JEFFREY D. MANCEVICE, INC. P.O. Box 20413, West Side Station Worcester, MA 01602 Phone: (508) 755-7421 FAX: (508) 753-2317: www.mancevicebooks.com E-mail: [email protected]

BOOKS ON ART, ARCHITECTURE, TOWN & REGIONAL HISTORIES, ILLUSTRATED BOOKS

ARCHTECTURE / FINE ILLUSTRATIONS 1. AVILER, Augustin-Charles d'; STURM, Leonhard Christoph (trans.). Ausführliche Anleitung zu der gantzen Civil-Bau-Kunst worinnen nebst denen Lebens-Beschreibungen und den Fünf Ordnungen von J. Bar. de Vignola wie auch dessen und des berühmten Mich. Angelo vornehmsten Gebäuden alles was in der Baukunst ... vorkommen mag ... an deutlichen Beyspielen erkläret und mit schönen Rissen erläutert wird. Augsburg: Hertel, 1747. 4to, [30], 402, [26] pp. With engraved frontispiece, 139 numbered engraved plates (56 folding); no. 57 used twice for different plates) plate 100 misbound at page 294; 12 numbered plates (2 folding) at end; 2 smaller text engravings and several text woodcuts, woodcut tailpieces; title printed in red and black; 2 plates with minor tear repair at fold; tiny red ink spot to outer blank margins of few leaves at end; light marginal foxing to few leaves. Overall handsome copy. Modern half vellum. $875 "Third edition of L.C. Sturm's German language adaptation of D'Aviler's Cours d'architecture, Paris, 1691. The first edition was published in Amsterdam, 1699. This is a reprint of the second, revised edition published in Augsburg by the heirs of Jeremias Wolff, 1725 ... There 84 full-page illustrations in the text and 56 double-page plates, all with French captions, numbered in a single sequence, 1-139 (number 57 used twice). These are reversed and reduced copies of the Paris 1710 edition of the Cours published by Jean Mariette." (Millard). There are at the end an additional 12 numbered engraved plates (2 folding) with German captions to follow the notes of Leonhard Christoph Sturm (1669-1719). This is the only German edition in the Millard Collection. Augustin-Charles d'Aviler (or Daviler; 1653 – 1701), eminent French architect, was one of the main promoters of the vignolesc canon, but far from simply publishing it, he developed it by proposing variations of motifs to give more flexibility and expressiveness to the rigid system of the five orders. D'Aviler was an early pupil of Jean- François Blondel (1683-1756).. § Millard III, no. 1; RIBA, Early Printed Books, 164; cf. Millard, French Books, nos. 14-15, Fowler 32, Berlin Cat., 2391.

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25 SUPERB ILLUSTRATIONS OF EMBROIDERY DESIGNS / PRIVATE PRODUCTION 2. CLOTH DESIGN BOOK. Nova esposizione de recami et dessegni alla molto illustre Signora Ippolita Manfredi. Venice: Appresso Giacomo Antonio Somascho, No date [between 1595 - 1600 or 18th century forgery? See below]. 8vo, [28] pp. Woodcut ornamental design and Samasco's printer's mark on title (centaur holding bow and snake) and repeated on last page with 25 full-page woodcut embroidery patters; printed on a fine quality thick paper; margins doubled ruled in red with first few plates with numbers or abbreviated in red in margins. Modern wrappers and slip case. $5500 ONLY EDITION of this beautifully illustrated cloth sample book which includes twenty-five magnificent lace and embroidery patterns executed in finely detailed woodcuts. As in all other recorded copies it appears to have been printed on publisher's waste paper (?) from a manuscript calendar (Part of a preliminary run that was never published?) which has margins ruled in red (to help center the plates?) and occasional indication of date or month in the top or bottom margins. Variants of these same calligraphic markings appear in all recorded copies. A possible explanation for the work is that it was a sample or trial print run of a non-published work made at the behest of a Venetian patron (Lady Ippolita Benigni Manfredi). As noted on the title page the work was dedicated to the illustrious Lady Ippolita Benigni Manfredi, wife of the eminent playwright and poet, Muzio Manfredi: "Perhaps the supreme exponent in this period of the role of 'celebrant of women' was the poet and courtier Muzio Manfredi of Fermo (1535-1607), a ubiquitous figure in the academic culture of the time, though now best remembered as a dramatist ... Manfredi also devoted a volume to the praise of his wife, Ippolita Benigni Manfredi, who was herself celebrated as a poet. ... Manfredi and Ippolita Benigni constitute a new phenomenon in the literature of the period, of married couples of ‘letterati’, publishing in collaboration or side-by-side." (Cox, Woman’s Writing in Italy, 1400-1600, p. 142). It is possible that it was produced in a very small edition intended probably as gifts for members of Signora Ippolita Manfredi's salon and not for commercial publication. As already noted the leaves are double ruled in red ink with numbers and abbreviated words all of which appear to predate the printing and not intended as decoration but to help center the plates on both sides of each sheet in pulling a sets of the proofs. Variations of these rules and notes an numbers appear on the two different copies illustrated online (and which are described in other copies) all recorded copies. There appears to be some question to the actual date of the work. Was it actually printed by Samascho at his press in Venice between 1595 and 1600? The OPAC SBN locates two copies in Italy (Venice and Milan) which are described as "anastatic" copies (i.e. printed from zinc plates). Two copies in German and Swiss libraries also suggest "1800" for the date. A possible explanation of the theory that this is an early facsimile may originate from a note in a copy sold by Olschkis in 1936 cited in the OCLC Smithsonian copy description: "Facsimile reprint. Originally published: In Venetia : Appresso Giacomo Antonio Somascho, [ca. 1600]. Cooper-Hewitt National Design Museum copy has a ms. note in pencil on front paste-down end paper, in the hand of former owner Marian Hague, which reads: "Bought at Olschkis in Rome--March 31st, 1936. A reprint on old paper."" The only problem with this theory is that for something to be a facsimile you would need an original and all the recorded copies appear to have the same peculiar early markings and agree that it is bibliographically unrecorded. The Bibliotheque Nationale description again notes that it is bibliographically unrecorded and printed between 1595 and 1600, the years in which G.A. Somascho worked in Venice. Their copy is also described with the same red ruling present in ours and also has an inscription of the lawyer "Francesco Fontana J.U.D." If this is the same Francesco Fontana (1580 – c. 1656) who was a professor of law at the University of Naples (and noted amateur astronomer) it would help in confirming the works authenticity. The copy in the Rijksmuseum Amsterdam (with only 23 woodcuts) also takes the imprint to be authentic. The ABPC identifies one copy sold at auction as authentic: Christie's, Oct. 30, 1996, lot 47, £2,800 ($4,441 plus 20% premium). So I think the final, definitive explanation of the work's origin is still out. The simplest explanation I think would be to take it at face value that it is an original work privately published or just a preliminary run of a work that was never published. What we do know is that it's not a facsimile since no other edition is known. If it is an example of anastatic printing (a process popular with William Blake) then from where did the designs originate and why would someone go to such extreme lengths and expense just to print a few copies? § Not in Lotz.

