; Delbergue-Cormont & Adolphe Labitte, Paris, Catalogue des livres et manuscrits rares et précieux composant le cabinet de M. Gancia, Paris, 11–12 April 1872, lot 222), purchased by — unidentified owner (FF 47) — Capt. Charles Ludovic Lindsay (1862–1925; ink-stamp) — John Henry Montagu Manners, 9th Duke of Rutland (1886–1940; acquisition inscription, dated 1925) — Manners, family library at Belvoir Castle (ink-stamp) — Marlborough Rare Books, London (Catalogue 146, [1992], item 3, £12,500); Catalogue 160, [1995], item 6, £7500). acquisition: Purchased from Marlborough Rare Books, London, 1996. references: Edit16 28605; USTC 839765; Casali, Marcolini, no. 33 (“più rara della prima, ed anche più corretta”); for the binding, see A. Hobson, “Bookbinding in Bologna,” in Schede umanistiche, n.s., 1 (1998), pp. 147–176 (p. 171 no. 7); A. Hobson & L. Quaquarelli, Legature bolognesi del rinascimento (Bologna, 1998), pp. 26–29 (p. 27, no. 7). Note: the other six Totila bindings identified by Hobson are: Jacques Dubois, De medicamentorum simplicium delectu, praeparationibus, mistionis modo, libri tres (Venice: Vincenzo Valgrisi, 1543), p. 154; Sigismondo Fanti, Triompho di Fortuna (Venice: Agostino Zani, 1527), p. 168; Marsilio Ficino, Tomo primo delle diuine lettere del gran Marsilio Ficino tradotte in lingua Toscana (Venice: Gabriele Giolito De Ferrari, 1546), p. 171; Dioscorides Pedianus, De medica materia libri sex (Basel: Michael Isengrin, 1542), p. 173; Paolo Manuzio, Lettere volgari di diuersi nobilissimi huomini, et eccellentissimi ingegni (Venice: Heirs of Aldo I Manuzio 1545), bound with: Antonio de Guevara, Libro primo delle littere dell’ill. signor don Antonio di Guevara (Venice: Bernardino Bindoni, 8 April 1545), p.174; Antonio Cornazzano, De re militari (Florence: Heirs of Filippo Giunta, 15 May 1520).

View 1 of Lot 60: Malipiero, Il Petrarca spirituale, Venice, 1538, contemporary Bolognese red goatskin for Marcantonio Totila

malipiero, il petrarca spirituale, venice, 1538, contemporary bolognese red goatskin for marcantonio totila

The Dolmetsch Collection of Early Music

Lute Highly important early seventeenth-century manuscript of Italian and French lute music in French tablature, comprising some 320 pieces, INCLUDING THE LACHRIMAE PAVAN, JOHN DOWLAND'S MOST FAMOUS COMPOSITION AND THE MOST POPULAR PIECE OF MUSIC IN THE WHOLE OF THE FIRST HALF OF THE SEVENTEENTH CENTURY notated in brown ink by a single scribe, almost entirely in French lute tablature, on up to four six-line tablature staves per page, comprising mostly dances (including 99 courantes, 37 voltes, 35 galliards and 32 ballets), but also 3 fantasias (fols.260v-263r) and some French song movements, the identifiable composers of the mostly unattributed dances including Michelangelo Galilei (1575-1631), Daniel Bacheler (1572-1619), Robert Ballard (c.1575-after 1649), Jean-Baptiste Besard (1567-1625), Charles Bocquet (c.1570-before 1615), Diomedes Cato (1560 to 1565-after 1607 or 1618), John Dowland (1563-1625/6), Nicolas de la Grotte (c.1530-c.1600), Henri de L'Enclos (1592/3-1649), Charles de Lespine (?1580s-after 1627), Mercure d'Orléans (fl. c.1590-c.1619), Elias Mertel (c.1561-1626), René Mesangeau (late C16th-?early January 1638), Victor de Montbuisson (c.1575-after 1638), Julien Perrichon (1566-c.1600), Jakub Reys (c.1550-c.1605) and