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1. GUCCI, Giorgio. Viaggio in Oriente: visit to the holy sites and places of Egypt, Sinai, Palestine, and Syria in 1384. Autograph manuscript, written on paper, in Italian, Italy, (1385-1392). P.o.r 230 x 160 mm, 35 leaves (the first blank but numbered), COMPLETE. Mercantile/ humanistic scripts by late 14th-century hands, in brown ink, on 42 lines, without catchwords, original foliation in pen at the upper corner. Watermark similar to Briquet nos. 73737378. (Fruit in the form of a pear or fig with two leaves, known to have been used in and during 1335- 1380). 19th-century half vellum, boards in brown marble paper. Some stains and foxing, but overall a very good copy on strong paper. PROVENANCE: 1. Original text written by the author in , c. 1385-1392, this manuscript may be an autograph by the author himself. 2. On the recto of the first blank leaf brown ink drawings (a head and an escutcheon), motto: ‘O tu che col mio libro ti trastulli gharlando dalla lucerna et da fançulli’ (you who play with my book, please pre-serve it from fire and children). 3. On the verso of the same leaf, early 15th- century ownership inscriptions ‘Questo libro si è de Berto de Lionardo Berti et de suo [erede ?]’ (this book belongs to Berto of Lionardo Berti and of his [heir?]). Prior in in 1417, 1429. 4. Schloss Maienfeld/Graubünden, Baron von Salis, 19th-century inscription. AUTOGRAPH MANUSCRIPT BY GIORGIO GUCCI (1350-92), HITHERTO UNKNOWN: The manuscript contains the full version, presumably autograph report of the famous Journey to the made by the Florentine Giorgio Gucci during the years 138485. The terminus post quem for dating this codex is the end of the journey at 31 May, 1385 (fol. 30v), the terminus ante quem is Gucci’s death in 1392. Other Gucci autographs are present in the Archivio di Stato, in , Atti dell’esecutore, 1166, fols. 2v-35r; 1167, fols. 43v-44r; 1168, fols. 5r-10v; 1170, fol. 55r. TEXT: Fol. 2r Fol. 35v Incipit: Al nome sia dell onipotente Iddio e del suo santissimo e dolcissimo figliuolo gieso christo il quale col suo proprio sangue humana natura ricomperò. Explicit: tornati in Firenze spendemo per un col suo famiglio duchati trecento doro e più. Amen.
THE AUTHOR: Giorgio Gucci was born in in 1350, son of Guccio of Dino and Francesca of Lippo Spini. He lived in the parish of Ognissanti (‘All Saints’), near the Church of Santa Lucia. A father of four children, he followed the family tradition by entering in 1377 the Arte della Lana (the Wool Merchants Guild). In 1379 he accepted the Priorate
of the Florentine Republic, and four years later, in 1383, he was elected again to this important task. As Priore he was sent on an embassy to Rome in order to plead with Pope Urban VI on behalf of the cause of the Florentine bishop Angelo Ricasoli. Furthermore, Gucci represented, between 1388-1391, his Commune on four diplomatic missions to Pisa. After
a period of imprisonment, Gucci held several public offices of the Republic: he was member of the Sei della Mercanzia (‘Six of Merchandise’, 1387-1388), of the Dodici Buonuomini (‘Twelve Good fellows’) and, ultimately, of the Sedici Gonfalonieri (‘Sixteen Gonfaloniers’, 1392). He died young in the night between 19 and 20 October 1392, while returning home from Palazzo della Signoria, killed by two assassins probably sent by his brother Thomas. THE JOURNEY: In the late 14th century a group of Florentines, who usually met together in the Augustinian convent of the Holy Spirit, conceived and organized a journey to the Holy Land to visit the sacred sites and towns, which also had close trade and commercial relations with Florence. The group, formed among others by Giorgio Gucci, Leonardo Frescobaldi and Andrea Rinuccini (each with their own famiglio, i.e. a servant), left from Venice – where they joined Antonio of Paolo Mei, Simone Sigoli and Santi del Ricco – in August 1384. Gucci, Frescobaldi and Rinuccini each brought 400 ducats and had letters of credit with them for another 300 ducats to be charged at commercial agents of Portinari operating in the cities they visited. The group also had a ‘common fund’ that was entrusted to Gucci (and in fact the text, in all its different versions, contains a detailed list of the related expenses). The journey lasted more than a year, travelling through Egypt (Alexandria, Cairo, the pyramids), visiting the Monastery of Saint Catherine at Sinai, continuing to Jerusalem, Bethlehem, Galilee and Beirut. After which the group re-embarked to return to Italy, after a long stay in Damascus, where one of the travellers, Andrea Rinuccini, fell ill and died. Frescobaldi, Signoli and Gucci each made their own description of this enterprise. Gucci especially left us a very detailed and vivid account showing his devotion, religiosity and experience as a merchant and businessman, always attentive to the characteristics of the places they visited, noting the goods on the market, the way of life and habits of the inhabitants. Being a merchant, he also shows precision in reporting numerical data such as weights, measures and prices, offering also a detailed list of expenses at the end of the text. In regard to the Muslim world and its customs, Gucci – although not immune to the typical prejudices of the time – almost always shows a deep curiosity, which leads him to describe rather than to criticize. Even when he disapproves, or, sometimes, is disgusted, he is often more aesthetic than ethical. The figure of Gucci as a pilgrim and author was well
synthesized by Cardini (1982, p. 170) who describes him as: ‘a common man not cultured but intelligent, shrewd, practical, observant, suspicious and above all, curious and friendly towards the innovations he fell upon during the trip’. THE MANUSCRIPT TRADITION OF THE VIAGGIO: Gucci’s Viaggio was first published by Gargiolli in 1862 and more recently superseded by a critical edition by Troncatelli in 1990. This edition is based on three, at that time known, manuscripts. Of these three witnesses, one contains only the final part of the text, with the detailed list of the expenses (Florence, Biblioteca Riccardiana, Ms. Ricc. 1998). The other two manuscripts are thought to be complete. Both are also preserved in the Biblioteca Laurenziana, with shelf marks Plut. 42.30 (= P) and Gadd.180 (= G). Moreover, there is another family of manuscripts containing a different version, designated by Delfiol 1982 as F-G, which is in fact a ‘compendium’ of the two accounts written by Frescobaldi and Gucci each. These manuscripts are also kept in Florence, National Library, ms. Fior. Naz. II.IV. 102, ms. Palat. 661, ms. CS C.VII.1753 and ms. CS J.IV.9; Biblioteca Riccardiana, ms. Ricc. 2822; and one in Venice, Biblioteca Nazionale Marciana, ms. Marc. 5727 (see Delfiol 1982, 139-176). After their return to Florence, the first who recorded the journey was Leonardo Frescobaldi, who sketched – as Bartolini 1991 observes – a compendious account; next and somewhat later both Gucci and Sigoli wrote their detailed reports. After their versions appeared, Frescobaldi felt impelled to compose a more elaborate text, which is however, in many places, only a joint work of Gucci and Sigoli. In all, this shows that in Florence was a lively interest in the adventures and discoveries of the three fellow citizens. The newly discovered manuscript presented here (= R) differs from P and G in a number of details, such as the lack of rubrication (present in P) or the lack of the explicit (present only in G), aside from several textual variants. But the ‘new’ and decisive element of R is the presence of a paragraph missing in P and in G. This passage is of greatest importance as it demonstrates that Giorgio Gucci himself must have written the codex. Here follows a complete transcription of this paragraph: «[fol. 1r] Questo quaderno fecie Giorgio di messer Ghuccio del popolo di Sancta Lucia d’Ogni Santi di Firenze, al presente abitante nel popolo di San Branchatio e chiamasi il quaderno delle ricerche de sagri e sancti luoghi e divoti dove io in prima
io denoterò tutti I sancti e sagri luoghi ch’io trovai nel vil // [ fol. 1v] aggio ch’io feci per la di Dio gratia del sagro e sancto Sipolcro e di sancta Chaterina e del Monte Sinai e di più altro divoti luoghi che in quello sancto viaggio trovamo secondo che miei compagni e io in ditto viaggio per iscrittura ne recamo e appresso scrivemo tutti I sagri e sancti chessono a Roma di che si fa mentione e ch’io ricerchai in una quarantine ch’I vi stetti l’anno del Mccclxxxiii e così seguiterò in suddetto quaderno dinotando tutti I sacri e sancti luoghi ch’io per lo passato o cierchi [sic]in qualunque parte si sieno e così quelli ch’io per lo avenire per la Dio gratia cierchassi e tenere questa scrittura dell’ammiratione e memoria dei detti sacri e sancti luoghi cierchi o ch’io cercassi narrerò tutte le città dove io sono stato e i luoghi notabili elle cose notabili ch’io vedute o udite anche per lo passato e così tutte le città, luoghi notabili e cose notabili che per lo avenire cercassi o vedessi. Amen.» [Translation: This book was written by George of Sir Ghuccio from the parish of Saint Lucy of All Saints of Florence, at present resident in the parish of St. Branchatio [St. Pancratio], and is called the book of the research of sacred and saint and devote places, where I first will denote all the sacred and saints places and I have found on the journey I did, for the grace of God, to the Holy Sepulchre and Saint Catherine and Mount Sinai and other devout places that we found during the journey, as I and my fellows during the journey wrote, and here below I write about all the saints that were mentioned in Rome and that I looked for, about forty, when I stood there in 1383; and so I will continue in this notebook describing all the sacred and saints places I searched in the past, wherever they are, and so the ones I will search in the future in the grace of God, and I will keep this writing for the admiration and memory of these sacred and devote places]. It is particularly noteworthy that Giorgio Gucci speaks here in the first person, while in the report he normally uses the personal pronoun ‘we’. Furthermore he provides some unknown autobiographical details, e.g. that while writing the manuscript he was not living at the family home in the parish of Ognissanti, but ‘at present’ in a house in San Pancrazio (or Brancazio, as the Florentine used to say). Gucci also clarifies the reasons that led him to participate in the journey, among which he underlines the wish to dis- cover the ‘traces’ or relics of about forty saints, a topic discussed during his embassy to Rome in 1383 (see above).
