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2006ref. 3854FBLuzern, Faksimile-Verlag, 2006. Bände: 28 x 20 cm. Schaukasten: 30,5 x 23 x 13 cm. [578]; 244 Seiten. Original-Samteinbände, der Faksimileband zusätzlich mit 2 vergoldeten Schließen und Rundum-Goldschnitt. Original-Schaukasten aus Plexiglas. [8 Warenabbildungen]
1791ref. 000015094Worcester Massachusetts: Isaiah Thomas 1791. First Thomas edition. Hardcover. Good or better. 4to. 2 3-1310 pp. Contemporary paneled sheep with the spine in six compartments. Illustrated with two engraved frontispieces. Completing the title page: And with the former translations diligently compared and revised by the special command of King James I of England. With marginal notes and references. To which are added an index and an alphabetical table of the names in the Old and New Testaments with their significations. American Antiquarian Society "Isaiah Thomas’s Printing Press: "Old Number One". Darlow and Moule 1353. Isaiah Thomas' printing press first operated out of Boston: producing a newspaper and materials that encouraged American colonists to rebel against the British imperial government. Thomas moved his press to Worcester at the behest of his friends who suspected that it would be impounded by the British authorities. Thomas' Bible was produced in several quarto octavo and duodecimo editions. Darlow and Moule note that Thomas enlisted the help of clergymen and others to compare nearly thirty different editions of the scripture. The Thomas Bible is one of the more attractive productions of early American printing. The clasps largely perished quite a bit of rubbing to the leather's edges. Lacks leaves K3 and K4 the final verses of Maccabees also lacks the endpapers. An armorial bookplate that states "Williams" on the front pastedown an inscription reading Thomas Williams Jr. 1792 on the verso of the Apocrypha title page. Isaiah Thomas hardcover
ref. 51-3724Paris: Paul Dupont & E. Lachaud 1870. Large folio. 57 x 40 cm. Frontispiece of Ferdinand de Lesseps color map and 25 color lithograph plates with printed tissue guards. 100pp. Original gilt cloth professionally restored. . Edition of 500 copies of which 200 were reserved for Isma'il Pasha known as Ismail the Magnificent 1830 – 1895 was the Khedive of Egypt and Sudan from 1863 to 1879 when he was removed at the behest of the United Kingdom. He was miffed at the credit Lesseps received and had this portrait removed from those 200 copies. The album is a collection of watercolors from life following and commemorating the inauguration of the Suez Canal from the ceremonies of 16th November 1869 up to the crossing between the 17th - 20thNovember. . . . Ferdinand Marie Vicomte de Lesseps GCSI 1805 – 1894 was a French diplomat and later developer of the Suez Canal which in 1869 joined the Mediterranean and Red Seas substantially reducing sailing distances and times between Europe and East Asia.Édouard Riou 1833 – 1900 was a French illustrator who illustrated six novels by Jules Verne as well as several other well-known works. OCLC Number: 3784451; Brunet VII 510; Blackmer 611 In plano : 2f. 100pp. ; illustré d'une carte en couleurs et 25 aquarelles d'après nature parRiou lithographiées en couleurs par Eugène Cicéri. Portrait-frontispice de Ferdinand deLesseps . Quelques serpentes légendées déchirées ou avec de petits manques 2planches libres frangées en bordure. Couleurs bien vives papier bien blanc.Percaline violette éditeur dos lisse et premier plat insolés titre en lettres doré sur plat supérieur et décor doré sur dernier plat.Riou exécuta cette série d'aquarelles en marge et pendant les fêtes de l'inauguration du canal de Suez novembre 1869.Fontane fut le secrétaire de Ferdinand de Lesseps et l'accompagna également pendant les travaux de l'isthme de Panama. RIOUélève de Gustave Doré illustra entre autres les ouvrages de Jules Verne et fournit des planches pour Le Tour du Monde. Brunet VII 510;Blackmer 611 L'auteur 1838-1914 est à la fois historien orientaliste journaliste et secrétaire de Ferdinand de Lesseps.En 1854 il devient cadre de la Compagnie du Canal de Suez.Eugène Cicéri a réalisé quelques paysages en Afrique du Nord qui lui valent d'être aussi classé parmi les orientalistes. Seuls 500 exemplaires ont été publiés; parmi ceux ci 200 ont été réservés pour Ismaïl Pacha Vice Roi d'd'Égypte. Il s'est senti insulté par la préface de Fontane qui a accordé tout le crédit de ce projet à de de Lesseps et il a fait retiré de ses 200 exemplaires à la fois le portrait de de Lesseps en frontispice et la préface de Fontane. Paris: Paul Dupont & E. Lachaud, [1870]. hardcover