Nicolas Vallet (c.1583-after 1642), the manuscript containing some tuning charts (e.g. on fols.283r and 285r) and a number of cancellations (on fols.8r, 35r, 77r, 133v, 234r and 266v), the music continued on one page (fol.151r) on a handwritten stave in the lower margin 285 leaves, oblong 8vo (c.15 x 18.3cm), the watermarks, incompletely described in the literature, including a crown surmounting a double-headed eagle over a shield enclosing the letters MB (?), type-set staves, modern ink foliation to lower outer corners, possibly contemporary Latin inscription to inside cover "Ignavia est iacere ubi possis surgere", early German inscription on free endpaper ("Der Herre Vnnd [?]..."), some later (dealer's?) pencil markings to lower pastedown ("...II 95"), Dolmetsch library stamp and pencil shelfmark ("Dolmetsch Library II B 1") to front pastedown, some modern pencil annotations, including tablature, on fols.259v-260r, presumably in Arnold Dolmetsch's hand, contemporary blind-stamped German pigskin binding, plausibly by the Federnelkenmeister binder of Cologne (c.1583-1619, EBDB w004758), three concentric roll-tooled leafy borders around a central panel with small corner and centre stamps, two later clasps with plaited straps, [probably Bavaria, c.1620], one leaf before fol.21 excised, first leaf on a guard and the leading edge strengthened, some worming, some light damp-staining, small marginal tears to fol.231 and fol.246 (slightly affecting text of latter), tear to last leaf expertly repaired, spine worn ONE OF THE MOST IMPORTANT LUTE MANUSCRIPTS OF THE SEVENTEENTH CENTURY. IT IS ALSO ONE OF THE MOST SUBSTANTIAL OF ALL EXISTING LUTE MANUSCRIPTS AND THE MOST SIGNIFICANT TO BE OFFERED AT AUCTION IN MODERN TIMES. NOT ONLY INCLUDING 89 PIECES UNIQUE TO THIS SOURCE, IT ALSO CONTAINS A VERSION OF THE MOST POPULAR PIECE OF MUSIC WRITTEN BETWEEN 1597 and 1650: DOWLAND'S LACHRIMAE PAVAN. This spectacular manuscript, UNPUBLISHED IN ITS ENTIRETY, and probably Bavarian in origin, is written by the same scribe who wrote the lute book of Joannes Aegidius Berner von Rettenwert (1603-1663), a volume copied in Salzburg c.1623-1627 (and preserved now in Prague, Národní Muzeum - České Muzeum hudby: MS G.IV.18) that exhibits a considerable overlap in repertoire with the present manuscript (90 of the Dolmetsch manuscript's pieces are transmitted in the Prague source). Given that the ownership signature in the Prague volume appears to match the musical hand there, it is possible that the scribe in both manuscripts, whose hand is fluent and bears witness to evident musical training, was one and the same as Joannes Berner himself - one of whose residences, from 1643 on, was Schloss Anif, outside Salzburg. According to Suzanne Bloch, Dolmetsch himself considered that the volume had belonged to a nobleman 'whose secretary was of Italian background because in the copying of all the popular lute pieces in French tablature, he would revert at times to Italian script' (in an article published in 1904, Dolmetsch referred to the manuscript as 'a French MS., about 1600'). The treasure-house of music represented here, which in size dwarfs collections in the majority of lute manuscripts, comes from the transitional period between the stylistic epochs of the Renaissance and Baroque. There are many highlights in a volume which