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A MASTER WORK OF ETCHING \ VERY FINE UNCUT COPY 3. CARRACCI, Annibale; CESIO, Carlo; MONSACRATI, Michelangelo (ed.). Aedium Farnesiarum Tabulae ab Annibale Caraccio depictae, a Carolo Caesio aeri insculptae atque a Lucio Philarchaeo (i.e. M. Monsacrati) explicationibus illustratae. Rome: Sumptibus Venantii Monaldini, 1753. Large folio, [14], LXXIV pp. Half title present. With engraved portrait of Annibale Caraccio, large etched title vignette (Eq. Petrus Leo Ghezius inu. et delin. Fran. Aquila incid.), 61 large etched vignettes (1 full-page on last leaf verso) and initials, 40 engravings on 33 numbered plates (11 folding) by Carlo Cesio. Title printed in red and black. Wide margined mostly uncut copy. Few text leaves with some light browning; small worm hole in bottom inner blank margins of a few leaves, small narrow damp mark along bottom inner corner blank margin of some leaves; minor foxing in last leaf margins. Overall a very handsome volume printed on a fine thick paper. Contemporary half calf (rubbed, corners bumped, spine partially renewed). $5750 FIRST EDITION of this superb uncut copy of a magnificent large format engraved and etched work of representations of the wall paintings by Annibale Carracci (1560-1609) in the Palazzo Farnese in Rome, engraved by Carlo Cesio (1626-1686). The "Lucio Philarchaeo" mentioned in the title as the editor was the pseudonym of Michelangelo Monsagrati, b. 1719 (cf. C. Lucchesini, Memorie e documenti per servire all'istoria del ducato di Lucca, X, p. 257). The superb etchings by Cesio, which are considered among his finest work, were printed, as indicated in the plates, in the Roman atelier of the Flemish engraver and print maker, Arnold van Westerhout (1651- 1725). While the set of etchings of Cesio had previously appeared several times in very small undated editions (ca. 165780) under the title Galleria nel Palazzo Farnese in Roma del Sereniss. Duca di Parma; all of which are excessively rare. The present work has been printed on a beautiful thick paper with the etchings appearing in fine dark impressions. The work also has been greatly augmented with the addition of another 61 etchings, from various sources, for the first time. 3

"The ceiling of the Carracci gallery at the Palazzo Farnese is considered one of the most important Renaissance commissions in Rome. The Palazzo Farnese was commissioned by Alessandro Farnese (1468-1549), later Pope Paul III (r. 1534-1549) around 1513. After Alessandro Farnese became Pope Paul III in 1534, the structure was expanded significantly in order to emphasize the wealth and power of the Farnese family, and some of the most prestigious artists of the time—including Michelangelo, Jacopo Barozzi da Vignola, and Giacomo della Porta—worked to create a building that is now considered one of the most important Renaissance palaces in Italy. Also of great importance to the history of the palace was Cardinal Odoardo Farnese’s commission, in 1597, to Annibale Carracci to create a painted gallery, believed to have been ordered in celebration of the wedding between Ranuccio Farnese and Margherita Aldobrandini, Pope Clemente VIII’s niece. The important cycle of frescoes, trompe-l’oeil, and architectural framework known as quadratura that make up the barrel- vaulted ceiling of the gallery depict the "Loves of the Gods," a sophisticated dialogue between the theme of love and allegorical subjects from antiquity." (World Monuments, online) Carlo Cesio (1626 - 1686), painter and engraver, "was brought up at Rome, in the school of Pietero da Cortona, and was employed with some of the best artists of his time in several works during the pontificate of Alexander VII. He painted historical subjects, and his works are held in considerable estimation. ... Carlo Cesio was also an engraver of some eminence; we have by him several plates after the Italian painters of his time. His plates are etched and finished off with the graver, in a free, masterly style. His drawing is generally correct, and his prints have the effect of the works of a painter." (Bryan's Dict. I, p. 279; including the present volume among the artist's principal works). See New York Public Library Exhibit: Cesi Carlo 1626 - 1686 Printmaker. (including these Farnese plates.) In addition to the superb etchings by Cesio the volume is illustrated with an additional 60 large etchings including one beautiful full-page etching on the last page. Of these only the large title-page etching is clearly signed noting that it was designed by the artist Pier Leone Ghezzi (1674-1755) and etched by Francesco Faraone Aquila (ca. 1676-1740). Most of the numerous additional etchings are unsigned but, for the most part, they are very high quality starting with the very fine portrait of Carracci that appears as the frontispiece. The only plates that have any indication of authorship are a series of 8 rather large etchings (4 1/2" x 6") depicting groups of children playing (putti) which have a "GI" monogram, with some in addition have "C.P.S. Pont.", and numbered in the bottom right corner (2, 4, and 7 to 12). These lovely and often overlooked plates according to Nagler's Die Monogrammisten (II, p. 1086, no. 3115) are attributed to the Italian painter and etcher, Giacinto Gimignani (1611-1681), and were a part of a set of 12 plates which had the title, artist's name and date (1647) on the first plate which was omitted by the publisher of this work along with plates 3, 5 and 6 from that series. § Brunet I, col. 1597; Graesse II, p. 54; Rossetti no. 7668; Cicognara no. 3376; Thieme-Becker VI, p. 56; Thieme-Becker, VI, p. 316 (Cesio); Univ. Cat. of Books on Art, I, p.235.