Interesting also are the medieval ownership inscriptions. These notes refer to two important protagonists of Florentine political life: Berto of Leonardo Berti and his son Pietro. Berto was elected Prior in 1416, while his son Peter entered the Priorate in 1461- 1462. But indirectly it also refers to Leonardo, Berto’s father, who held public offices too. He was an apothecary (as were his descendants) and was named Gonfaloniere in the Florence government in 1381, exactly in the same year when Gucci also was in office. Was this manuscript, perhaps, given by Gucci to his ‘colleague’ Leonardo Berti and handed down in that family? In conclusion, this newly discovered manuscript of the Visit to the Holy Places of Egypt, Sinai, Palestine, and Syria, is an important new witness for the famous journey to the Holy Land. LITERATURE:The manuscript is heretofore unpublished. Editions and studies on the Viaggio: C. Gargiolli, Viaggi in Terra Santa di Lionardo Frescobaldi e d’altri del secolo 14. Firenze 1862. M. Troncatelli, Pellegrini scrittori. Viaggiatori toscani del Trecento in Terrasanta, Firenze 1990. G. Bartolini & F. Cardini, Nel nome di Dio facemmo vela. Viaggio in Oriente di un pellegrino medievale, Roma/Bari 1991. R. Delfiol, Su alcuni problemi codicologico-testuali concernenti le realzioni di pellegrinaggio fiorentine del 1384, in Toscana e Terrasanta nel Medioevo, ed. by F. Cardini, Firenze 1982, 139-176. Renzo Nelli on: Giorgio Gucci, in Dizionario biografico degli Italiani, Volume 60 (2003) http://www.treccani.it/enciclopedia/giorgio-gucci_%28Dizionario-Biografico%29/. See on Berto di Leonardo Berti : Archive of the Opera di Santa Maria del Fiore in Florence, The years of the Cuppola, 1417-1436 (digital archive: Margaret Haines, Max Planck Institute, Berlin) http://duomo. mpiwg-berlin.mpg.de/ita/IN/INlist17694S1.HTM.
2. [ZIBALDONE: Rime e Prose Diversi]. [Italy, Florence, c. 1450]. $ 320,000 Illustrated miscellaneous manuscript on vellum, in Latin and Italian, (230x110 mm). 166 ll. COMPLETE. Partially palimpsest (texts 5, 50-51, underlying texts in chancery cursive and rounded Gothic bookhand). 39-46 lines in Italian cursive with some side notes and capitals in red; 2 world maps, one in T-form, the other with outlines of the old world, 14 drawings in colour including the celestial spheres, the zodiac, the eclipses, the climate and wind directions. Bound in English 19th-century calf decorated in gilt.
This is a Renaissance zibaldone or miscellaneous compilation of treatises, poems, letters, orations, written in the middle of the fifteenth century, including some texts that date as early as 1327. Contains 52 different texts among which are: the hitherto lost original and unique Latin text of the Florentine Inquisition’s decree against the astrologer-heretic Cecco d’Ascoli (1269-1327), known only in Italian versions from much later manuscripts; a widely illustrated copy of the Gregorio Dati’s Sfera; an exceptionally early witness of Reformation history, purporting to be written by the Devil, dating from the period of the Great Schism, c. 1408; a document of major importance for the history of the Albizzi
conspiracy and overthrow of Cosimo de’ Medici in Florence in September 1433, written by Nicholo Tinucci (1390-1440). He was an influential notary and poet, under torture on the rack, forced to sign the present text against Cosimo I de’ Medici, who after one year’s exile in Padua, returned to begin the uninterrupted 300 years domination of Florence by the Medici family; a poem against sodomy by Giovanni da Prato, the Acquattino, which is the nickname of the most famous man mentioned (as a sodomite): Giovanni Gherardi da Prato, a major character in Florence early Renaissance literature. Provenance: Richard Heber; Sir Thomas Phillipps, his manuscript 8334; Martin Schøyen, The Schøyen Collection, Spikkestad, Norway, his MS 900, purchased from H.P. Kraus in 1979. List of contents: 1. Ave Marie, che se del cielo zarna, piena de gratia tante, Poem. 2. Domenico di Giovanni Burchiello, Poem in terza rima. 3. Buonaccorso Pitti, Canzone. 4. Gregorio Dati, La Sfera, a cosmological poem. 5. Cecco d’Ascoli, Sententia data per lo inquisitore contro a ciecho d’ascholi, decree by the Florentine in- quisition. 6. Ludovici Ghetti, Inventiva d’una in positione di nuova gravezza, a report on raising taxes to provide for the defence of state security. 7.Chronicle of Florence, beginning in 1440, including bits of poetry. 8. Lettara mandata per gran turcho al papa, 14 September 1454. 9.Dominico da Prato, Invettiva fatta per ser Dominicho da Prato e suoi aderenti contro all’acquattino, a poem in terza rima in 835 lines. 10. Theodoric of Niem, Lettera mandata per lo diavolo al papa. 11. Domine ne in furore tuo arguas me, poem. 12. Giovanni Villani, Historie fiorentine, Book xii: La vita et el governo feci messer Gualtieri ducha d’Atena quando fu chiamato signore di Firenze, 1342-1346. 13. Tractatus de Pisto- lentia, Plague tract, a compilation of signs and causes of the Plague culled from various authors including Avicenna. 14. Francesco Filelfo, Oratione delle laude di Dante Alleghieri poeta Fiorentino, 29 June 1432; 15. Giovanni Villani, Historie Fioren- tine, part of Book xii. 16. Stefano Porcari, Risposta facta [...] a uno prestesto fatto per la signoria a rettori di Firenze et altri ufici, oratione. 17. Stefano Porcari, Risposta fatta [...] a uno pretesto come di sopra exortatorio ad vitia, oratione; 18. Chome etuoni si cucano et le saette, a treatise on the effects of the sun and the weather on behavior and health. 19. Lamento della chasa de Gambacorti di Bangno, poem. 20. Buccio di Ranallo, Canzona morale d’uno prete et d’una Tomma di Monache, poem. 21. Nobilissimo et glorioso giovane all cui monarchia la mia liberta o sottopesta, a very flattering letter to a patron. 22. Prayer, apparently an obituary, dated 13 April, 1466.