1613ref. 61750Parma: Ex Typographia Antaei Viothiis i.e. Anteo Viotti 1613. Folio. 8 374 8 pp including 2 blank leaves. Copper-engraved illustrated title of the Farnese coat of arms of Parma designed by Malossi i.e. Giovanni Battista Trotti 1565-1619 engraved in copper by Francesco Villamena 15660-1624 within an allegorical frame historiated initials and richly embellished throughout with decorative calligraphic woodcut engravings after drawings by Brondolo and engraved by Ferrari. Contemporary full vellum spine expertly repaired minor worming to pastedowns end leaves tidemark to gutter margin through 1st half of textblock w/o the large folding dedicatory engraving very minor worming to spine endpapers still a good copy. First edition of this fascinating work dedicated to Pope Paul V filled with 2370 theses of rational natural and moral philosophy defended at length by the brilliant 15-year old Ottavio Farnese 1598-1643 son of the Duke of Parma displaying a deep understanding of Aristotle and other ancient philosophers. Of particular interest are the wonderfully executed woodcut calligraphic figures throughout the text of sphinxes figures personified allegories musical instruments vegetables plants animals such as turtles storks roosters lions frogs and grasshoppers.No reference this cataloguer could find appears to have identified “Brondulus” possibly G.F. Brondolo. Sadly the year after this brilliant disputation in 1613 Ottavio’s paranoid father the Duke of Parma Ranuncio I Farnese imprisoned him in the notorious Parma La Rocchetta prison stripped him of all his feudal titles and there he languished for the next 30 years dying most likely of the plague in 1643. According to Worldcat listings and descriptive catalogues there appear to be surviving copies with and without the double-page allegorical plate dedicated to Pope Paul V. Worldcat locates 6 in the U.S. Getty Harvard w/o plate Newbery St. Bonaventure Library The Morgan DLC. Ex Typographia Ant[a]ei Viothi[is] (i.e. Anteo Viotti), hardcover
1653ref. 43711Parisiis, , Typographia Regia, 1653. In-4 à deux colonnes de (64)-884-(58) pp., frontispice, maroquin rouge, dos orné à la grotesque, double encadrement doré à la Du Seuil sur les plats avec fleurons dorés dans les angles, coupes décorées, tranches dorées sur marbrure (reliure de l'époque).
1749ref. 42104Paris, Vaneck, 1749. Titre et 20 gravures sur cuivre (12 x 7,5 cm) frappées par 4 ou 5 sur 5 feuilles (24 x 38 cm).[CHEVILLARD (Jacques)]. Methode facile pour apprandre le blason, ou l'on joint les armes accollees, des Princes, et Princesses Ducs, et Duchesses, et celles des Maisons des plus considerables de France, avec les Explications des ornements exterieurs. Paris, Vanheck, 1749. 71 gravures sur cuivre (12 x 7,5 cm) frappées par 3 ou 4 sur 18 feuilles (24 x 38 cm).Ensemble 2 suites reliées en 1 vol. in-folio, demi-chagrin prune à coins, dos fleurdelisé à nerfs, double filet doré d'encadrement sur les plats (reliure du XIXe siècle).
1681ref. 42869La Correrie, per Laurentium Gilibert, typographum juratum apud Gratianopolim, 1681. In-4 de 348 pp. et (48) pp. d'index (sign. A-Z-Aa-Zz-Aaa-Ccc4, Ddd2), demi-veau havane, dos orné (reliure du XIXe siècle).
(10) Bll. Mit Medaillonportrait Melanchthons am Titel sowie Schlussvignette in Holzschnitt. Papierner Heftstreifenrücken. 4to. Erste Ausgabe der "Klag- und Trostschrift von dem christlichen Abschied und Begräbnis des Ehrwürdigen und Hochgelehrten Herrn Philippi Melanthonis" (wie der Titel der im selben Jahr erschienenen deutschen Ausgabe lautete). - Leichter Wasserrand; im Rand etwas lappig bzw. mit Wurmspuren. Sehr selten; seit 1950 kein Exemplar im Handel nachweisbar. VD 16, M 2167. Hartfelder S. 640, Nr. 337. Knaake II, 899.