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THE TECHNOLOGY & ENGINEERING BEHIND ARCHITECTURE 4. CAPRA, Alessandro. La nuova architettura civile, e militare di Alessandro Capra architetto, e cittadino cremonese divisa in due tomi in questa nuova impressione diligentemente corretta, ed accresciuta: dedicata all' illustriss.mo sig.r, sig.r padr.e colendiss.mo il sig. dottor Francesco Arisi conservadore degli ordini della nobilissima città di Cremona: tomo primo [-secondo]. Cremona: Ricchini, 1717. 4to, 2 parts in 1 volume. [28], 356 pp.; [12], 184 pp. With 2 woodcut title borders, 2 fine woodcut portraits of the author, 7 folding woodcut plates and over 200 partly full-page woodcuts. Contemporary owner's inscriptions in light brown in on verso of title-page dated "1732". Neat tear repair to blank margin last leaf preliminaries. Second title-page neatly backed. Fine uncut copy. Contemporary vellum backed boards. $2250 FIRST EDITION of the collected architectural volumes on civil and military architecture (famigliare & militare) which had previously been issued separately in 1678 and 1683. This is only the second appearance of these texts which have new introduction by Pietro Ricchini and Giuseppe Forbici. "Capra does not consider architecture as the art of building but as a science with a strong engineering aspect. In his work he provides the embryonic theoretical distinction between architecture and building (Deszzi-Bardeschi, 1963). The singularity of Capra's works lies in the localized quality of his references and his focus on the technical aspects of architecture; all his precepts are technological." (Millard). This edition is dedicated to Francesco Arisi who had included a short biography of Capra in his Cremona letterata by Capra's friend and admirer, Cesare Bonacina, which also has been here included for the first time. "Capra is referred to as 'matematico e Archimede' and Bonacina's letter eulogizes him further. An engraver, Bonacina copies Capra's drawings and designs and may have made some of the woodcuts for the treatises. He provides a compelling image of Capra (the portrait of Capra is probably by him) as an energetic and slightly mad scientist, whose house was an 'arsenal of instruments and innovations,'" (Millard). Capra appears also to have worked as a stage designer as well as architect and engineer. The two works are extensively illustrated with charming woodcuts with divisional title-pages within architectural frames, of buildings, numerous technical details including the tools used, with examples of their use, with results; including fountains, mileage indicators for carriages, cranes, large screw threads, cannons, water wheels (sometimes repeated in Vol. 2), instruments for gauging barrels, mechanical measuring equipment with dials and indicators, machines to measuring exact distance, use of surveying equipment. A folding map of the river Oglio and the towns on its banks. Capra covers' everything from the proper making of bricks to the placement of farms - far from fortresses rivers and streams - to mitigate the two great calamities of war and flood. "His most rewarding innovation is the perfection of the odometer ... he regales the reader with the design for a carriage equipped to measure up to 19 kilometers of road traveled" (ibid). His odometer and the related carriage and related measuring equipment are illustrated. See Millard's descriptions of the separate editions of 1678 and 1683 which include very detailed accounts of the contents. § Riccardi I/1, 235, 3,2; Jordan 598; Fowler 79 (note); Cicognara 462; cf. Millard IV, Italian & Spanish Books, nos. 27 & 28 & Besterman, Old Art Books, no. 20.

42 SUPERB DANCE OF DEATH ENGRAVINGS AFTER ROMEYN DE HOOGHE 5. CHERTABLON, Mr. de; HOOGHE, Romeyn de; LA VIGNE, David de. La maniere de se bien preparer a la mort par des considerations sur la cene, la passion, & la mort de Jesus-Christ avec de très-belles estampes emblematiques. Antwerp: Chez George Gallet, 1700. 4to, 63, [1] pp. (gathering B = pp. 9-16 bound at end). With 42 beautifully 5

engraved plates numbered "A, B, C" (plates B & C mis-bound at pp. 36 & 50) and plates numbered "1 to 39" with plate A the engraved frontispiece, after Romayn de Hooghe; title printed in red and black. With engraved coat of arms bookplates of the Counts von Reigersberg, title with ms. owner's inscription "V F D Reigersberg" and 2 early inscriptions on front blank; tiny damp mark along extreme outer top edge of a few leaves. Modern calf with marble paper with leather trim slipcase. $3500 FIRST FRENCH EDITION of this beautifully illustrated work in the 'Ars bene moriendi' tradition, illustrated with magnificent death dance engravings. According to Landwehr (Romeyn de Hooghe as Book Illustrator) these are reverse engravings in somewhat smaller format after the engraved plates by de Hooghe (1645-1708) for de La Vignes "Miroir de la bonne mort", published Amsterdam in 1673. Landwehr also notes that the publisher, George Gallet, first issued the work in Dutch in 1684 as and later in the German translation by Abraham à Santa Clara as "Sterben und Erben" (1702). The text is a translation of David de La Vigne 's "Espejo de buena morte" (cf. Brunet, I, 1834). These engravings have a more finished feeling than do the de Hooghe originals with the engraver favoring more the use of the burin rather than the etcher's needle. This magnificent suite depicts in 42 plates how to provide a "good way to die" for the sick and dying. The theme used throughout is to compare the suffering of Jesus to comfort the dying using the text of Exodus 25. Each plate depicts the deathbed surrounded by friends and relatives with angels above pointing to elaborately framed paintings held up by putti which depict the sufferings of Jesus Christ. A very handsome well-preserved copy with the engravings appearing in beautiful dark impressions. § Cohen-deRicci, 232; Lipperheide Gb 26; Praz p. 398 note; Landwehr, de Hooghe 84; Brunet, I, col. 1834; Graesse,; II, p. 130; Minns, Dance of Death, 377, 380; Hollstein, Dutch and Flemish, IX, p. 132, no. 1128; Funck, Livre belge, p. 350; cf. Faber du Faur 1122 (German 1702 ed.).

FORMULAS AND SECRETS FOR THE ARTIST AND CRAFTSMAN 6. CRÖKER, Johann Melchior. Der wohl anführende Mahler, welcher curiöse Liebhaber lehrt, wie man sich zur Mahlerey zubereiten, mit Oel-Farben umgehen, Gründe, Fürnisse und andere darzu nöthige Sachen verfertigen, die Gemählde geschickt auszieren ... und saubere Kupffer-Stiche ausarbeiten solle. Diesem ist noch beygefüget ein Kunst-Cabinet rarer und geheim-gehaltener Erfindungen. Neue viel vermehrte und verbesserte Auflage, welcher zugleich ein vollständiges Register beygefüget worden. Jena: J. R. Cröker, 1736. 8vo, [14], 536, [8] pp. Engraved frontispiece (signed: "Hoffmann. delin." & "Krügner. sc. Lips.") and numerous text woodcuts. Usual uniform browning due to the quality of paper used; contemporary engraved bookplate (monogram "FR" with "Vivat"). Contemporary vellum backed boards (rubbed). $675 New, much enlarged, and renamed edition (1st: 1721 under title: Der Zur Oel- Farben, Mahlerey und zu vielen andern Curieusen Wissenschafften wohl anführende Mahler ...). The work appears here with the addition of a second part "Ein Kunst-Cabinet rarer und geheim gehaltener Erfindungen" and a new publisher's preface dated 1736. Scarce new edition of this interesting artist's handbook which describes the formulas and techniques for creating various oil, and water colors, lacquers, and inks. Techniques of applying the different types of pigments on a variety of surfaces and the various utensils needed. Also included are instructions for copper engraving (including etching, mezzotint, dry point), gilding, silvering, making death masks, painting on glass, paper decorations, etc. The second part (The art cabinet of rare and secret inventions) is a book of art secrets on i.a. making artificial flowers, staining various materials, details on making mirrors, working and coloring various objects and surfaces. The woodcuts illustrate the equipment needed for creating the various oil and water based pigments (including information on practical chemistry and equipment); the wide assortment of 6

materials used as a base for the artwork (canvas, wood, stone, metal, paper, etc.) and the artists tools (brushes, engraving, etching, etc,) This is the edition that was used for the modern reprint in 1982 (Mittenwald: Mäander). § VD18 12069140; Ferguson Coll. I, p. 173 (this ed.); cf. Thieme-Becker VIII, 144 (1st ed.: 1712), UCBA III (suppl.), p. 164 (1743 ed.).