23. Che sita alucha al podesta e in prigione, cha egli facto eglia toccho denari, poem. 24. Antonio Pucci, poem in quarta rima on the infirmities and delights of old age. 25. Bene se nuovo in tale cosa dimandi, an anonymous book in 18 sections of astrological interrogations. 26. Madre mia dammi marito figlia mia dimmi el perche, ribald poetry in the form of a dialogue between mother and daughter on husbands. 27. Persentend e fiorentini 1347, about the deeds of the king of Hungary among the Florentines, from an unidentified larger historical work. 28. La inbastiata è questa recitata per magistro Tommaso, about the deeds of the king of Hungary among the Floren- tines, from an unidentified larger historical work. 29. Giovanni Cherico, Risposta fatta in presenza della maiesta reale, about the deeds of the king of Hungary among the Florentines, from an unidentified historical work. 30. The deeds of the King of Hungary among the Florentines, part of an unidenti- fied historical work. 31. Articoli et oppinioni et fede degli heretici, a compilation from, now lost, inquisitorial records in Florence of 22 doctrines of the Fraticelli. 32. Giovanni Villani, Historie Fiorentine, Book xii, Ch. 108-112, on the exploits of Louis I, King of Hungary; 33. Qui Dappie vederai la leggie di Machometto et suo miracoli, poem. 34. Giovanni d’Arriguccio Pegholotti, Lettera mandata [...] a frate Giovani Domenici. 35. Lettera mandata per lo maestro di sancto Giovanni di Rodi significante della nativita di antichristo. 36. Nicholo Tinucci, Examinatione. 37. Bartolomeo della Capra, Commissione fatta a Mess. Francescho Spinola amiraglo della Armata de Genovesi contro a vinitiani et fiorentini nel anno 1431. 38. Excelsa patria mia pero che amore, poem; 39. Lamento della citta di Roma, poem. 40. Di certe tempeste et fuochi che furono in Firenze in questi tempi, 20 & 22 April, 1347, 1 June 1337, 1 July 1338. 41. D’una grande mortalita et carestia che fu in Firenze et di intorno d’una cometa che apparvue, 31 March 1340. 42. O guidicie maggiore vieni alla bancha, poem. 43. Nicholo Ciecho, Della ingratitudine, poem. 44. Bene felicie questa nostra etate, poem. 45. Risposta che mano la contessa di Miriglano di Bologna a messere Carlo Cavalcha bo signore di Cremona. 46. Francesco Petrarcha, O sacre sante muse che nel monte di Pernaso conterze dimorate, poem. 47. [?]; 48. Admonitione da el padre all figluola quando nella manda a marito. 49. List of contents. 50. Pino Strozzi, Epistola a Mess. Giovanni Bonham Porta Fiorentino. 51. Historical Text, mentioning Antonius and Phillipus. 52. Statutes of an Italian town, including a legal document dated 1349. At least texts 1, 2, 7, 13, 31 are unique and unpublished.
3. STATIUS, Publius Papinius. Achilleide. Manuscript on paper, late XIV century, Italy (probably Tuscany). $ 70,000 4to (281 x 200 mm), 34 leaves, contemporary calf over wooden boards, one original clasp in a lily shape with a lamb, inscription Statius Achil. repeated twice on rear board (somehow worn, but unrestored, and very attractive). Written in a humanist hand, which came into use in the late 14th century; the marginal commentary and inter- linear glosses are both in a hybrida currens script. The chapters begin with ink initials and on leaves 21v, 22v, 26v there are some ornamental figures. The manuscript is not listed in any catalogs, inventories, or census. This witness transmits the spurious final line, “Aura silet...” which is found in most manuscripts - regardless of tradition - after the 11th century. On the last page, there is an Epytaphium Achillis which occurs in two other manuscripts dating from the late 14th century, one in Firenze (Ricc. 1223.C), the other in Genova (Universitaria, E.II.8). The owner inscriptions involve three very important families from Genova: Doria, Spinola and Grimaldi. A large waterstain and small wormholes, affecting the text and but not legibility.
4. VERGILIUS, Publius Maro: Georgica and Aeneis. Illuminated manuscript on vellum, Italy, Florence, circa 1460-1470. $ 280,000 273x180 mm, I+239+I leaves, including 3 replacement leaves (74 r, 74 v, 80 r), the text of which was supplied by William Graily Hewitt on 1925. In its original fifteenth century Florentine binding. The manuscript comprises the two literary works Georgics and Aeneid by Virgil, thus the four books of the Georgics, with the four-line argumenta to each book, and the twelve books of the Aeneid, with an argumentum of ten to twelve lines before each book except the first. The scribe of the present manuscript gives his name in a colophon on the last leaf (fol. 239) after the explicit: Liber uirigilii eneidum explicit. Nicolaus riccius spinosus vocatus scripsit. Nicholas Riccius is most probably to be identified with the Florentine citizen Niccolo di Antonio di Prado de’ Ricci. Each of the two poems is opened by a large gold initial on panels of vine stem decoration extending the height of the page. The subsequent books of the poems are introduced by 14 four-line gold initials on square panels of vine- stem decoration. Fifteen three-line gold initials mark the argumenta and are set against grounds of blue, green and pink patterned with white and yellow. Beautiful copy with miniatures, well preserved, very impor- tant document that witnesses life in Florence during 1460. Provenance: De Marinis; Major John R. Abbey (1894-1969). Jonathan John Graham Alexander / Albina de la Mare, The Italian Manuscripts in the Library of Major R. Abbey. New York 1969, no. 15. Sotheby’s London, 4 June. Catalogue of the celebrated library of the late Major J. R. Abbey. The Eight Portion: The Hornby Manuscripts, Part I, London 1974, lot 2930.
5. GUTENBERG, Johann. A leaf from the 42-line Bible, containing Isaiah XXXIX-XL. (Mainz, Johann Gutenberg, c.1455). $ 95,000 Folio (389 x 286 mm). Headlines, two-line capitals and chapternumbers all supplied in red and blue, slight foxing and soiling, crease in lower right margin not affecting text. Bound in full blue morocco gilt by Stikeman; extremities worn. In a copy of A. E. Newton’s A Noble Fragment. New York, 1921. The leaf is vol. II fo. 60 (6/10). Provenance: Samuel Clap Endicott, with book- plate. The “greatest of all printed books”, the Gutenberg Bible was the first book printed from movable type in the Western hemi- sphere. Every leaf, or fragment, of this Bible represents a rare tangible piece of cultural history, and an immense achievement in the art and craft of printing. Only forty-eight copies of the bible are known, most of which are incomplete. BMC, I, 17. GOFF B- 526. GW 4201. HC 3031.
7. PETRUS OF ROSENHAYM. Roseum memoriale divinorum eloquiorum. [South Germany, 14801490 ca.] $ 17,000 4° (210x142 mm).  ll., text in 32 lines. Entirely rubricated in red ink. Modern three-quarter vellum, covers backed with marble paper, smooth spine with manuscript title on paper lettering-piece. Very good copy, ancient restauration to the first blank leaf, pale stain at the lower corner of the first quires. Provenance: manuscript inscription on recto of the first leaf ‘Scolarium sup bibliam’, probably by the typographer; ex libris of the Wican Free Public Library at the first inner board and its stamp at the outer cor-
8. PTOLEMAEUS, Claudius. Cosmographia [Translated by Jacobus Angelus]. Rome, Petrus de Turre, 4 November 1490. $ 460,000 6. PTOLEMAEUS, Claudius. Cosmographia. [Translated by Jacobus Angelus]. Vicenza, Hermann $ 640,000 Liechtenstein, 13 September 1475. Folio (304x205 mm), 142 ll., lacking the first blank. Three woodcut diagrams on fol. bb5 verso, bb6 verso and bb7 verso. Capital letters coloured in red or blue. Contemporary binding over wooden boards, preserving one (of two) original oyster clasps, spine in calf, with three raised bands. An unsophisticated copy with wide margins.
First edition of the most important geographical work of antiquity, a landmark in Western geography. The Latin translation by Jacopo Angeli da Scarperia was made between 1406 and 1409; its circulation in the 15th century affected both directly and indirectly the creation of the modern world. Manuscripts of this text do not seem to have circulated with maps, and this unillustrated first edition reflects the manuscript tradition. A superb copy of an extremely rare edition. HC 13536*; BMC IV, 1035; GOFF P-1081; SANDER 5973.
Folio (422x282 mm).  ll. COMPLETE with the five original blanks. Contemporary Roman binding, in dark brown leather over wooden boards, blind tooled; traces of the four original metal clasps on the front cover; four gilt ivy-leafs at each corner (similar to the decoration of O. Schafer’s copy, Sotheby’s 1994, n. 151). With 27 double-page engraved maps and 4 woodcut diagrams in the text. An excellent copy, a pale waterstain on upper blank margin of the central quires, a single small wormhole in the first quires, occasionally affecting some letters.
ner of the first and last leaves. Manuscript inscription recording the purchase in 1908. The rare first edition of the Roseum memoriale composed by German Benedictine monk Petrus of Rosenhaym, the first printed book on the art of memory, a poem of 1,194 verses in which every chapter of the Bible is summed up in a distich. The work is based on an extremely complex memnotechnic method, and was very popular in the 15th and in the first half of the 16th century. The edition is assigned by Proctor to the Cologne printer Ludwig von Renchen, active in Cologne from 1483 until 1505. Goff R336; Polain(B) 3128; IGI 7668; Walsh 492; Oates 867; Pr 1517; BMC I, 312; GW M32724.
Second Rome edition, the fourth illustrated. Among the incunable editions of Ptolemy’s maps, including the first one printed in Bologna in 1476, those printed in Rome are superior as a result of the technical advances made by the printers Conrad Sweynheym and Arnold Buckinck, particularly in the use of punch-lettering and in the craft of taking impressions from a printing plate. “It is conceivable, and even probable, that the maps in the edition of the Cosmographia printed by Arnold Buckinck at Rome... had already been engraved before those of the Bologna edition” (Skelton). An exceptionally fine and tall copy, in contemporary Roman binding. HC 13541; BMC IV, 133; GOFF P-1086; BSB-Ink P-861; NORDENSKIÖLD 7; SABIN 66474; SHIRLEY 4; The World Encompassed 40.