8vo. 31, (1) pp. Later blue wrappers. A compact Latin treatise on the ancient medical art of cupping, recorded already in the works of classical medical writers Galen and Celsus. This pocket-size booklet contained everything a doctor needed to know to make use of the technique in mid-sixteenth century Europe. - As typical of humanist medical studies, the anonymous work begins with a brief reflection on the Greek origins of cupping. It then describes the uses of the technique for the extraction of blood and the manipulation of the humours. Already on page 4 the relative safety of the non-invasive procedure is emphasised: "Idque auxilium ut minus vehemens, ita magis tutum". The author then goes on to discuss the various materials used for making the cups or "cucurbitulae" (literally, "little pumpkins" or "gourds"), how to use them, for how long, where in the various areas of the body, and against which ailments they can be employed. Modern readers interested in the history of the use of cupping to reduce pain and inflammation in the lower back will be pleased to see mention of the technique to this end on pp. 27-28. - The book has moderate to severe browning to the edges of the pages thoughout, more pronounced on pp. 11-14 but not affecting the text. On the first and final pages, the cover has formerly become adhesed to the paper, the later removal of which has left marks. The paper cover shows some black staining to the spine; numerous tears in the wrapper reveal frequent use. Rare. BM-STC French 126. Adams D 169. Wellcome I, 1690. OCLC 17534872. Not in Durling.
246, (18) Bll. Mit rot kol. Holzschnitt am rot-schwarzen Titel sowie 2 Textholzschnitten. - (Beigebunden) II: [Fischart, Johann]. Die wunderlichst unerhörtest Legend und Beschreibung des abgeführten, quartirten, gevierten und viereckechten vierhörnigen Hütleins [...]. "Lausanne, Gangwolf Suchnach" [d. i.= Straßburg, Bernhard Jobin], 1580. (23) Bll. Mit Holzschnitt am Titel. - (Vorgebunden) III: Nigrinus, Georg. Fegfeuers Ungrund grüntlich erörtert und außführlich beweiset, mit der H. Schrifft, der Vätter, Concilien und ander Zeugnussen. Auß 14 Leichpredigen D. Jacobi Feuchten Weihbischoffs zu Bamburg [...]. O. O. u. Dr. 1582. (255) Bll. Titel in rot und schwarz gedruckt. Blindgepr. Schweinslederband der Zeit auf 4 Bünden (Bindebänder fehlen). 8vo. Hübscher Sammelband mit drei antikatholischen Polemiken in seltenen Elsässer Drucken. - II: Zweiter Druck dieser deutschen Bearbeitung: eine genaue, umfangreich ergänzte Übertragung des niederländischen "Byencorf" des Philipp van Marnix. "In der Gesinnung angeregt durch Calvin, in der Weltanschauung durch Erasmus, im Stil durch Rabelais" (Neufforge 112f.). Der Titelholzschnitt zeigt einen Bienenkorb in Form der Tiara mit Kirche und Windmühle (dieser Bl. 235v im Text wiederholt), ferner am letzten Textblatt ein weiterer Textholzschnitt, der die Kirche in Form einer Karikatur der "Veritas" verunglimpft. - II: Erste Ausgabe von Fischarts "Jesuitenhütleins", seiner satirischen Reimdichtung gegen die Jesuiten. - III: Einzige Ausgabe dieser Arbeit aus der Feder eines "der gröbsten Polemiker des Jahrhunderts" (Goedeke II, 505). - Titelblatt der Vorbindung mit zeitgenöss. hs. Besitzvermerk des Benediktinerstifts Altenburg bei Horn (Niederösterreich). Durchwegs etwas gebräunt bzw. leicht wasserrandig; zu Beginn mehrere zeitgenössische Marginalien. Der hübsche Prägeeinband etwas berieben; im Ganzen wohlerhalten. I: VD 16, M 1047. Ritter 855. Muller III, S. 586, Nr. 111. Goedeke II, 499, 37b. Graesse II, 587f. Weller (Druckorte) 6. Vgl. Jantz I, 81 (Ausg. 1586). - II: VD 16, F 1163. Muller III, S. 586, Nr. 109. Ritter (IV) 1721. Goedeke II, 499, 40. - III: VD 16, S 4637. Goedeke II, 507, 22.