THE FIRST BOOK ON CHEMICAL TECHNOLOGY WITH WIEGLEB'S TEXT ON DYES AND COLORS 7. DEMACHY, Jacques-François; HAHNEMANN, Samuel; WIEGLIB, Johann Christian. Laborant im Grossen oder Kunst die chemischen Produkte fabrikmäßig zu verfertigen... Mit Herrn Doktor Struve's Anmerkungen und einem Anhange einiger Abhandlungen Herrn Apotheker Wieglebs. ... Aus dem Französischen übersetzt und mit Zusätzen versehen von Samuel Hahnemann. Leipzig: S. L. Crusius, 1784. 8vo, 2 volumes, divided in 4 parts, bound together. [16], 302 pp.; XX, 396 pp. 8 folding engraved plates of laboratory equipment. Contemporary tiny, round armorial stamp on verso of title-pages; usual foxing and light toning found in German paper of this period. Contemporary calf with gilt spine and spine labels. $2250 FIRST EDITION OF THIS IMPORTANT GERMAN TRANSLATION of these French texts on distillation by Jacques-François Demachy which has been greatly enlarged by the translator, Samuel Hahnemann (1755-1843), the founder of Homeopathy. Hahnemann used the Neuchatel 1780 French edition which had additions by Henri Struve (1751-1826). Hahnemann supplied large additions and an appendix by Johann Christian Wiegleb (1732-1800)" (Cole). The folding engraved plates depict various types of furnaces and chemistry apparatus. "The plates reproduce some of the figures from the French 1773 edition and add a few new ones." (Cole) "The 1st German edition of Demarchy's (1728-1803) laboratory handbook, mostly on distillation, which is considered to be the first book on chemical technology. Its interest for us is the addition to this German edition of a fourth part by another author, Johann Wiebleb, on dyes, colors, and starches." (Bibl. Tinctoria) Jacques-François Demachy, "pharmacist at the Hotel-Dieu, then Chief Apothecary in the Military Hospital at St. Denis, was a pupil of Rouelle, and besides translating Pott's, Spielmann's, Marggraf's and Juncker's books from Latin and Germ,an, published a number of works on technical and pharmaceutical chemistry" (Partington). § Cole, Chemical literature, 1700-1860, no. 362; Ferchl p. 120; Partington III pp, 99-100 & 587 (Hahnemann); Ron, Bibliotheca Tinctoria, no. 0311; cf. Ferguson I, p. 204; Not in Neville collection.

BEAUTIFUL ILLUSTRATED HISTORY OF PADERBORN / DELUXE EDITION FINANCED BY THE AUTHOR WITH PLATES BY ROMEYN DE HOOGHE & A FESTSCHRIFT FOR THE PADERBORN JESUIT COLLEGE 8. FÜRSTENBERG, Ferdinand von; HORRION, Johann S.J. Monumenta Paderbornensia, ex historia romana, francica, saxonica eruta, et novis inscriptionibus, figuris, tabulis geographicis & notis illustrata. Accedunt, Caroli M. Capitulatio de partibus Saxoniæ, ex antiquissimo ms. Palatino Bibliothecæ Vaticanæ, & Panegyricus Paderbornensis. Editio altera priori auctior. Amsterdam: Apud Danielem Elzevirium, 1672. 4to, 2 parts in 1 volume. [56], 337, [15], & [4] pp. (addenda); [16], 134, [6] pp. Woodcut printer's device on title-apge. With 2 engraved title-pages "L. Visscher sculp", 2 engraved portraits (1st by A. Blootelingh), 3 double-page maps, 2 double-page views and 27 text etchings by Romeyn de Hooghe and I. de Ram after after designs of J. G. Rudolphi. Printed title with owner inscription of "Ferdinand Wenner, 1822". Bottom of engraved title re-margined with slight loss of some image. Otherwise a fine copy. Contemporary vellum. $2500 FIRST ILLUSTRATED EDITION (first part originally published in 1669 at Paderborn) of this beautifully illustrated chronicle of Paderborn, a city in Nord Rhein Westphalen, and the surrounding region in the first part and a festschrift on the founding of the Jesuit College in Paderborn in the second work. The first work was written by Prince-Bishop Ferdinand von Fürstenberg (1626-1683) with Willems noting also that “Ce volume, splendidement execute” at the expense of the Prince-Bishop Ferdinand. The dedication letter by Daniel Elsevier is dated 6 November 1671 in Amsterdam. Preface, addressed to the author, uses the name of Bernardus Rottendorffius but was actually written by Nicolaas Heinsius (cf. Willems). This copy also has the two extra leaves at end of the first work containing the "Addenda Monumentis" with the text in German and Latin.

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The second volume is a festschrift celebrating the founding of the Paderborn Jesuit College (still in existence), by Prince-Bishop Dietrich (Theodor) von Fürstenberg (Academia Theodoriana) in 1614, however, it took two years before its foundation could be confirmed by the pope and emperor, so that the actual official opening was in 1616. To mark the occasion the Jesuit father Johann Horrion (1573-1641), wrote a commemorative tribute to the founder titled: Panegyricus die natali Academiae Theodorianae paderbornensis, reverendissimo atq. illustrissimo principi Theodoro episcopo ecclesiæ Paderborn. S.R.I. principi, fundatori ejus munificentissimo, à Collegio academico Societatis Iesu oblatus et in tres libros divisus. It was originally published in 1616 in Paderborn. It appears here edited with a new dedication by Christian Theodor von Plettenberg to his uncle Ferdinand von Fürstenberg and includes an engraving of the college. The work is beautifully illustrated with two added engraved title-pages by Lambert Visscher (ca. 1633 - 1690), a portrait of the author by Abraham Blooteling (1640-1690) in the first work and a fine, but unsigned, portrait of Theodore von Fürstenberg in the second. The text is illustrated with three double-page engraved maps, along with two double-page views of Paderborn and Eresburg (Marsberg) and twenty-six full-page engraved plates printed in the text engraved by Romeyn de Hooghe (1645-1708) and Johannes de Ram (1647- ca.1696) after the designs of Johann Georg Rudolphi (1633-1693). The engravings include views of Delbrück, Detmold, Driburg, Elsen, Herstelle, Lippspringe, Warburg and the prince-bishops castle residences at Neuhaus and Wewelsburg as well as the Jesuit College mentioned above. § Willems, 1473; Wegele p. 702-3 "Prachtausgabe"; Landwehr, de Hooghe p. 23; de Backer-Sommervogel IV, 459, 3; Erman-Horn II, 14606 (Panegyricus); Graesse IV, 596; Copinger, 3234-3235; Goldsmid, II, p. 146; Rahir, 1576.