9. PUBLICIUS, Jacobus. Ars oratoria. Ars epistolandi. Ars memorativa. Venice, Erhard Ratdolt, 30 November 1482. $ 78,000 4to (187x133 mm). [67 of 68] ll., lacking the first blank leaf. Text in 31 lines. Heading on leaf A2r printed in red, 11 leaves with woodcut illustrations in the text: on l. A3v a full-page diagram; 42 woodcut roundels printed using a pictorial alphabet (with two illustrations for every single letter) and two roundels, one showing a boat, one with a city view, all printed on 7 leaves. A full–page astronomical diagram with a volvelle in form of snake on leaf d3v and a woodcut checkerboard on leaf d8r; woodcut decorated initials. Brown morocco binding by Charlene Matthews. Excellent copy, ruled in red, foxing on the outer blank margin of some leaves. Provenance: manuscript owner’s inscription on recto of the second flyleaf attesting the purchase from the Hamilton Cole Library auction (New York, 8 April 1890); Walter Goldwater’s ex-libris; from the library of Regia Monacensis (former ownership stamps on ll. A2r and d7v). First edition and first issue of this epitome of the rhetorical arts, representing the first memory treatise to appear in print, the first book containing a printed visual alphabet. The woodcut of a chess board on d 8r identifies our copy as the extremely rare first issue of the edition; in the second issue it is blank, as in a majority of copies. HC* 13545; BMC V, 287; IGI 8191; Goff P, 1096; Essling 292; Sander 5982; F.Yates, The Art of Memory, Chicago 1972; Chicco - Sanvito, Bibl.degli scacchi, n. 712; Alfred W. Pollard. Fine Books. London, 1912, p. 196.
10. ALIGHIERI, Dante. La Divina Commedia, con la Vita e il Commento. Venice, Bernardino Benali and Martino Capcasa, 1491. $ 75,000 Folio (310x218 mm), 302 ll. Bound in old vellum. Illustrated by 97 woodcut vignettes and with 4 full-page woodcuts within decorated borders. A great number of woodcut decorated initials on black ground. A good copy, somewhat light browining, ll. π1 and π10 from another copy, formerly trimmed at the lower blank margins. Provenance: on leaf XVIIIv, manuscript inscription by a 17th-century hand: ‘procul hinc adeste Profani’, on leaf CXXXIVr, by the same hand, ‘Pape Satan Aleppe - Phy Diabolo’ and, on verso ‘E Millibus vix Uni’ (?): these quotations derive from the Amphitheatrum sapientiae aeternae (1609) by the Dutch necromancer follower of Paracelsus, Heinrich Khunrath. This is the first edition with the illustrations of Paradise, and the first revised by Pietro da Fighine, along with the commentary by Landino. The Commedia is followed by Credo, Dieci Comandamenti, Sette Salmi, Pater Noster and Ave Maria. A highly important copy with manuscript annotations added in the 17th century inspired by the relationship between Rosicrucianism and Dante, related to the Amphiteatrum Sapientiae Aeternae of 1609 by the German alchemist and mystic, Heinrich Khunrath, a follower of Paracelsus. BMC V. 373. Kristeller 187. Mambelli 13. Sander 2313. L’esoterismo Rosacroce nella Divina Commedia di Filalete Ireneo, Bastogi Ed., 1995. Guenon, N. L’esoterismo di Dante. F.Perez, Dante e i Rosacroce, in La Beatrice svelata.
11. [CINDERELLA] / GEILER VON KAYSERSBERG, Johannes. Das irrig Schaf. Sagt von kleinmuetikeit undverzweiflung... mit sampt den nachvolgenden tractaten... Strasbourg, Matthias Schürer [c. 1510]. $ 32,000 4to (196x139 mm). seven parts in one volume,  ll., complete with all five blank leaves. Title and six sectional titles with woodcuts. Initial spaces with guide letters. First five quires rubricated in red, the initials painted in red, in a contemporary hand. Contemporary blind stamped pink-stained half pigskin and wooden boards, one brass clasp, lacking the tip of catch. The lower wooden board slightly wormed; a good copy, the upper margin of title repaired. Some wormholes mostly to the outer margin, occasionally affecting partial letters but not legibility. A few contemporary Latin marginalia, in an old hand. First edition of seven small tracts, adapted into German by the Swiss-born and preacher at Strasbourg Johann Geiler von Kaysersberg (1445-1510) from the
moral sermons by the theologian Jean Gerson (13631429), of whose works Geiler had been the editor (1488-1502). The Strasbourg edition contains – under the title Der Eschen Grüdel, Von den anfahenden moenschen in dem gots dienst - one of the earliest printed versions of Cinderella, Der Eschen Gründel, or Aschenbrödel. The text of Der Eschen Gründel is introduced by a sectional title with a woodcut, depicting an unhappy young girl near a fireplace and is considered one of the earliest illustration of Cinderella, the protagonist of one of the oldest and best known fables of the world literature. The other treatises include Das irrig Schaf (a significantly enlarged version of Gerson’s De remediis), Der hellisch Löw, Die Christenlich Künigin, Der dreieckkechte, Das Klappermaul, and Der Trostspiegel. Adams G-320; VD16 G-764; STC German, 335; Ritter, Catalogue de la bibliothèque municipale de Strasbourg 1078; Schmidt, Repertoire strasbourgeois, pp. 447-8 (no. 43); Kristeller, 528; l. Dacheux, Die ältesten Schriften Geilers, Freiburg i.B. 1882, p. 47.
13. APOLLONIUS PERGAEUS. Opera. Per Doctissimum Philosophum Ioannem Baptistam Memum Patritium Venetum, De Graeco in Latinum Traducta, & Noviter Impressa. Venice, Bernardino Bindoni for Giambattista Memmo, 1537. $ 580,000
12. SABELLICUS, M.A. Coccius. Rapsodiae historiarum Enneadum... ab orbe condito pars prima (-posterior) quinque complectens Enneades: praemissis earundem repertoriis auctis & recognitis ab Ascensio cum authoris Epitomis. [Paris], Badius for J. Petit, 1516- 1513. $ 40,000 Folio, 2 volumes; , CCCXCIIII; , CCCLV (i.e. 353), (1 blank) ll., in contemporary Neapolitan red goat skin, tooled in blind and with a typical border of ‘peacock’s tail’ gilt on covers; on the back cover author and title in large gilt lettering. Provenance: Giorgio Trivulzio (1542-1612), Count of Melzo, with his ownership inscription on title and f. A1 of each volume.
Sabellicus’ magnum opus, in an important contemporary Italian binding, Trivulzio was member of the College of Jurisconsults of Milan and became a senator in 1571. His extensive library was dispersed in the middle of the 19th century (Cfr. Cat.Esmerian, n.31. Fairfax Murray, German, I, 42). Tammaro de Marinis (vol I no. 272, p. 28 and pl. LIII) illustrates a very similar binding, displaying the same decoration and lettering, assigning it to Naples: a copy of Cyrillus Alexandrinus (Paris, 1508) now in the Museo Civico, Turin. The Enneades were first published in 1498, Sabellicus subsequently writing a continuation down to 1504. Renouard, Badius, p. 225, nn. 2 and 3.
Folio (303x203 mm), 89 ll. (without final blank). Title printed in red and black, woodcut depicting the author with his mathematical attributes, wide historiated six-block title- border. Contemporary Louvain binding of blind-paneled polish fawn calf, lion gilt-tooled at the angles of the rhombus, gilt crowned imperial double-headed eagle in the center of the sides, gilt fleur-de-lis and dolphin alternately tooled in compartments of the spine. Provenance: JOHN DEE (1527-1608), philosopher, mathematician, astrologer, book collector (Latin ownership inscription dated 1549 on title, some marginal notes and underlines, autograph table on flyleaf of Ramist systematization of the mathematics); JOHN WINTHROP, JR. (1606-1676), son of the Massachusetts Bay Colony’s first governor, physician, governor of Connecticut colony, book collector (ownership signature dated 1631 and his cypher, the hieroglyphic monad invented by Dee, on title).
The rare first Latin edition of the first four books of the Conics. An extraordinary association copy, having belonged to John Dee, one of the most intriguing and enigmatic figures of Elizabethan age. After his death, the volume was acquired in 1631 by John Winthrop Jr, who in the same year crossed the ocean and brought his notable scientific library to Massachusetts Bay. This is the first recorded scientific book to reach the NEW WORLD, and possibly the book with the earliest American provenance. As Dee’s library – the Bibliotheca Mortlacensis with over 3,000 manuscripts and printed books – was at time the largest in Renaissance England, Winthrop’s library accordingly became the largest in the colonies. In 1812 his descendants distributed the collection to Harvard, Yale and the New York Society Library. Dibner 101; Stillwell 139; Sander 480; The Private Diary of Dr. John Dee, and the Catalogue of his Library , ed. by J.O. Halliwell, London 1842; Watson, John Dee’s Library Catalogue, London 1990, n. 74; Wilkinson, The Alchemical Library of John Winthrop.