preserves no fewer than 320 pieces by some 26 identified composers. One composer of particular interest is the lutenist Michelangelo Galilei (1575-1631), son of the theorist and lutenist Vincenzo Galilei and brother of Galileo, who was active in Munich onwards from 1607, when he entered the service of the Elector of Bavaria, Maximilian I, working at the Munich Hofkapelle: he is the named composer of ten pieces in the volume (on fols.108v, 109r, 113v-114r, 151v-152v, 195v-196r, 203v-204r, 239v-240r, 280v-281r), and a few others can be assigned to him on the basis of concordances elsewhere. But undoubtedly the jewel of the manuscript, is Dowland's Lachrimae pavan (fols.225v-227v), one of two pieces by the great English lutenist found here (the other is the galliard on fols.92v-93r, his so-called 'Pipers Galliard'). Dowland's famous lute pavan, written in 1596, to which lyrics were later added ("Flow, my tears"), survives in over 100 manuscript and printed sources across Europe, testifying to its extraordinary popularity in the period up to fifty years after its composition. The intriguing version transmitted by the present manuscript is, as noted by the doyenne of lute studies, Diana Poulton, a highly simplified version. So popular did the lute song (or ayre) version become that Dowland would occasionally sign his name "Jo: dolandi de Lachrimae". The collection is markedly influenced by the French style brisé (the performance convention whereby in many passages the notes of the treble and bass, for instance, were sounded successively, beginning with the bass), and includes a large number of courantes and voltes, the most common dance types of the period. French tablature is employed throughout with the exception of one sarabande (fol.56v), one courante (fols.249v-250r) and two other pieces (the courantes on fols.249ff. and fols.267vff.), which start in Italian tablature and then revert to French. So-called Renaissance tuning is required throughout, with the exception of a handful of numbers, including nos.315-319, 321 and 322, which employ the cordes avallées tuning as found in the Thesaurus Harmonicus (1603) of Jean-Baptiste Besard. The number of courses employed ranges from six to ten; in a couple of cases the tenth course is lowered to B♭. Arnold Dolmetsch was of course inextricably linked with the lute, in reality as well as in the popular imagination, making his first instrument in 1893. Several instruments by him survive, including the ones he made for Diana Poulton. Contents: 1. fols.1r-6r Untitled; 2. fols.6v-9r Galliarde; 3. fols.9v-11r Galliarde Diomedes; 4. fols.11v-12r Courante; 5. fols.12v-13r Courante; 6. fols.13v-14r Courante; 7. fols.14v-15r Courante; 8. fols.15v-16r Courante; 9. fols.16v-17r Courante; 10. fols.17-18r Courante; 11. fols.18v-19r Courante; 12. fols.19v-20r Courante; 13. fols.20v-21r Courante; 14. fols.21v Courante; 15. fols.22r Ballet; 16. fols.22v-23r Courante; 17. fols.23v-25r Pavana; 18. fols.25v-26r Pavana Alterij toni; 19. fol.26v Pavana alterij toni; 20. fol.27r Pavana Toni priori; 21. fols.27v-28r Passomezo; 22. fols.28v-29r Passomezo; 23. fols.29v-30r Saltarello; 24. fol.30v Courante Anglum; 25. fol.31r Galliarde; 26. fols.31v-32r Ballet Lepin; 27. fols.32v-33r Courante; 28. fol.33v Courante; 29. fol.34r Courante; 30. fols.34v-35v Ballet de Lepin; 31. fols.36r-37r