1589ref. 42498En Angolesme, par l'Aucteur [Olivier de Minières], 1589. Petit in-8 (164 x 105 mm) de 15 pp. (A-B4), caractères italiques, veau fauve glacé, dos lisse orné de fleurons, titre doré en long, triple filet doré d'encadrement sur les plats, tranches dorées (Koehler).
8vo. 192 pp. With woodcut printer's device, headpiece and initial. Contemporary half vellum over marbled boards with faded handwritten spine-title. Second Italian, and second vernacular edition of the celebrated "Epistolae Magni Turchi", a best-selling 15th century literary invention by Laudivio Zacchia of Vezzano. Here translated by the ubiquitous Lodovico Dolce, these letters purport to represent the correspondence of Sultan Mehmet II, the conqueror of Constantinople and Byzantium (still alive at the time of writing), with governors and potentates from Persia to the Mediterranean islands, Greece, and Italy. Through this albeit fictitious collection Laudivio could highlight Turkish/Islamic territorial ambitions, as well as, by implication, political and ethical differences between East and West, not always to the credit of his Christian contemporaries. - A reissue of the 1562 first edition. The little collection proved hugely popular, calling for more than twenty incunabular editions, all now individually rare, and further reprints in the 16th and 17th centuries. - Occasional light brownstaining; lower corner of fol. C6 torn away, affecting a single letter; a tiny marginal paper flaw to fol. M2. BM STC-Italian 455. Göllner 1047. Blackmer 955. Edit 16, CNCE 26436. Tiraboschi, Storia della letteratura italiana III, 177.
8vo. (16), 279, (23) pp., final blank f. Half vellum using a leaf from an antiphonary. First Latin edition of Alessio's "De secretis", still in six books. The author is commonly identified with the alchemist Girolamo Ruscelli (1520-66). "Das Werk gehört nach Caillet zur 'haute philosophie hermetique'. Es enthält außer alchemistischen auch viele kosmetische Rezepte, ferner solche gegen Pest, Schlangengift, Ungeziefer, wie auch Konfekt, Einmachen von Früchten, Druckerschwärze, Putzmittel, Schlafmittel usw., des weiteren sehr frühe Beispiele zur Syphilis-Therapie und Arsenikverbindungen zur Haarvertilgung" (Horn/Arndt). "Une des premières éditions de ces célébres secrets que l'on considère comme merveilleux. Quelques personnes qui ont fait l'essai de plusieurs affirment que les résultats sont prodigieux" (Caillet). Sections on making wine, ink, soap, toothpaste, etc. From 1569 onwards Perna also published a German translation. - Somewhat brownstained and waterstained throughout; a few contemporary marginalia; extensive notes by a contemporary hand on reverse of title-page and at the end. Very rare; no copy in auction records of the past decades. VD 16, R 3835. Durling 110. Wellcome 178. Ferchl 455. Ferguson I, 22 (note). Duveen 15 (note). Cf. Caillet I, 177ff. Rosenthal 754. Graesse (Bib. magica) 50. Simon 33.
4to. (12) ff. (aa-cc4). With large woodcut initial. Papered spine. Rare first edition of this collection of neo-Latin verse. Contains several mentions of Brassicanus's friend Erasmus as well as of Hutten, whose "Nemo" had inspired the present verses (cf. G. Ellinger, Geschichte der nlat. Lit. Deutschlands im 16. Jh., vol. 1 [Berlin 1919], p. 441). - Trimmed rather closely at upper edge, occasionally touching headline. Slightly browned and fingerstained in margins; contemp. shelfmark to title page. Rare; the only copy in the last decades' trade was incomplete (1996: H&H 84, lot 175: DM 1,100 (modern boards, wanting final leaf). VD 16, B 7153. IA 123.888. Benzing 51f., 37. Burg 97. Panzer VI, 90, 536. Proctor/Isaac 11700. Ritter, Rép. 257. Walter 815. ADB III, 260. Not in Adams.
1859ref. 44591Paris, Librairie de France, 1859. In-12 de (4)-228 pp., portrait, maroquin rouge, dos à nerfs orné du bonnet phrygien répété quatre fois, double encadrement doré avec bonnets phrygiens dorés dans les angles, dentelle intérieure, tête dorée, non rogné, étui bordé (Thivet).