15. PALLADIO, Andrea. I quattro libri dell’ Architettura. Venice, de’ Franceschi, 1570. $ 110,000
14. EUSTACHI, Bartolomeo. Opuscula anatomica.Quorum numerum & argumenta aversa pagina indicabit.. Libellus de dentibus. Venetiis, Vincenzo Luchino, 1564-63. 4to. (191 x 143 mm), , 32, , 95,  pp., with 8 full-page etchings by Giulio de Musi after drawings by Eustachi and Pier Matteo Pini. Contemporary limp vellum, ms. title on spine. Very good copy. [With:] LANCISI, Giov.Maria. Tabulae Anatomicae Bartholomaei Eustachii ... quas e tenebris tandem vindicatas ... Rome, Francesco Gonzaga, 1714. $ 85,000 Folio (394 x 264 mm), XLIV, 115,  pp, with 47 full-page etchings, including the smaller 8 etchings previously appearing in the 16 th c volume. The remaining 39 issued by Lancisi are issued for the first time. Bound in contemporary brown calf with gilt crest of Pope Clement XI on covers. In good condition (the 8vo with old stamp on title page, restored tear in one margin, touching a few letters, one ink stain in the margin
of one leaf, light waterstain in a corner of last part). First editions, extremely important dedication and association copies: the Opuscula given by Eustachius to Pini and the Tabulae bound for Clemente XI. The pope presented Pini’s plates to Lancisi. Pier Matteo Pini, an artist from Urbino, prepared in 1562 a series of 47 anatomical illustrations; these were engraved, two on the obverse and reverse of a single copper plate, by Giulio de’ Musi from Rome but were never published, all were lost after his death and then discovered after 162 years in the possession of a descendant of Pini, to whom Eustachi had bequeathed them. They were purchased by Pope Clement XI. 1) This copy of the Opuscula was inscribed by Eustachi to Pietro Matteo Pini, who corrected and underlined some parts; with 8 plates. 2) The 39 plates published by Lancisi were bound in brown calf with the coat-of- arms of Pope Clemente XI, as a gift for Pini’s heirs. Durling 1408. Choulant, p. 200. Norman 739.
Folio (301x210 mm), Four parts in one volume. 67, (1), 66 (i.e. 78, 2), 46, (2), 128, (8), pp. Title and three sectional titles each within woodcut architectural border, 221 woodcut illustrations some of which fullor double-page, by Giovanni and Cristoforo Crieger, Cristoforo Coriolano and others, after Andrea Palladio. Contemporary Italian limp vellum. Good copy, some pale staining, l. kk3 with short marginal tear. Provenance: Sylvester Carnicelli, with his owner’s inscription on title.
16. CHACON, Alonso. Historia Utriusque Belli Dacici a Traiano Caesare gesti ex simulachris quae in columna eiusdem Romae visuntur collecta. Ad Catolicum Hispaniarum Regem Philippum II. Rome, Francesco Zanetti & Heirs of Bartolomeo Tosi 1576. $ 14,500 Large oblong folio (cm 47x32) the text in folio bound at the beginning: 2 leaves, pp. 5-42, 3 leaves, then 132 plates (two unnumb. with various smaller copperplates, then 130 plate numbered 1-130 which form 65 long views each large 84,5 cm). Bound in con- temporary limp vellum.
First edition of one of the most influential books on architecture. “Palladio’s lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through his textbook. This is divided into four sections: orders and elementary problems, domestic building, public building and town planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti”. (PMM). Palladio’s influence in the United States can be seen in Thomas Jefferson’s Monticello, and his designs for the University of Virginia, numerous governmental buildings and mansions. Millard Italian 65; PMM 92; Fowler 212; Mortimer, 352. First edition of the first engraved representation of Trajan’s Column, one of the most remarkable Renaissance series of illustrations. The plates were engraved by Francesco Villamena after the drawings by Girolamo Muziano. This artist was born in Brescia in 1532 (died in 1592): he was court painter to Ippolito II d’Este, and in 1569 he created a bottega for copying the sculptures - a very unusual venture at that time - on Trajan’s Column. Commemorating the Roman’s victory in the Dacian Wars, it was erected 114 AD. This first edition is very rare and it was reprinted in 1616. A very attractive copy, some margins or folds strenghtened. BRUNET, II (late edition).
17. BRUNO, Giordano. De Compendiosa Architectura, & complemento artis Lullij. Paris, Gorbin, 1582. (Bound first:) Pseudo-Lull. Opusculum Raymondinum de auditu Kabbalistico sive ad omnes scientias introductorium. Paris, Gilles Gorbin, 1578. (and:) LULL, Ramon. Ars brevis illuminati doctoris magistri Raymundi Lull. Paris, Gilles Gorbin, 1578. $ 53,000 16°, 3 works in a volume (111x70 mm), 80 ll. (48) ll. 43 ll., lacking the last blank. I: 5 woodcut full-page diagrams, one with volvelles between the leaves B4 and B5, one folding plate showing the Tabula Generalis, diagrams in the text. II: 4 woodcut full- page diagrams, one with volvelles on verso of B2 leaf, one folding plate showing the Tabula Generalis. III: Woodcut initials and head- pieces. Bound in half-calf, title gilt on a label, in a brown morocco case. On verso of the title-page of the first work red ink stamp: ‘ex Bibliotheca Regia Berolinensi’, the old stamp of Königliche Bibliothek, on recto of the first fly-leaf manuscript inscription (C.) Kellner; manuscript underlinings in brown ink. A good copy, some light stains.
This sammelband is entirely dedicated to Lullism and to its most daring interpreter, Giordano Bruno. It includes the rare Gorbin editions of the celebrated Ars minor, a abridged exposition of his combinatorial logic and of his elaborate Art of memory conceived in the Ars magna, and the spurious De auditu kabbalistico, written by an Italian scholar Pietro Mainardi who tried to harmonize the Lullian Art with Kabala. As a work by Lull it was celebrated by Bruno, who wrote his annotated summary in the work here bound at the end, the Architectura compendiosa, an original synthesis of combinatorial method and mnemotechnics. Among the 8 woodcuts, four are based upon the Lullian alphabetical wheels, while the other four depict Bruno’s new interpretation of the Ars memorativa. Of this edition Sturlese (n. 3) located 37 copies. Palau, 14370-14384.Duveen, 370; Rogent y Duran 121-120;. Salevestrini 40. Yates, The Art of memory, 175-196; Giordano Bruno, Corpus Iconographicum, ed. Gabriele, pp. 125-153.
18. ANANIA, Gianni Lorenzo d’. L’universale fabrica del Mondo, overo Cosmografia, dell’Ecc. Gio. Lorenzo d’Anania. Venice, Andrea Muschio for Giacomo Aniello De Maria, 1582. $ 150,000 4to (218x157 mm), (56), 402 pp., lacks the last blank leaf. One double- page engraved map of ‘ORBIS DESCRIPTIO’, and four folded engraved maps depicting Europe, Asia, Africa and America. Contemporary vellum binding on paper boards decorated by Cesare Vecellio with original drawings in pen-and-ink: a map of Europe and Asia on the front cover, a map of America (Mondo Novo) on back cover. Spine with three raised bands, title manuscript vertically in the two central compartments, arabesques in ink at the external compartment; edges decorated with criss-cross pattern. Remarkable binding, in excellent condition, a little faint staining, two fore-edge ties replaced. A repair at leaves of the first quire, affecting a few letters, light browning, a small worm hole at the upper blank margin. Provenance: Odorico Pillone (1503-1593); Sir Thomas Brooke (1830-1908) with his bookplate at the first inner-board; Pierre Berès (who bought the volume in 1957 by Brooke’s heirs) with his ex-libris
at the first inner-board: ‘LIVRE NO 132 DE LA BIBLIOTÈQUE PILLONE’; J.R. Abbey (bookplate; sale Sotheby’s 21 June 1967, lot 2091). Outstanding copy of Anania’s cosmography, the most influential and cited sixteenth-century guide, from the renowned Pillone Library. The painted decoration is the work of Cesare Vecellio (1521-1601), a relation and pupil of Titian, in whose studio Vecellio worked until Titian’s death. Vecellio’s enhancements were commissioned in the 1580s by Odorico Pillone, or possibly by his son Giorgio: one hundred seventy two volumes were so decorated, 154 with fore-edges painted by Vecellio and 21 with original drawings on their vellum covers by him and other artists. While it is the decoration that makes the Pillone Library unique, no less remarkable is the fact that the books are still in their original bindings. The fact that the books were in the possession of a single family in a single location, in itself remarkable, accounts for the superb condition of the volumes. Lach, Asia in the making of Europe, II, 1977, p.230. Bibliotheque Pillone 132; Sabin 1364; Cordier, Bib. Sinica, I:5.