Courante de Lepin; 32. fols.37v-38r Ballet; 33. fols.38v-39r Ballet [Elias Mertel]; 34. fols.39v-40r Courante F. R. H.; 35. fols.40v-41r Galliante; 36. fols.41v-42r Courante; 37. fols.42v-43r Courante la Vallette; 38. fols.43v-44r Courante; 39. fols.44v-45r Courante; 40. fols.45v-46r Courante; 41. fols.46v-47r Courante; 42. fols.47v-48r Courante; 43. fols.48v-49r Courante; 44. fols.49v-50r Courante; 45. fols.50v-51r Courante; 46. fols.51v-52r Volte; 47. fols.52v-53r Courante; 48. fols.53v-55r Courante; 49. fols.55v-56r Sarabanda; 50. fol.56v Sarabanda; 51. fol.57r Sarabanda; 52. fols.57v-58r Sarabanda; 53. fols.58v-59r Courante; 54. fols.59v-60r Courante; 55. fols.60v-61r Courante; 56. fols.61v-62r Courante; 57. fol.62v Courante; 58. fol.63r Courante; 59. fols.63v-64r Courante du Sieur Mesengeau; 60. fols.64v-65r Courante; 61. fols.65v-66r Courante; 62. fols.66v-67v; 63. fol.68r Courante; 64. fols.68v-69r Courante; 65. fols.69v-71r Galliarde; 66. fols.71v-73r Galliarde; 67. fols.73v-74r Galliarde; 68. fols.74v-75r Galliarde; 69. fols.75v-76r Galliarde; 70. fols.76v-78r Gall[iarde]; 71. fols.78v-80r Galliarde; 72. fols.80v-83r Galliarde; 73. fols.83v-84r Galliarde; 74. fols.84v-85r Galliarde; 75. fols.85v-86r Fin de Galliarde; 76. fols.86v-87r Fin de Galliarde; 77. fols.89v-90r Galliarde; 78. fol.90v Galliarde; 79. fol.91r Galliarde; 80. fols.91v-92r Galliarde G. Barodi colon:; 81. fols.92v-93r Galliarde [Dowland's 'Pipers Galliard']; 82. fols.93v-94r Galliarde; 83. fols.94v-95r Galliarde; 84. fols.95v-96r Galliarde [Bacheler]; 85. fols.96v-97r Galliarde [Montbuisson]; 86. fols.97v-98r Galliarde; 87. fol.98v Galliarde; 88. fol.99r Galliarde; 89. fols.99v-100r Galliarde [Francis Cutting or Richard Allison?]; 90. fols.100v-101r Galliarde; 91. fols.101v-102r Galliarde; 92. fols.102v-104r Galliarde Tambourina; 93. fol.104v Volte Tambourina; 94. fol.105r Volte; 95. fols.105v-106r Volte; 96. fols.106v-107r Volte; 97. fol.107v Volte; 98. fol.108r Volte; 99. fol.108v Volte Galilei; 100. fol.109r Volte Eiusde[m]; 101. fols.109v-110r Volte; 102. fols.110v-111r Volte; 103. fols.111v-112r Volte; 104. fols.112v-113r Volte; 105. fols.113v-114r Volte Galilei; 106. fols.114v-115r Volte; 107. fols.115v-116r Volte Mercurij; 108. fols.116v-117r Volte; 109. fol.117v Volte; 110. fol.118r Volte; 111. fols.118v-119r Volte; 112. fols.119v-120r Volte; 113. fols.120v-121r Volte; 114. fols.121v-122r Volte; 115. fol.122v Volte; 116. fol.123r Volte; 117. fol.123r Volte; 118. fol.124v Volte; 119. fols.124r Volte; 120. fols.124v-125r Ballet; 121. fol.125v Ballet; 122. fol.126r Ballet; 123. fols.126v-127r Ballet; 124. fols.127v-128r Ballet; 125. fols.128v-129r Ballet; 126. fol.129 Ballet; 127. fol.130r Ballet; 128. fol.130v Ballet d[escant?] [Robert Johnson]; 129. fol.131r Ballet B[assus?]; 130. fol.131v Ballet d[escant?]; 131. fol.132r Ballet B[assus?]; 132. fols.132v-133r Ballet; 133. fols.133v-134r Ballet; 134. fol.134v Ballet [Pierre Guédron]; 135. fol. 135r Ballet; 136. fols.135v-136r Ballet; 137. fols.136v-137r Ballet; 138. fol.137v Ballet; 139. fol.138r Ballet; 140. fol.138v Ballet; 141. fol.139r Ballet [Mercure]; 142. fols.139v-140r Ballet; 143. fols.140v-141r Intrada; 144. fols.141v-142r Intrada; 145. fols.142v-143r Intrada; 146. fol.143r Intrada; 147. fols.143v-144r Intrada; 148. fols.144v-145r Intrada polonica; 149. fols.145v-146r Intrada; 150. fols.146v-147r Intrada; 151. fol.147v Intrada; 152. fol.148r Intrada; 153. fols.148v-149r Intrada anglicana; 154. fols.149v-150r Passomezo; 155. fols.150v-151r Passomezo; 156. fols.151v-152r Passomezo Galilei; 157. fol.152v Saltarello Eiusde[m]; 158. fol.153r Saltarello aliud; 159. fol.153v Passomezo [J.