Large 4to. (16), 72, 134 pp. With woodcut printer's device on t. p. 17th century vellum with traces of a later blindstamped spine title. Important humanist edition, "the basis for all later editions" (cf. Hoffmann). Part 1 contains the Greek text with Greek marginalia and Latin critical apparatus, part 2 contains the various Latin translations by Frischlin and the learned Estienne himself. - Binding very slightly warped and with insignificant chipping to extremeties. Interior somewhat browned as usual; some brownstaining near beginning. From the collection of the English scholar and football champion Harry Chester Goodhart (1858-95), legendary goal scorer for the Old Etonians in four FA Cup finals and then, until his early death, Professor of Humanities at Edinburgh (his engraved bookplate to front pastedown). Later in the library of the Swedish collector Herbert Vilén (1908-68; his bookplate, designed by Oscar Furuhjelm in 1930, on front flyleaf). IA 129.591. Adams C 232. Renouard 145.3. Moeckli 88. Hoffmann I, 428. Schweiger I, 75.
1859ref. 41414Vitry-le-François, , 1859. Casier en bois blanc (36 x 26,5 cm) de 35 compartiments contenant chacun 5 planchettes mobiles en bois (4 x 2,8 cm) peintes en noir au pochoir recto verso (lettres et chiffres), couvercle.
15964 Tle. in 1 Bd. 958 Sp., 3 nn. SS. 635 Sp., 2 nn. SS. 714 Sp. 80 nn. SS. Mit breiter figuraler Holzschnittbordüre und zahlreichen Initialen und Vignetten in Holzschnitt. Schweinslederband der Zeit auf fünf Bünden mit reicher Blindprägung. Die Decken durch vier verschiedene Rollen (Humanisten, Bandwerk und Palmwedel) sowie doppelte Blindlinien kassettiert, Eckfleurons als Mittelstück das Wappen der Herzöge von Württemberg, Fürsten von Mömpelgard und Monogramm "AOB", der Hinterdeckel mit arabeskem Mittelstück. Kl.-Folio. Druck aus der Presse des G. Laymarie, ohne Angabe des Druckortes, der häufig mit Lyon angegeben wird, laut Baudrier I, 240 hat er aber nie in Lyon gedruckt. - Der reich verzierte Einband mit geprägter Datierung "1600" stammt aus der Regierungszeit Friedrich I. von Württemberg (1593-1608). Bei dem verwendeten Wappenstempel handelt sich um den bei Haebler II, 93, 1 beschriebenen, der sich auf den Bänden der Privatbibliothek der württembergischen Herzöge findet. Allerdings "wird das Wappen von Württemberg offenbar in viel weiterem Umfange von den Buchbindern dieses Landes zum Schmuck der von ihnen gefertigten Einbände verwendet" (Haebler II, 90). - Ohne die Bindebänder, die Prägung wohlerhalten. Titel mit zwei Besitzvermerken des 17. Jahrhunderts. Innen etwas gebräunt bzw. fleckig. Im Ganzen jedoch sehr ansprechendes Exemplar. Graesse II, 157. Schweiger I, 106. Moss I, 294. BM-STC French 109. Nicht bei Adams.
15954to. (62) pp., last bl. f. With woodcut printer's device on title-page. - (Bound with) II: Admonitio theologicae facultatis in Academia Witebergensi, ad scholasticam iuventutem, de libello famoso & blasphemo recens sparso, cuius titulus est: Disputatio nova contra mulieres, qua ostenditur, eas homines non esse. Wittenberg, Matthäus Welack's widow, 1595. (12) pp. Boards (c. 1900). Edges sprinkled in red. The two most important literary reactions to the scandalous anonymous anti-feminist polemic, "Disputatio nova contra mulieres, qua probatur eas homines non esse" (no place, 1595; VD 16, ZV 4618), which had denied the humanity of women (and thus their capacity for salvation). The pamphlet sparked a surge of 16th and 17th century satires. The theology department in Wittenberg warned its students against reading the book, while the Leipzig Professor of Hebrew, Simon Gediccus (1551-1631), published an apology of the female sex in which he refutes the pamphlet word for word. - Somewhat browned throughout due to paper; ms. note on last leaf. From the collection of the German lawyer Christian Friedrich Eberhard (1753-1818) with his bookplate on the front pastedown. Both works are very rare; neither one in German auction records since 1950. I: VD 16, G 652. - II: VD 16, W 3701.