WOODCUT PORTRAITS BY TOBIAS STIMMER; BIOGRAPHY; ART HISTORY 9. GIOVIO, Paolo. Elogia virorum literis illustrium, quotquot vel nostra vel auorum memoria vixere. Ex eiusdem Musaeo (cuius descriptionem vnà exhibemus) ad viuum expressis imaginibus exornata. Basel: Petrus Perna, 1577. Folio, [12]. 231 (i.e. 228), [5] pp. (last page blank). Woodcut title border and 59 portrait woodcuts by Tobias Stimmer printed within 7 different ornate woodcut borders and and 3 almost full-page woodcut portraits by Christoffel van Sichem (with his CvS monogram in 1st cut); woodcut historiated initials. Light soiling to facing text pages 222-223; faint brown spot in top outer corner of last 2 gatherings; minor ink bleed on bottom 12 lines of poetry on page 229 (still legible). Modern morocco backed boards. $1750 FIRST EDITION to be illustrated by the eminent Swiss painter and woodcuter, Tobias Stimmer (1539-1584), with biographies by Paolo Giovio. The fine woodcut portraits were based on paintings in the author's personal collection. The work deals mostly with literary men and includes Albertus Magnus, Dante, Machiavelli, Thomas More, Boccaccio, Alberti, Pirckheimer and Budé. Giovio also included a biography and elegies for Erasmus (pp. 175-77) but it is unaccompanied by a portrait. This work is described by Burckhardt as “the first comprehensive and generally accessible sources for the likeness of persons in whom the contemporary learned public were interested.” Most of the fine portraits, which appear within ornamental woodcut frames, are by the renowned Swiss artist Tobias Stimmer. The only exceptions are the three larger woodcut portraits in this volume by Christoffel van Sichem I (c. 1546-1624), who had studied the art of the woodcut with Jan Ewouts and was the eldest member of a long line of woodcut artists with the same name. The Italian Renaissance historian and biographer, Paolo Giovio (1483 – 1552), spent a great deal of his life assembling his massive collection of 484 portraits which he intended to serve as a public archive of famous men. The collection was originally housed in a specially built museum on the shore of Lake Como. Following Giovio's death in 1552 the collection was eventually dispersed and lost. However before this could happen Cosimo I de' Medici had

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commissioned a series of copies to be made, which were painted by the artist Cristofano dell'Altissimo, over a period of 37 years working from 1552 to 1589. These copies have been displayed in the First Corridor of the Uffizi since 1587. The printer of this work, Peter Perna, had arranged for Stimmer to travel to Como so he could also copy the portraits in Giovio’s collection in order to make them available to the general public through his publications. The editor was Johannes Latomus who also contributes verses to accompany the biographies. A few years earlier in 1575 Perna had issued a volume of portraits of famous rulers, statesmen, military leaders, explorers and important historical figures from the same collection. § VD 16, G 2063; Adams G 648; Lipperheide Cg 47; Tobias Stimmer, Spätrenaissance am Oberrhein, no. 109 (illus. 149); not in Andresen.

HISTORY OF HANNOVER BY ONE OF HER GREATEST MAYORS 10. GRUPEN, Christian Ulrich. Origines et antiquitates Hanoverenses oder umständliche Abhandlung von dem Ursprunge und den Alterthümern der Stadt Hannover. Göttingen: Im Verlag der privilegirten Universitets- Buchhandlung, 1740. 8vo, [12], 414 (i.e. 404), [8] pp. (extra bifolio Y2.3 intended as a cancel but left in the volume with the 2 leaves that were to be replaced). With woodcut of the arms of Great Britain on title-page and 10 (9 engraved) partly folding plates and numerous text woodcuts (1 plate lightly browned); German and Latin text; small worm hole in pages 195-210 touching a few letters; few near invisible repairs to few marginal worm holes to one plate (lightly toned); title-page neatly backed; a very clean, expertly washed, wide margined copy. Modern red morocco. $650 FIRST EDITION of this important early city history of Hannover which the author dedicates, appropriately enough, to King George II (1683 – 1760) of Great Britain, and Ireland, Duke of Brunswick-Lüneburg (Hanover) and Prince-elector of the Holy Roman Empire. A clearly written and researched history of the origins and the antiquities of the city of Hannover including the state of the city and the surrounding counties and royalty, as well as accounts of the monasteries as found in the archived city documents, letters, seals, medals, inscriptions, etc. The folding engravings illustrate city views, birds eye maps of fortifications and castles, monuments and inscriptions. The text woodcuts depict coins, medallions, inscriptions, coats of arms, ancient seals Christian Ulrich Grupen (1692-1767), a German lawyer and historian, made a name for himself in the field of law history and other historical subjects. He served as mayor of Hanover during the Seven Years' War and is considered the most important mayor of Hannover to serve in the 18th century (Stadtarchivar Klaus Mlynek ). During his time as mayor, from 1725 until his death in 1767, he implemented numerous reforms and building projects: Grupen reformed and modernized the poor and the school system, the fire department and hospital and i.a. reorganized the Hannover City Archive. Grupen was instrumental in trying to revive Hannover's financial downturn following the Royal Courts removal to England. There is even biography of the author that appears to be still in print: Christian Ulrich Grupen, Bürgermeister der Altstadt Hannover, 1692-1767: ein beitrag zur Geschichte des Deutschen Städtewesens im 18. Jahrhundert (Hannover;1913) by Ulrich Oskar. § Loewe 3682.

VOYAGE TO SEE THE GREAT ART OF VENICE, PADUA, FERRARA & BOLOGNA 11. HOFSTÄTER, Felix Franz, S.J. Nachrichten von Kunstsachen in Italien. Erste Theil. Venedig (Zweiter Theil; Padua, Ferrara, Bologne). Vienna: Kurzbeck, 1792. 8vo, 2 volumes. [18], 402 pp.; [26], 476 pp. With engraved title vignette. Uniform light browning. Contemporary boards. $650 FIRST EDITION and only of this account of a voyage undertaken by the author in company with Prince Karl von Liechtenstein to visit and explore the artworks of Italy in 1788; volume one deals with the art of Venice and volume two covers Padua, Ferrara and Bologna. At this time, the author had taken the position of tutor to the prince at the University of Göttingen. The art reports he provides include theoretical discussions, the nature and division of the arts, stages of the artists, limits of the physical and the moral, the judging of the paintings and other works of art. Hofstäter entered the Society of Jesus in 1756 but after the Pope's annulment of the order he was offered the position of professor of fine arts and history of art at the Theresianischen Ritterakademie in Vienna. He later served as its director and as the head of the Vienna University Library. § DeBacker-Sommervogel, IV, col. 429, no. 22; Univ. Cat. of Books on Art, I, p. 847. 9