-B. Besard]; 160. fol.154r Aliud eiusde[m]; 161. fol.154v Passomezo; 162. fol.155r Saltarello; 163. fols.155v-156r Passomezo; 164. fols.156v-157r Passomezo; 165. fols.157v-158r Passomezo; 166. fol.158r Saltarello; 167. fol.158v Aperta mente; 168. fol.159r Hor che vage; 169. fol.159v Chi mi sente; 170. fol.160r Chi mira gli occhi toui; 171. fols.160v-161r Mentrio compai; 172. fol.161v Queste dolce Serene; 173. fol.162r Ide[m]; 174. fol.162v Napolitana; 175. fol.163r Napolitana; 176. fols.163v-164r Passomezo; 177. fols.164v-165r Passomezo; 178. fols.165v-166r Passomezo; 179. fol.166r Saltarello; 180. fols.166v-167r Passomezo; 181. fols.167v-168r Passomezo; 182. fols.168v-169r Saltarello; 183. fols.169v-171r Passomezo; 184. fol.171r Saltarello; 185. fols.171v-173r Passomezo; 186. fol.173v Saltarello; 187. fols.174r Passomezo; 188. fols.174v-175r Passomezo [J.-B. Besard]; 189. fols.175v-176r Passomezo; 190. fols.176v-177r Passomezo; 191. fols.177v-178r Passomezo; 192. fols.178v-179r Le Testame[n]t de Perrichon; 193. fol.179v Courante de la Grotte; 194. fol.180r Response a la Pre[ce]dente [?]; 195. fols.180v-181r Courante; 196. fols.181v-182v Courante du Sieur de la Grotte; 197. fol.183r Courante la Vignone; 198. fols.183v-184v Courante de Gauthier; 199. fol.185r Autre [courante] de mesme ton; 200. fols.185v-186r Autre [courante] du mesme ton; 201. fol.186v Autre [courante] du mesme ton; 202. fol.187r Courante; 203. fols.187v-188r La Poulnoise; 204. fols.188v-189r Ballet La Cloris; 205. fols.189v-190r La Bontade de Ballard; 206. fols.190v-191r Courante; 207. fols.191v-192r Les grands Ballets du Roy; 208. fol.192v Ballet; 209. fol.193r Gall:; 210. fols.193v-194r Canaries; 211. fol.194v Philis; 212. fol.195r Galliarde; 213. fols.195v-196r Volte d Galilei; 214. fols.196v-197r Courante; 215. fols.197v-198r Allemand; 216. fols.198v-199r Allemand; 217. fol.199v Allemand; 218. fol.200r Allemand; 219. fol.200v Allemand; 220. fol.201r Allemand; 221. fols.201v-203r Galliarda Passionata; 222. fol.203v Volte d Galilei; 223. fol.204r Volte eiusde[m]; 224. fol.204v Volte; 225. fol.205r Courante; 226. fol.205v Courante D.G.; 227. fol.206r Allemand; 228. fols.206v-207r Allemand; 229. fols.207v-208r Follie; 230. fols.208v-209r Capricio; 231. fols.209v-210r Ballet; 232. fols.210v-211r Courante Balars; 233. fols.211v-212v Branle; 234. fols.212v-213r Courante Balard; 235. fols.213v-214r Courante Balard; 236. fol.214v La Favorite; 237. fol.215r La pincante; 238. fols.215v-216r Courante Gothier; 239. fols.216v-217r Courante; 240. fols.217v-218r Courante; 241. fols.218v-219r Courante; 242. fols.219v-220r Courante; 243. fol.220v La Guymbarde; 244. fol.221r La dumitre courante; 245. fols.221v-222r Courante; 246. fols.222v-223r Courante; 247. fols.223v-224r Courante; 248. fols.224v-225r Courante; 249. fols.225v-227v Pavana lacrymae [Dowland]; 250. fols.228r-231r Bergamasco; 251. fol.231v Branle 1; 252. fol.232r Branle 2; 253. fol.232v Branle 3; 254. fol.233r Branle 4; 255. fol.233v-234r Pavana