4to. (62) pp., last blank leaf. With woodcut printer's device to title-page. 18th century blue boards. First edition; with autograph inscription by the author, the theologian Simon Gediccius (1551-1631). - The most important literary reaction to the scandalous anonymous anti-feminist polemic, "Disputatio nova contra mulieres, qua probatur eas homines non esse" (no place, 1595; VD 16, ZV 4618), which had denied the humanity of women (and thus their capacity for salvation). The pamphlet sparked a surge of 16th and 17th century satires. The theology department in Wittenberg warned its students against reading the book, while the Leipzig Professor of Hebrew, Simon Gediccus (1551-1631), published an apology of the female sex in which he refutes the pamphlet word for word. - Extremeties bumped, spine damaged, slightly browned throughout due to paper. Autograph inscription by the author to the theologian Michael Geringius of Halle: "Reverendo et doctiss. viro Dn. M. Michaeli Geringio pastori Eccl.ae Halensis ad D. Mauritii etc. ddi. author". Small green bookplate of the Groningen professor of medicine Jacob Baart de la Faille (1795-1867) to verso of the front board, as well as a handwritten note: "Thèse curieuse et fort rare [...]". - Very rare, not in German auction records since 1950. VD 16, G 652.
Small 4to. 3 parts with separate title-pages but continous pagination. (8), 126 pp., final blank leaf. With numerous woodcut illustrations and diagrams in the text, one double-page-sized. Contemporary limp vellum. First edition, rare. This manual intended "for purposes of instruction at the Venetian gunnery school" (Jähns), the only known work by Gentilini, saw four subsequent editions under varying titles ("Instruttione di artiglieri", "Il perfetto bombardiere") up to 1626. The illustrations depict cannons, ballistics, and plans of fortresses. Schiavina appears to have been either a teacher of gunnery or a writer on the same, but nothing is known about his work. - Binding somewhat soiled, spine cracked. Figure "5" inscribed to upper cover. Interior occasionally waterstained. From the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research. No other copy in auction records. Cockle 669. Jähns 657. Edit16 20670. OCLC 38739209. Cf. Graesse III, 50 (1598 ed.).
8vo. (32), 382, (2) pp. Fine printer's mark on title and several decorated initials. Contemporary limp vellum, spine with traces of former calf reinforcement. First and only edition. A rare treatise against usury written "for all Christians and particularly for the people of Paris". The author launches a vehement attack on luxury in general and on the taking of interest as one of the greatest of all sins, forbidden by all laws, and against the law of nature. He discusses the prohibitions by Mosaic law, the Prophets, Jesus Christ, the Apostles, canon law and civil law and quotes from the proclamations against usury and usurers issued by the Paris parliament in 1565, by Charles IX in 1567 and by Henry III in 1577. The second part of the book provides more detailed information about the various types of usury, how to approach them, how to treat usurers, etc. As an example of God's hatred of luxury and usury, the author reminds the reader of the dreadful fate of the city of Antwerp, "one of the richest and most prosperous cities in all Christianity", which was sacked in the "Spanish Fury" only a year before the publication of this book, causing the end of Antwerp's prosperity. Godefroy calls himself "Parisien, profez en l'Abbaye S. Denis en France, & docteur en la faculté de Theologie à Paris". - Binding worn, both covers nearly detached. Upper margin of first and last leaves stained, some leaves spotted. Old ownership to title-page (dated 1681); additional early annotations to verso of final leaf. Very rare. OCLC 492381754. Not in Adams or BM-STC French. Not in Kress, Goldsmiths', Einaudi or Masui. WorldCat locates 4 copies only (Mazarine; Sainte-Genevieve; Lyon; LMU Munich).