ACCOUNT OF SALZBURG & ITS DIOCESES IN BAVARIA & THE TYROL 12. HUND, Wiguleus. Metropolis Salisburgensis, continens primordia Christianae religionis per boiariam et loca quaedam vicina; catalogum vidilicet & ordinarium successionem Archiepiscoporum Salisburgensium, & Coepiscoporum, Frisingensium, Ratisponensium, Patauiensium, ac Brixinensium, simulque fundationes & erectiones monasteriorum & ecclesiarum collegiatarum, patriae amore ac venerandae antiquitatis studio summa fide & diligentia collecta a nobili et amplissimo viro Wiguleo Hund a Sultzenmos I.C. ac supremi Boiorum senatus monachij praeside. Ingolstadt: Sartorius, 1582. folio, [8], 826 [i.e. 328], [2] pp. (last leaf errata). Woodcut printer's device on title-page; woodcut initials, head and tailpieces. Title-page lightly toned and damp mark on first few gatherings and occasional faint damp mark in outer blank margins leaves; early engraved armorial bookplate of F. Durant de St. Cirgues dated "1737" in the plate. Contemporary vellum over boards (several pieces of vellum peeled off bottom cover, but the binding is very sound). $950 FIRST EDITION of this important and rare historical work on the Prince-Archbishopric of Salzburg which would also include important cities in Bavaria and the Tyrol. The first part (pp. 1-173) deals with the founding and history of the archbishop's dioceses of Salzburg, and the bishop's Bavarian dioceses of Freising, Regensburg, Lauingen and Passau and Brixen (Bressanone in South Tyrol). The second part (pp. 174-328) deals with the founding and construction of the monasteries and ecclesiastical colleges in Bohemia up to the author's time period. This second part also includes two medieval German poems dealing with monasteries founding (pp. 244-46). Wiguleus Hund (1514–1588), professor and later rector at the University of Ingolstadt, was a noted Bavarian legal scholar, historian and an important policy adviser to the Bavarian court of Duke Albrecht and his heirs. Hund served as councilor at Nuremberg in 1540 for Wilhelm IV of Bavaria. In 1545 he attended the Reichstag at Augsburg and was named as assessor for Emperor Charles V for the Reichskammergericht at Speyer (1548–1551). He served in councilor positions during the reign of Wilhelm's son Albrecht V of Bavaria and in 1583 as ambassador to the bishop of Eichstätt for William V of Bavaria. § VD16 H 5929; Adams H-1161; Stalla, Ingolstadt, no. 1460; Schottenloher, Bibl. zur deutsche Geschichte, 33453b.

HISTORY OF BENTHEIM AND ITS CASTLE 13. JUNG, Johann Heinrich. Historiae antiquissimae comitatus Bentheimiensis libri tres. In quibus subinde explicantur res vicinarum regionum, principum, hominumque illustrium. Accedit codex diplomatum et documentorum. Hannover & Osnabrück: J. W. Schmid, 1773. 4to, 2 volumes in 1. XVI, 320, [2] pp.; 398 pp. With engraved frontispiece, 8 (6 folding) engraved plates. Contemporary calf, gilt spine (front hinge cracked). $950 FIRST EDITION of this history of Bentheim region and its castle by the German librarian and historian, Johann Heinrich Jung (1715-1799). Included are documents relating to the region. The work is handsomely illustrated with a frontispiece (engraved view of the town and castle of Bentheim;"Castrum Bentheim") and detailed folding engravings of early manuscripts, documents, signs, seals, etc. The German county and town of Bentheim lies on the border with Holland and has the largest surviving fortification in the state of Lower Saxony. The area now occupied by the Bentheim castle has a long history as a defended community, going as far back as the glory days of the Holy Roman Empire, with a documented history at least as far back as the 8th century. Scarce with the OCLC locating only copies in German and Cambridge University in the UK; none in US libraries. § ADB XIV, 696.

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ON THE SCHOOLS AND LIBRARIES OF SILESIA & GERMANY & THE MEDALLIONS & COINS CELEBRATING THEIR FOUNDING & ANNIVERSARIES 14. KUNDMANN, Johann Christian. Academiae et scholae germaniae praecipuè ducatus Silesiae, cum bibliothecis, in nummis, oder: Die hohen und niedern Schulen Teutschlandes, insonderheit des Hertzogthums Schlesiens, mit ihren Bücher-Vorräthen, in Müntzen wie auch andere ehemals und jetzo woleingerichtete Schulen dieses Herzogthums. Denen ein Anhang alter rarer goldener Müntzen, so bey Grundgrabung des Hospital-Gebäudes zu Jauer anno 1726 gefunden worden, beygefüget. Breslau: verlegts Johann Jacob Korn, 1741. 4to, [16], 860, [2] pp. With 28 (8 folding) engraved plates. With two title-pages (the first is all in German and the second, more detailed title, the first half is in Latin). Light uniform toning (not affecting plates) typical of German paper of the period. Contemporary vellum backed boards. $1750 FIRST EDITION of this scarce work on the the major schools and libraries in Germany and the Netherlands with special emphasis on the author's home region of Silesia. Because of Silesia's natural resources and location, it was one of the wealthier duchies which enabled the growth of centers of learning and libraries. However, because of its location it would also be involved in three wars at this time period with the first ending the year after publication resulting in Silesia being annexed by Prussia. The author, Johann Christian Kundmann (1684-1751), was a physician and collector from Breslau who wrote several important works on collecting and especially Wunderkammer (natural history cabinets). The numismatic illustrations used here were most likely largely based on his personal collection. The first part (pp. 1-324) is a description of the major centers of learning in the Duchy of Silesia which is illustrated with five folding engraved plates with views of the major universities and gymnasiums in Breslau (Wroclaw) and Liegnitz (Legnica) which were generally run by Jesuits: 1. Gymnasium Elizabetanum Wratislaviens; 2. Gymnasium Mar. Magdalenaeum Wratislaviens, 3. The former royal castle in Breslau that is now a church college and seminary; 4. Caesarea Regiaque Universitas Leopoldina Societ. Jesu Wratislaviae; 5. Academia Regia Josephina equestris Lignic. Additional engravings depict various commemorative medals and coins celebrating these centers of learning. The next section (pp. 325-588) is on the medal celebrating the inauguration of the Maria-Magdalene Library in Breslau which includes detailed descriptions of the important public and private libraries in Breslau as well as in the Duchy of Silesia on general. He includes accounts of important collections along with detailed catalogues of special collections of incunabula, books printed on vellum, manuscripts, etc. Also described are the various smaller schools throughout the duchy including people who provide private classes in their home in various subjects. The next section (pp. 589-769) is catalogue of the author's collection of inauguration and anniversary medallions and coins celebrating the schools throughout Germany and the Netherlands. The coins and medallions are illustrated in detailed engravings on plates 11 to 28 (including 3 folding). The author also provides very detailed descriptions of the coins as well as the events that they were celebrating. He probably intended it as a handbook for collectors like himself. The last relatively short section (pp. 770-815) is an account of the hoard of rare old gold coins that he had been allowed to examine. They had been found during the excavation for a hospital building in the town of Jauer in 1726. He selected 15 gold coins from the 9th to 15th century to describe in detail. § Lipsius-Leitzmann, Bibliotheca numaria. I, p. 216; Graesse IV, p. 52; Univ. Books on Art I, p.1027. 11