Vrsina [Valentin Strobel]; 256. fol.234v Branle 5; 257. fol.235r Branle 6; 258. fol.235v Courante; 259. fol.236r Courante; 260. fols.236v-237r Passomezo Courante; 261. fols.237v-238r Ballet; 262. fol.238v Courante; 263. fol.239r Courante; 264. fols.239v-240r Courante Galilei; 265. fol.240v Sarabanda; 266. fol.241r Sarabanda; 267. fols.241v-242r Pavanne dangleterre; 268. fols.242v-243r Vn Jour de la semaine; 269. fols.243v-244r La Mariniere; 270. fols.244v-245r Posso morir; 271. fols.245v-246r Courante; 272. fol.246v Courante; 273. fol.247r Courante; 274. fols.247v-248r Taned Spolski; 275. fols.248v-249r Courante de la complainte; 276. fols.249v-250r Courante; 277. fol.250v Courante; 278. fol.251r La Robinelle; 279. fols.251v-252r Courante; 280. fols.252v-253r Courante; 281. fols.253v-254r Courante; 282. fol.254v Courante; 283. fol.255r Courante cruelle bergere; 284. fols.255v-256r La maturine; 285. fols.256v-257r Volte de la complainte; 286. fols.257v-258r Volte; 287. fols.258v-259r Lecarusel[?]; 288. fols.259v-260r Courante; 289. fols.260v-261v Fantasia; 290. fol.262r Fant:; 291. fols.262v-263r Fant: [J.-B. Besard]; 292. fols.263v-264r Fuga; 293. fols.264v-265r Courante; 294. fols.265v-266r Courante; 295. fols.266v-267r Courante [La Barre]; 296. fols.267v-268r Courante [P.P. Melli]; 297. fols.268v-269r Courante [Melli]; 298. fol.269v Volte [Melli]; 299. fol.270r Courante [Melli]; 300. fols.270v-271r Volte; 301. fol.271v Courante; 302. fol.272r Courante; 303. fol.272v Volte Gothier sine quinta; 304. fol.273r Courante Gothier; 305. fols.273v-274r Courante [Italian tablature]; 306. fols.274v-275r Courante; 307. fols.275v-276r Courante; 308. fols.276v-277r Courante Lepin; 309. fol.277v Cour: Lepin; 310. fol.278r Courante Gothier; 311. fols.278v-279r Courante; 312. fols.279v-280r Passomezo G.M.; 313. fol.280r Saltarello; 314. fols.280v-281r Intrada Galilei; 315. fols.281v-282v Passomezo corder avalles; 316. fol.282v Branle a corde avalle; 317. fol.283r Branle a corde avalle; 318. fol.283v Courante a corde avalle; 319. fol.284 Lamenta[tio] a corde avalle; 320. fol.284v Untitled; 321. fol.285r Untitled; 322. fol.285v Untitled, incomplete We are pleased to acknowledge the kind assistance of John H. Robinson and Professor Tim Crawford in our cataloguing of this lot. LITERATURE: RISM B VII, pp.131; Suzanne Bloch, 'Saga of a 20th-century lute pioneer', Journal of the Lute Society of America, ii (1969), pp.37-43; Diana Poulton, 'The Dolmetsch Library, Haslemere, MS II B.1: a preliminary study', The Consort, no.35 (1979), pp.327-41; John H. Robinson, 'A Description of MS II.C.23 (the Medici Lute Manuscript) in the Dolmetsch Library and a Summary of Modern Studies', LSA Quarterly (Autumn 2009), p.15 PROVENANCE: Private library of the Dolmetsch Foundation, Haslemere, Surrey, UK; Arnold Dolmetsch (1858-1940); c.1905 at a Zurich bookseller's shop (in his 1935 work Par la révolution, la paix, Romain Rolland describes seeing the volume there thirty years earlier); Max Kalbeck (1850-1921), acquired 1895 from Antiquariat L. Liepmannssohn, Berlin: see RISM B VII, and also J. Wolf, Handbuch der Notationskunde (1919), vol.2, p.109

View 1 of Lot 64: Lute. Highly important early seventeenth-century manuscript of Italian and French lute music in French tablature, c.1620

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