19. [WITCHCRAFT] / [HOLLAND, Henry.] A Treatise against Witchcraft: or a Dialogue, wherein the greatest doubts concerning that Sinne are briefly answered: a Sathanicall operation in which the Witchcraft of all times is truly Produced... [Including:] A short discourse containing the most certain means ordained a God to discover expel and to confound all the Sathanicall inventions...Cambridge, John Legatt, Printer to the Universitie, 1590. $ 18,000 4to. (185 x 145 mm),  ff., 24pp., several decorative initials, head and tail pieces. Bound in modern wrappers. Some uniform toning but generally very good. Contemporary ownership inscription of Th Branne ? cropped at bottom of title; numerous annotations in two or three hands on title, verso of title, and in margin throughout, often cropped, and a good deal of underlining. With folded bifolium written in a German hand with a recipe for an eau de vie which produces eternal life tipped-in.
‘THEIR SPLENDOR CANNOT BE DESCRIBED, AND ANYONE WHO DID NOT SEE IT COULD NOT BELIVE IT’
Scarce first edition of one of the most influential English polemics against demonology and witchcraft by a Cambridgeshire vicar, who criticizes earlier skeptics on the subject such as Reginald Scot in his Discoverie on Witchcraft (1584). Along with English theologian William Perkins, Holland’s treatise relies on the authority of scripture, continental demonologists (Bodin, Daneau, Hemmingen) and condemns so-called ‘good’ as well as bad witches as agents of deception, bent on distracting the public from religious orthodoxy. For Holland (1556-1603) this means Calvinist Protestantism; Calvin in quoted frequently, and in 1596 Holland would make an English language abridgement of Calvin’s Institutes. The work is part of the corpus of historical sources which form a control to the frequent dramatic presentation of witches on the Elizabethan stage, above all, Shakespeare’s Macbeth (1603-06).
20. SCARABELLI Orazio and D’ALFANI, Epifanio. Festival prints relating to the wedding of the Grand Duke Ferdinando I de Medici to the French princess Christine of Lorraine. Siena, Filippo Suchielli, [after 1592]. $ 85,000 Folio (310x230 mm). Album of seventeen unnumbered etchings and engravings on double-page. Bound in 18 th c ecaille calf, covers framed by a gilt triple fillet border, at the center of the upper board initial ‘P A’ and, below, ‘PIATTI’ stamped in gold; smooth spine decorated with gilt floral tools, title printed in gold on morocco lettering-piece. Pastedowns and endpapers in marbled paper; light-blue silk bookmark. Red edges. Very good copy, a small loss of paper at the plates n. 1 and 12, waterstains at the last two plates. Beautiful prints, all wide-margined but the last, trimmed at the plate-mark at the time of the binding of the volume. NOTE: final plate mounted at time of binding.
Extremely rare collection of these prints depicting the architectural decorations, scenic designs and jousts relating to the event which mobilized the combined intellectual and artistic forces of Tuscany at the zenith of its prestige: the wedding of the Grand-Duke of Tuscany, Ferdinando I de Medici, to the French princess Christine of Lorraine, occurred in 1589. Most of the prints in this series are known only as single sheet engravings. The total number depicting the festival is unknown, though Saslow has located one album with as many as 90 prints, drawings etc. Albums containing multiple prints from the series are especially rare. Besides the present album, we locate two American copies: Metropolitan (29 prints), and the Getty (18 plates). It is notable that as in the present album, the order in all is altogether haphazard. The present album is most similar to that of the Getty, not only in number of prints, but in the general coincidence of subjects (entry arches etc.). Saslow, James M. The Medici wedding of 1589. Yale University, 1996.
21. MARIANA, Juan de. De Rege et Regis Institutione Libri III. Toledo, Pedro Rodriguez, 1599 (bound with:) Id. De ponderibus et mensuris. Toledo, Tomas Guzman, 1599. $ 18,000 8vo., two parts in one, (204x144 mm). I: , 446, 10 pp.; II: [8.], 192 pp. 18th-century vellum binding over paperboards, spine with seven raised bands, title and editorial notes at the second, third and sixth compartments. Good copy, lower corners of a few leaves torn, little spotting. Provenance: at the title page manuscript inscription ‘Assistentia Hispania, et Canarie P. susbstituti’ refers to the secretary of the Jesuit Assistent for the Hispanic district. Manuscript bibliographical note in Italian, by a 18th-century hand on front endpaper. Extremely rare first edition, the only uncensored, one of the most important publication in the history of political thought of the period, ‘uno de los libros mas atrevidos que se han publicado’ (Palau), commissioned by the archbishop of Toledo, García de Loaysa, to draw out the Christian principles of statecraft by which his pupil, the young Philip III, was to abide. Yet soon after its publication, Catholic and Calvinist critics in France started branding Mariana (1535-1624) a regicide. De rege was said to empower the private individual to kill a legitimate king and ‘pernicious doctrines’ were blamed for the murder of Henry IV in 1610. It was burned at the order of the parlament of Paris. Palau 151,713; Brunet III.1422
22. [PILGRIM PRESS] DOD, John [and Cleaver, Robert]. A plaine and familiar exposition of the tenne Commandements. With a methodicall short Catechisme ... [Leyden, William Brewster], 1617. $ 120,000 4to. (200 x 150 mm), xvi, 260, (12) pp. Large copy sympathetically re-cased in old limp vellum. Title with ornamental border and woodcut ornament depicting a bear, text with ornamental headpieces, initials and 5 tailpieces. Preliminary leaves slightly browned, old flaw to title, staining to final 2 leaves, upper forecorner of final leaf torn away, just touching a couple of letters, with old repair. One of the first works produced by the first Pilgrim Press, founded by the English Separatists at Leyden, whose emigration to Holland formed an overture to to the Possibly transported on the legendary Mayflower by the Pilgrims to America, this volume and the other English language volumes published in Leyden, must be reckoned among the first printed books to reach North America. The example of the Pilgrim Press no doubt served as a model for the first title printed in America proper, the Bay Psalm Book. Persecuted for their religious beliefs in England some Pilgrims took refuge at Leyden, where their leader Brewster began printing books with Thomas Brewer; the press was disbanded and the types confiscated in 1619 and Brewster joined the first group of Separatists aboard the Mayflower in 1620. Rare, only 5 US copies located. Harris & Jones, The Pilgrim Press; Rose T. BRIGGS, Books of the Pilgrims as recorded in their Inventories.
23. GALILEI, Galileo. Il Saggiatore. Rome, Giacomo Mascardi, 1623. $ 220,000 4to. (224x160 mm). , 236 pp. With the short errata on page 236. Printed on thick paper. At page 120 diagram correctly pasted on the mis-printed original one. Beautiful contemporary full vellum binding by Andreoli’s Roman work-shop; boards decorated by gilt frames and tools with in the centre the gilt armorial coat of arms of either Francesco or Antonio Barberini (bees with the cross of Malte), nephew of the pope and secretary of the Lincean Academy, and cardinal-nephew, respectively.
First edition of Galileo’s masterful work on the new science, presented in the extraordinary copy offered as a gift by Galileo to one of his Barberini patrons. One of the eight copies printed on heavy paper and containing, at page 120, a diagram pasted by Galileo himself on the one erroneously printed, and found corrected in ordinary copies. The fact is based on a letter – dated Rome, 28 October 1623 – written by Stelluti to Galileo (cf. G. Galilei, Edizione Nazionale delle Opere, XIII, p. 142). The eight copies of the first issue printed on heavy paper do not contain the four final leaves with the congratulatory verses written by Faber and Stelluti. Cinti 73; Riccardi I, 511.