SUPERB ARCHITECTURAL PLATES 15. LE PAUTRE, Antoine Le Pautre. Les oeuvres d'architecture. Paris: Jombert, (ca. 1700). Folio, 2 parts in 1 volume. 38 pp. (i.e. 36); with 60 (i.e. 62 with 2 plates numbered 30 and 31: 38 are double-page and 24 full-page: few slightly out of order) etched and engraved plates including double-page title-pages and engraved portrait; wide margined copy; minor staining along the extreme top blank margins of some leaves; plate 48 and a few text leaves toned; occasional foxing to margins of 5 plates and text; tiny collector's ownership stamp in blank margin of first title-page. A very nice copy. Recent full calf with gilt spine in the style of the period and early marbled end-papers and paste-down. $2850 "Third edition, the first edition was issued without text in 1652, the second [n.d.] with text by Augustin Charles D'Aviler, and the third, the edition described above, by Jombert [n.d.] ... The plans have been attributed to Jean Marot and the elevations to Jean Le Pautre ... Guilmard (p.69) states that this edition was printed after the author's death in 1691. ... The oval portrait of Antoine Le Pautre (plt. 3), engraved by Robert Nanteuil, is within an architectural frame against a landscape background, the work of Jean Le Pautre" (Fowler). The work is dedicated to "Le Prince de Conty" with the arms of the Condés (plates 2 and 60). Antoine Le Pautre (1618-1682), trained as an engraver by his brother Jean, chose architecture as his profession; a field in which he advanced rapidly. "By the age of twenty-two he was titled 'mason and architect,' and in the following year received the title of 'architect of the king's buildings.' He is responsible for several major buildings in Paris and is the chief representative of the baroque episode in French architecture, which was based on Italian models. He became one of the founding members of the Académie Royal d'Architecture when it was established in 1671. "The examples contained in Le Pautre's Oeuvres are evenly divided between four projects consisting of highly imaginative fantasies on country houses, for which the ultimate source appears to be the third book of Jacques Androuet du Cerceau's Livres d'architecture, and four built works, including his important designs for the Chapelle de Porte-Royale and the Hôtel de Beauvais, all designed and engraved by Le Pautre. ... The unbuilt projects on country houses had considerable impact on the designs of later architects. Bernini was influenced by the fourth project in his first design for the east front of the Louvre, and both the second and fourth designs would be adapted for projects by such major eighteenth-century architects as Germain Boffrand ... and Claude Nicolas Ledoux." (Millard, French).

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The beautiful plates all have an engraved architectural foundation (some just floor plans) with superb etched baroque ornamentation and some also include imaginative everyday life inhabiting the surroundings in the style of Callot. The early editions are rare with both Millard and Fowler only having the present third edition. § Berlin Cat. 2375; Fowler 181; Cicognara 604; Millard, French, 96; Brunet III, 989; Guilmard, p. 69.

HISTORY OF HALBERSTADT, GERMANY 16. LEUCKFELD, Johann Georg. Antiquitates Halberstadenses, oder historische Beschreibung des vormahligen Bischoffthums Halberstadt, und derer darinnen gelebten Bischöffe, in welcher von Jenes Nahmen, Tage, Fundirung, Männ- und Weiblichen Stifftern, Clöstern, Kirchen, Oertern und Personen, von dieser aber ihrer Benennung, Geschlecht, Studieren, Erhebugn, Leben, Verrichtungen, Reisen, Stifftungen, Schrifften, Sterbern u.s.w. zulänglich gehandelt wird; Beydes aber mit der Regierungs-Zeit ... Aus alten und neuen Historicis erleutert, mit Allegatis, Diplomatibus und Briefen bewähret, und in Chronologischer Ordnung vorgetragen, auch zur Verbesserung der mitlern Geographie und Historie in hiesigen Landen mitgetheilet wird. Wolfenbüttel: Verlegts Gottfried Freytag, 1714. 4to, [14], 715, [36] pp. Engraved frontispiece (view of Halberstadt). Title printed in red and black; German text with passages in Latin. Light browning and foxing to text typical of German paper of this period. Minor paper flaw in blank margin of a preliminary leaf. Modern calf backed boards. $375 FIRST EDITION of this important history of the early events in the diocese centered on the German city of Halberstadt. The engraved frontispiece depicts a fine view of the city. The work, presented in chronological order, provides a historical accounts of the rule prince-bishops, the foundations of their churches and monuments as well as the male and female founders of the convents, churches, notable citizens with descriptions of their lives, activities, travels, foundations of schools, etc. The work, the author notes, is based on early chronicles, letters and official documents that he had either collected or had been able to examine. A ten-page bibliography is included at the end. Apparently, the author intended to provide an additional volume since the half title notes "Pars Prima" however, as the British Museum Catalogue notes, "No more appears to have been published" which is also noted in the OCLC descriptions. Johann Georg Leuckfeld (1668-1726) was a German theologian, writer and historian. He worked as a chronicler, numismatist, biographer, bibliographer, and genealogist. His literary work included biographies of Johann Spangenberg, Cyriakus Spangenberg, and Michael Neander, among others. Leuckfeld kept a correspondence with more than 200 contemporaries including Gottfried Wilhelm Leibniz. He had a great enthusiasm to educate the public with the medieval documents, letters and manuscripts of which he was an avid collector. In 1710, Duke Anton Ulrich (Brunswick-Wolfenbüttel) appointed Leuckfeld as monastery councilor and in 1712 he was admitted to the Prussian Academy of Sciences in Berlin. § VD18 15256987-006; Graesse IV, p. 188.

ILLUSTRATED WITH 13 FOLDING ETCHINGS OF SPA (Belgium) 17. LIMBOURG, Jean-Philippe de. Nouveaux amusemens des eaux de Spa, ouvrage instructif et utile à ceux, qui vont boire ces eaux minérales sur les lieux. Paris & Liège: F. J. Desoer, 1763. 12mo, [12], 398, [12] pp. including etched title. With 1 folding map and 12 folding etched views of Spa by Antoine le Loup (all dated 1762). Fine copy. Contemporary mottled calf gilt, spine chipped, (rubbed; traces of bookplate on front paste-down). $485 FIRST EDITION of an illustrated guide to the Belgian town of Spa known for its mineral springs and their medical benefits. The author, Jean-Philippe de Limbourg (1726-1811), was a native of the area who had a very successful practice in the city. The work is illustrated with a charming series of etchings illustrating the city of Spa and local villages and scenery. The work was translated and published in London the following year: "New amusements of the German Spa Written in French, in the year 1763. By J.P. de Limbourg, M.D. Senior Fellow of the Royal Academy of Sciences at Montpelier. Decorated with views of Spa and its Environs, Comprehending the new Buildings and Improvements". § Wellcome III, p. 519; Not in Blake (copy recorded at the NLM by OCLC).