4to (215 x 160 mm). (26), (2 blank), "153" (= 165), (3) pp. With the Giunta's woodcut fleur-de-lis device in a decorative cartouche on the title-page and a different one in an oval on the last page, a woodcut factotum at the head of the title-page, another woodcut decoration, about 120 woodcut decorated initials (about 7 series) including some repeats, decorations built up from arabesque typographic ornaments, and a vine-leaf ornament (Vervliet 90). With the main text set in roman type but the extensive preliminaries in italic. Contemporary limp sheepskin parchment, straight-sewn on 3 tanned calf supports cut flush with the bookblock, the spine reinforced with printed waste. Third edition (usually called the second), in the original Italian, of the first collection of native Italian stories, best known under the titles Il novellino and Le cento novelle antiche, written up as a collection (at least in some cases probably copied or adapted from various sources) between 1281 and 1300. Boccaccio borrowed and adapted eight of them when he wrote his Decameron between 1348 and 1353. Seven manuscripts survive from the early 1300s to 1523, but most contain fewer than 50 stories and only the last, commissioned by Pietro Bembo, contains 100. The stories are among the first to present ordinary people as protagonists in stories of everyday life. They are as bawdy as Boccaccio's but more conservative in their presentation of relations between the sexes, with women often though not always depicted as foolish and stupid (and once described as smelling like rotten fish), but women occasionally appear in a better light and are even allowed to be risqué, at least in private among themselves. - But while some stories from the Decameron were printed already in 1470 and it remained a celebrated literary standard work to our day, the present stories appear not to have been printed until 1525, when Carlo Gualteruzzi prepared an edition directly or indirectly from the 1523 manuscript: Le ciento novelle antike, Bologna, Girolamo Benedetti, 1525 (USTC 800597). An undated edition (USTC 802199 & 994562) reports no publisher or place of publication, but probably appeared in Italy soon after the 1525 edition. Both were simple productions of popular literature that were soon largely forgotten and survive in only a handful of copies. Entries in the surviving Diario of the printing office of the monastery of San Jacopo di Ripoli in Florence record their production of "il cento novelle" from 20 April 1482 to 13 May 1483, but this is now identified as a surviving edition of the Decameron rather than a lost edition of Le cento novelle antiche. - So when the Benedictine monk Vincenzo Borghini (1515-1580), advisor to the Medici in Florence, prepared the present 1572 edition, these stories had already become almost unattainable. It is a much fancier production than the earlier editions, beautifully printed on good paper in some of the best French types of the day (notably romans by Pierre Haultin and italics by Robert Granjon) with a wide variety of decorated initial letters, other woodcut decorations and arabesque typographic ornaments. It quickly became the standard text and all editions followed it until 1825, when scholars returned to the text of the first edition. So the present edition shows the stories as they were known for nearly 250 years. - But in the heat of the Counter-Reformation, with the Catholic Church fiercely guarding its reputation against accusations of corruption and immorality, these stories could not be printed as they stood. The Church was mainly concerned about stories that might show the Church or its representatives in a negative light, so Borghini's censorship centred on religious elements, but there were also limits to his toleration of erotic scenes. He removed 17 stories entirely (6, 7, 12, 16-18, 36-37, 39, 54, 57, 62, 75, 86-87, 91 and 93), replacing them with 18 stories whose sources still need to be investigated. One of the added stories appears before story 1 as "Proemio", so the others are still numbered I-C. Finally Borghini added an appendix with four additional stories, numbered as a separate series, I-IIII. While modern scholars understandably lament Borghini's censorship, it has unfortunately led them to ignore the 22 stories he added, while a recent study of his work on the Decameron published a year later shows that besides censoring it he gave it much scholarly care and consulted early manuscripts. A proper understanding of this important series of stories (and their reception) requires a thorough study of the manuscripts and both the 1525 and the present 1572 editions. - With a 17th-century(?) armorial library stamp on the title-page ("ex. bibliot: come ... cardelli. kom"?). After an attempt to remove an inscription from the foot of the title-page (leaving a stain on the facing flyleaf) an owner cut off 1 cm of its foot margin, not approaching the text. With a tear in the blank leaf 3*6 and in the blank foot of the final leaf V8, and minor foxing, but still in good condition. The cover has pulled loose from the bookblock at the inside front hinge. The most beautiful and most influential edition of an important series of 13th-century stories, with 17 stories from the first edition omitted and others censored, but with 22 stories added. Adams G 1358. Joseph Consoli, ed., The Novellino or One hundred ancient tales: an edition and translation, 1997. Edit 16, 47120. ESTC 805025.
1519ref. 41377(Paris), Jehan Petit, sans date, (1519). Petit in-4 (136 x 199 mm) de (4)-CVIII ff. (sig. A B–T / ), caractères romains, veau brun estampé à froid composé de quatre colonnes d'abeilles dans un large encadrement floral, dos à cinq nerfs, traces de lacets (reliure de l'époque).
1529ref. 12206Paris, Claude Chevallon, 1529. In-16 de 232 ff., veau marbré, dos lisse orné, pièce de titre en maroquin rouge (reliure du XVIIIe siècle).