24. LUCINI, Antonio Francesco. Compendio dell’Armi de Caramogi. Florence, 1627. $ 46,000 23 (of 25) numbered etchings and engravings including title-page (78-81x117-120 mm) on paper with large margins (198x141 mm), with a coat-of-arm watermark. Loose sheets in passepartouts preserved in a modern halfcalf box. Very rare collection of these 23 numbered prints (nos.13 and 24 missing), showing original episodes with one or more dwarfs characters fighting with several kinds of arms (cold steel, small arms. swords, cannons, etc.). This series is excessively rare and apparently has never been seen on the market, it is only described by F.Viatte and fully reproduced in Master Drawings vol. XV (1977). Cheng notes: «The Compendio dell’armi de’ caramogi of 1627 is a rare edition of 25 prints of armed caramogi, a series of fighting dwarfs that satirized the popular dwarf jousts of Seicento Florence. Without a doubt, Luccini was familiar with the Gobbi series and other dwarf imagery by Callot, under whom he had studied [...] Luccini’s combination of bizarre costume, ugly physique and grotesque violence produced an amusing parody of dueling. The prints illustrate dwarfs using a variety of weapons (canons etc). Many of the images feature pairs of doughy-looking dwarfs battling with swords, knives and lances. The dwarfs wrestle ferociously, often stabbing and slicing the limbs off one another. The contrast between the appearance of the lumpish dwarfs and the brutal nature of the fighting created a paradox - small creatures exhibiting excessive carnality - that would have been highly entertaining for the early modern audience» (CHENG, Parodies of Life in David R. Smith, ed. Parody and Festivity in Early Modern Art, ASHGATE 2012). Thieme-Becker XXIII, 438; Le Blanc II, 577; Milesi p.154. 25. GALILEI, Galileo. Discorsi e dimostrazioni matematiche, intorno a due nuove scienze Attenenti alla Mecanica & i Movimenti Locali del Signor Galileo Galilei Linceo... Leiden, Elzevier, 1638. $ 90,000 4o (197x150 mm). , 306,  pp. Elzevier’s printers’s device on title-page. Numerous diagrams in text. Contemporary vellum over pasteboards, title inked on spine. A minor wear to the back cover, pale waterstains to the first three leaves. A fine, unsophisticated copy. Provenance: on title-page the ownership inscriptions of Jean-Baptiste de Secondat de Montesquieu (1612-1678; ‘Ex Lib. Domini J.B. de Secondat’), father of the famous French philosopher, and of ‘Droüyn’, probably Leo Drouyn, an artist member of Montesquieu’s circle. On the front endpaper the ownership note ‘Philippe Coppel’; on front pastedown paper book-plate of Pierre Berès. On p. 151 of Dialogo Terzo (Theorema I, Prop. I) a contemporary marginal note quoting Archimedes’ work De lineis spiralibus Liber. On the rear pastedown an ancient shelfmark, possibly referring to the rich Montesquieu’s library. First edition of the last and greatest work written by Galileo, which played a pivotal role in the development of physics, above all in the foundation of modern mechanics. One of the key texts of the Scientific Revolution. As compared with the ‘informal’ Dialoghi sopra i due massimi sistemi, in the Discorsi Galileo offers indeed a formal, and axiomatical formulation of his theories. In order to avert censorship, a manuscript copy of the work was taken to France, and thence to Leiden, where it was printed. This copy is the issue with the catchword ‘TAVO-’ on page 306, and the following Index. Dibner, Heralds of Science, 141; Evans, First Editions of Epochal Achievements in the History of Science (1934), 27; Horblit 36. PMM 130. Roberts & Trent, Bibliotheca Mechanica, pp. 129-30. Sparow, Milestones of Science, 75.
26. CERVANTES, Miguel de. Vida y hechos del ingenioso cavallero don Quixote de la Mancha ... Nueva edicion, coregida y ilustrada con differentes estampas... Bruxelles, Jan Mommart, 1662. $ 42,000 8vo. 2 volumes (188x118mm), (28), 649, (7); (28), 611, (5) pp.; two engraved frontispieces, both included in the foliation, and 16 engraved plates. Handsome contemporary binding in calf, spineends neatly restored, the gilt decoration and title on the spine somewhat faded. Restoration to the upper margin of one plate, but otherwise a tall and fine copy. Extremely rare and important edition of the masterpiece of the Spanish literature: the first illustrated edition in Spanish and the first with the new title “Vida y hechos”. The 16 engravings are by Frederik Bouttats, some after the Dutch edition of Dordrecht, 1657. The text follows the 1637 edition for the first part and those of Madrid 1615 and Valencia 1616 for the second. Del Rio y Ricco 42. Palau 51,993. Peeters-Fontainas 229. Bardon Cat. 2005 n.3: “Primera ediciòn ilustrada en castellano de gran aprecio y rareza”.
27. KIRCHER, Athanasius. Ars Magna Sciendi In XII Libros Digesta... Amsterdam, Johann Janssonium, 1669. $ 54,000 Folio, 2 parts in 1 volume (447 x 282 mm), engraved additional titles to both parts, engraved portrait, engraved plate at start of part 2, engraved diagrams in the text, those on pp. 13 and 173 with volvelles, woodcut illustrations in the text, 4 double-page letterpress tables, one folding, printed on large paper. Contemporary red morocco binding, densely and elaborately tooled gilt, spine similarly gilt in 8 compartments, lettered in one, edges marbled and gilt, spotting and foxing, sometimes heavy, spine repaired at head and foot. From the library of Giampaolo Oliva according to a manuscript ownership entry on the title-page - eleventh general of the Jesuit for whom the splendid and elaborated binding was commissioned; from the Ritman collection, his ex libris pasted on the inner board. First edition in a remarkable association binding, made for the Jesuit general Giampaolo Oliva (1600-1681), Kircher’s friend and superior. The Ars magna sciendi is Kircher’s elaboration and adaptation of the ‘Combinatoric Art’ of Ramon Lull, the thirteenth-century Majorcan philosopher and represents the seventeenth-century search for a universal language that would allow scientists and philosophers to describe and circumscribe all knowledge into a unified system. Among 17th century Jesuits, whether heads of the Order like Oliva or other high-ranking officials, elaborate bindings are highly unusual. Merrill 22; Caillet II, 360.5771; Clendenning 10.17.
30. [FETE / NAPLES] DESCRIZIONE delle feste celebrate dalla fedellissima Città di Napoli per lo glorioso ritorno dalla impresa di Sicilia della Sacra Maestà di Carlo di Borbonne. Napoli, Mosca, 1735. $ 9,000
28. HOPE, William. The compleat Fencing-Master: in which is fully describe’d all the guards, parades and lessons belonging to the smallsword... Together with directions how to behave in single combat on horse-back. London, W. Taylor, 1710. $ 9,000 Small 8vo, (22), 197 (i.e. 167), (17) pp. 19th century calf (rebacked). With 12 folding engraved plates. Good copy, from the library of John Whitefoord MacKenzie (1794-1884), with his armorial engr. bookplate. Extremely rare “third” edition of the most impor29. VOLTAIRE (pseud. of Arouet, François-Marie). Candide, ou l’optimisme, traduit de l’allemand de Mr. Le Docteur Ralph. [Genève, Gabriel Cramer], 1759 (bound first:) AKENSIDE, Mark. Les plaisirs de l’imagination. Poeme en trois chants. Amsterdam, Hans Kasper Arkstee & Hendrick Merkus, Noël Jacques Pissot, 1759. $ 80,000 12mo., two works in bound in 1 volume (160x96 mm). I: 299, [1 of 5] pp. Note: without, as usual, the blank leaf N7 and the Avis au Relieur (l. N8). Engraved capital letters and 20 engraved animated and decorated tail-pieces. II: 207,  pp. Contemporary raciné calf binding, spine gilt. A very good copy, light stains, a minor loss at the lower margin of l. N2 of Candide, title-page of Akenside’s work trimmed at the bottom. Manuscript inscription at the first fly-leaf: ‘Die mutter, Der vater’. I: Extremely rare “true” first edition of Voltaire’s masterpiece, printed under the pseudonym of ‘Mr. Le Docteur Ralph.’ “The folly of philosophic and religious optimism is displayed with a vigour and wit that carries the reader away.” – PMM. The bibliographical history of this book is extremely
tant English work on subject of the 17th century. Although the title page reads “third edition”, the present edition is actually fourth; it is preceded by editions with this title from 1691 and 1692 of which it is a reprint. The “true” first edition appeared as The Scots Fencing Master (1687). Unrecorded in the standard bibliographies. The author (1660-1724) was knighted in 1698 and seems to have lived for his passions-- dancing, fencing and sword-fighting. He published several works on the subject. Pardoel 1282; En Garde 51; Thimm, p. 138. Wing H2711-14; Garcia Donnel 440. complex and confused. Before handing over a final manuscript to Cramer, Voltaire sent a slightly different version to John Nourse, a printer in London, who may well have dispatched copies to other publishers. The result was that, within weeks of the first edition of Candide appearing in Geneva, no less than sixteen (!) editions appeared in Paris, London and Amsterdam. The identification of the present issue as the “true” first edition, already so considered by Bengesco and Gagnebin, has recently been confirmed by the cumulative analyses of Ira Wade, Giles Barber, and Stephen Weissman. It must be considered earlier than the other three editions containing 299 pages published in 1759 as well as the thirteen other editions printed in Europe in the same year. The present copy respects all the points of the first issue: the uncorrected misprints, Voltaire’s revisions on p. 31 and 41; chapter xxv does not contain the paragraph critical of contemporary German poets. This volume also contains the first French translation of The pleasures of imagination, by one of the most active intellectual of the 18th Century. PMM 204. Barber 299G. Bengesco 14 34. Morize 59a; Wade 1.
Small folio (310 x 200 mm), 56 pp., contemporary mottled calf, spine gilt, remnants of paper label at head of spine. Engraved vignette on title-page by Rocco Pozzi after Michael Foschini, 2 very large (460 x 1070 mm), engraved folding plates by Bartolomeo de Grado and Antonio Baldi after Niccolo Tagliacozzi Canale, illustrating the pavillon and the arch built on the harbour and Royal square of Naples. A description of the entrance of Charles VII (17161788), King of Naples and Sicily into his capital. After claiming the kingdom upon the expulsion of the Austrians by Spain in 1734, the newly crowned king arrived to great celebration in a newly independent Naples. One of the large folding plates illustrates the pomp surrounding his arrival by sea, while the second shows the series of arcades ending in a triumphal arch erected for the occasion in the front of the royal palace. Vinet 602. Watanabe 604. Ruggieri 326 (2 plates) and 327 (one plate only.).
31. BODONI, Giambattista. Catalogo di alcune edizioni bodoniane. [Parma, Bodoni, 1793]. A fine uncut copy of an extremely rare item. $ 5,000 Small 8vo, pp. XXIII, (1). Bound in original orange boards. Extremely rare catalogue containing a moving letter by Bodoni to collectors, in which he announces his intention to publish a final four titles (Dante, Petrarch, Ariosto and Tasso) in the following year, and then retire. The catalogue proper contains 46 titles published between 1791 and 1794 (including their different issues). Fortunately, Bodoni did not keep his word and continued to print his masterpieces till his death, 20 years later. Brooks 517.
32. THOMSON, James. The Seasons. By James Thomson. Parma, Bodoni, MDCCXCIV. $ 3,200 4to. (4), XII, 248,pp. Bound in original wrappers, in a decorated green slipcase. A perfect, uncut copy of a rare Bodoni’s edition for the English market Series of four poems extremely influential, stimulating works by Handel, Gainsborough and Turner among many others.
The first part, Winter, was published for the first time in 1726, and the completed cycle appeared in 1730. It was translated into German by B. H. Brockes (1745) and formed the basis for a work by Gottfried van Swieten, which became the libretto for Haydn’s oratorio. Bodoni’s editions in English language are few and all released in a short period of three years. Brooks 532. De Lama II, p. 92.
33. BODONI, Giambattista. Catalogo delle edizioni Bodoniane eseguite in Parma. 1820, Parma. si trovano vendibili presso la Vedova Bodoni, . $ 5,000 16mo, XXIII, (3) pp. Bound in modern orange boards. A bit trimmed. Extremely rare catalogue with a provenance from Bodoni’s widow, containing short description of about 100 editions from 1792 up to the 1818 Manuale Tipografico, organized by language. The last printed leaf bears interesting manuscript notes by Bodoni’s widow, Margherita Dall’Aglio. BROOKS 1233
34. LEOPARDI, Giacomo. Canzoni di Giacomo Leopardi. Sull’Italia. Sul monumento di Dante che si prepara in Firenze. Roma, Francesco Bourlié, 1818. $ 18,000 8vo (210 x 135mm.), 15ff. (of 16, without final blank). Bound in cont. decorated wrappers, uncut, somewhat stained. With 14 corrections in pen by Leopardi himself; copies with as many as 20 corrections are recorded. Rare first edition of Leopardi’s first original published work: two poems on patriotic subjects, written during the growth of nationalistic fervour following the fall of Napoleon in 1815, and dedicated to the poet Vincenzo Monti (1754-1828) In this copy, the word “Cavaliere” before Monti’s name has been crossed through; he was often accused of changing his political views to fit Realpolitik. These two poems were later placed first in Leopardi’s collected Canti (1824), thereby demonstrating their importance for him. The print run was a modest 300 copies, plus a few special copies printed on blue paper, and despite the printed date of 1818, the pamphlet only appeared in 1819. Benedetucci 15. Mazzatinti 639.
35. COURNOT, Antoine Augustin. Recherches sur les principes mathematiques de la theorie des richesses. Paris, L. Hachette, 1838. $ 42,000 8vo (221x137 mm). XI, 198 pp., 1 folding plate. COMPLETE with half-title. Bound in original printed wrappers. Beautiful uncut copy, spine worn with some splitting, some wear at the edges, faint stain on the front wrapper. Preserved in a modern green cloth clamshell case. Rare first edition of this fundamental work, a forerunner of modern game theory. This treatise represents “the first consistent and generally successful attempt to apply mathematical analysis to a wide range of economic problems” (Theocaris) as well as a book “that for sheer originality and boldness of conception has no equal in the history of economic theor”» (Blaug 1997, p. 301). In his Recherches Cournot, the inventor of the modern mathematical economics, as well as its master expositor, lays the groundwork of what we now call the theory of the firm or the theory of market structure. Einaudi 1365; Goldsmiths’ 30181; Kress C.4590; Theocaris, Early Developments in Mathematical Economics, p. 131.
36. CHOPIN, Frederic. Important autograph letter signed “Ch” written in Polish to Julian Fontana, a Polish musician and lifelong friend. $ 105,000 4 pages (158 x 98mm), embossed monogram (“DOBBS LONDON”), with some characteristic deletions and alterations by the composer, Calder House, Mid Calder, Scotland (‘12 miles from Edinburgh, if that gives you any pleasure to know that’), 18 August 1848. Preserved in a polished calf portfolio c. 1900 with author/title gilt on title. Some splitting at folds, some light staining. This is a famous valedictory letter, full of melancholy and defiant black humour, in which Chopin confides to Fontana the morbid feelings brought on by his physical decline and the sense of isolation in Scotland, likening himself to a broken musical instrument beyond repair and unable to write music. It dates from around the middle of Chopin’s final tragic tour of London and Scotland, a year and a half before his final decline—he was already dying from tuberculosis. And so he writes: “The worst of it is this: we are the work of an illustrious instrument-maker, some Stradivarius sui generis who is no longer here to repair us ... je suis tout pret a crever”. In places, the irregular hand in the letter seems to mirror the distracted nature of its contents. A number of words are heavily scored in the same manner found in his corrections to the working manuscripts of his compositions. Julian Fontana, was a pianist and lawyer born in 1810 in Warsaw to a family of Italian origin. He belonged to Chopin’s closest circle of friends, and copied out a large number of his works; in 1840 Chopin dedicated to him his Two Polonaises, Op. 40.
37. FITZGERALD, Francis Scott Key. The Great Gatsby. New York, Charles Scribner’s Sons 1925. $ 170,000 8vo. (200x136 mm), , 218 pp. Bound in original green cloth, blind-stamped title on front cover, spine lettered in gilt. Dust-jacket in first issue, with lowercase “j” in “jay Gatsby” on the back hand-corrected in ink. A very attractive copy, spine ends and corners a little bumped, restorations to spine of the dust-jacket, including one inch piece to the foot of spine, affecting publisher’s imprint, still, a very good copy. Preserved in custom book box. First edition, first printing, first state of the text, with first issue of the dust-jacket of this masterpiece of American literature, considered by its author ‘about the best American novel ever written’ and named by the Modern Library ‘the the second best English lan- guage novel of the 20th Century’.The present copy conforms to all the issue points of the correct first printing: “chatter” on p. 60, line 16, “northern” on p. 119, line 22, “it’s” on p. 165, line 16, “away” on p. 165, line 29, “sick in tired” on p. 205, lines 9-10, and “Union Street station” on p. 211, lines 7-8.v Bruccoli A11.I.a, Connolly 100 48.
38. BULGAKOV, Michail Afanas’evich. Master and Margarita. «Moskva» 11 (1966), 1 (1967). $ 26,000 8° in two parts (256x164 mm). I: 223 pp., one blank leaf; between pages 144 and 145 are added four leaves with coloured images. II: 224 pp., between pages 176 and 177 are added another four leaves with coloured images. Title-page printed in red and black. Original Havana wrappers, cover titles printed in blue. Very good copy, preserved in a blue morocco case. Extremely rare first appearance of this masterpiece, one of the great novels of 20th century. This first published appearance in the review Moskva, is reduced by roughly 70 pages: the censorship deleted chapters and individual sentences concerning the struggle for survival in the Russia of 1930. The first appearance in book form was printed, censored, in Paris in 1967 and in the same year in London were published two trans- lations of the work: the first one, by Mira Ginsburg, was made of the censored text, the second consists of the translation of the unabridged text by Michael Glenny. It was only in 1969 that the original, uncensored and unabridged Russian text was published in Frankfurt. Notwithstanding the censorship and deletions, it is fascinating to see how one of the true masterpieces of Modern Literature, the greatest novel produced during the Soviet regime, saw print for the first time.