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THE MAGNIFICIENT GRAND THEATER AT BORDEAUX 18. LOUIS, Victor. Salle de spectacle de Bordeaux. Paris: Esprit, 1782. Imperial Folio, 10 pp., 1 leaf. Woodcut vignette on title-page, signed "V.SL in f"; engraved dedication leaf (large etched armorial vignette); 22 engraved plates: 2 plates signed "Barabé, ancien Ing.r de la Marine" (1 with Barabé as engraver); 5 plates signed "[P.G.] Berthault sculp."; 3 signed "Sellier sculp."; 2 signed "C.R.G. Poulleau sculp. / Gravé par Poulleau"; 1 signed "Michelinot del. et sculp."; Some horizontal creases in 2 plates; some minor foxing. Later half morocco with spine label (rubbed). $5500 FIRST EDITION of this superbly illustrated work on the construction of the Grand Theater at Bordeaux by the French architect Victor (baptised Louis-Nicolas) Louis (1731?-1802?). "The Grand Théatre at Bordeaux is his masterpiece and a significant influence in nineteenth century theater architecture. The elegant grand staircase and vestibule were models for Charles Garnier's Opera. The horseshoe-shaped auditorium became an exemplar for many ninetheenth-century auditoriums, and the giant Corinthian colonnade running the full length of the facade was also influential. Louis was known as well for his design of several Paris theaters and for his enlargement of the Palais Royal, with its arcades, shops, and the Théâtre Français (1786-1790). "This well-produced folio is dedicated to the Duc de Richelieu, who was associated with the project. With two exceptions the plates are designed and engraved by Louis. The discours prélimaire, which gives a history of the construction of the theater, was written for the education of the architect. Its defense of the cost of the project and its many anecdotes concerning progress of the building, are interesting reading" (Millard). The plates include several extraordinary perspective views of the Salle de Spectacle. This copy collates the same the Millard copy, without the optional Plafond plate (as usual) which was available for sale separately as explained in the note at the end of the list of plates. § Millard I, 108 (illus. pp. 318-19); Berlin Catalogue, 2812 (with plate); cf.Thieme-Becker XXIII, 416. 14

WITH 50 BEAUTIFULLY ETCHED EMBLEMS 19. LUIKEN, Jan. De onwaardige wereld. Vertoond en vyftig zinnebeelden. Amsterdam: Arentz, 1710. 8vo, [6], 208, [10] pp. With added engraved title-page and 50 emblem etchings. Printed on fine thick paper. Mid- 20th century private collectors bookplate. Fine copy. Contemporary blind tooled Dutch vellum over boards (later end-papers). $1250 FIRST EDITION of this beautiful emblem book illustrated with etchings by Jan Luiken (or Luyken: 1649-1712); "the most productive and the same time one of the most versatile etchers of the Dutch School, and next to Romeyn de Hooghe and Gerard de Lairesse the most important representative of Dutch engraving in the period following Rembrant" (Thieme-Becker XXIII, 488-9, trans.). Luiken's scenes, illustrating moral maxims with appropriate quotations from Biblical literature, are full of spirit and artistic inventiveness executed with delicate detail. The etchings appear in fine dark impressions. § Praz 407; Landwehr, Low Country Emblems 503; Van Eeghen 435.

EMBLEM BOOK WITH 30 ETCHED PLATES 20. LUIKEN, Jan. De zedelyke en stichtelyke gezangen. Op nieuws vermeerd. En de lof en ordeel van de werken der barmhertigheid. Amsterdam: Arentz, 1709. 8vo, 2 parts in 1 volume. [10], 300, [8], 17 pp. With 2 engraved title-pages and 30 text etched emblems by the author. Printed on fine thick paper with the plates in fine dark impressions. Some occasional very light foxing; faint damp mark in extreme outer bottom blank margin of a few leaves in middle of volume; 20th century collector's book plate; generally a very nice copy. Contemporary blind tooled Dutch vellum over boards (later end-papers). $875 Very attractive copy of the second, enlarged, edition of this collection of Dutch songs (1st:1704) illustrated with beautifully etched emblems by Jan Luiken (1649-1712); "the most productive and at the same time one of the most versatile etchers of the Dutch School, and next to Romeyn de Hooghe and Gerard de Lairesse the most important representative of Dutch engraving in the period following Rembrant" (Thieme-Becker XXIII, 488-9, trans.). A very handsome copy with the emblems in fine dark impression and printed on a thick, fine paper. § Van Eeghen-Van der Kellen 3999; Landwehr, Low Country Emblems 496; Scheurleer, Nederlandsche Liedboeken, p. 87. (see plates at bottom of previous page).

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THE HISTORY OF FLANDERS 21. OUDEGHERST, Pierre d'. Les Chroniques Et Annales De Flandres Contenantes Les Heroicques Et tresuictorieux exploicts des Forestiers, & Comtes de Flandres, & les singularités & choses memorables aduenuës audict Flandres, depuis l'an de nostre Seigneur Iesus Christ VIc. & XX. jusques a l'an M. CCCC. LXXVI. Antwerp: Chez Christophle Plantin imprimeur du roy ("Imprime Anvers par Jehan Withage, aux despens & des characteres de Christofle Plantin"), 1571. 4to, [20], 340 leaves. Woodcut printer's device on title-page and woodcut initials. Uniform light browning; few faint marginal damp marks. Contemporary vellum. $975 FIRST EDITION. "Editio princeps of this History of the County of Flanders from the beginning until the death of Duke Charles the Bold, 1476. As the author explains in the foreword to the States of Flanders he tried to improve on the History of Flanders of Jacob Meyerus. He declares also that this is in fact only the first volume of his History of Flanders. The second volume should have been devoted to the more recent history of Flanders under the Habsburg princes, but it never materialized. According to Bibliographie Nationale [de Belgique] ... the real author of this treatise is in fact Pierre d'Oudegherst's father, Jean d'Oudegherst (died 21 April 1559) ... Plantin accepted the of the work, but, as he was then very busy printing the Polyglot Bible and service books for Spain, he had the printing done with his own type, by his Antwerp colleague, Jan Withagen ..." (Voet.).. § Adams O-422; Voet, Plantin Press no. 1841; Cockx-Indestege, Belgica typographica, no. 2314; Sorgeloos, Labore et Constantia, no. 348; H. Pirenne, Bibl. de l'histoire de Belgique no. 1128.

BEAUTIFUL EMBLEMATIC ENGRAVED TITLE AND 28 FULL-PAGE ENGRAVED PORTRAITS 22. PANVINIO, Onofrio. XXVII pontificum maximorum elogia et imagines. Rome: Ant. Lafrerij formeis, 1568. Folio, [30] leaves including a fine engraved title, with 4 pages of text and 27 full-page engraved portraits with letterpress on versos; issue with the added portrait of Gregory XIII, and accompanied blank leaf, for a total of 28 portraits. Modern owner's penned initials on title-page with date "1944"; some light hand soiling in bottom blank corner margins; early owner has hand numbered the portraits; 2 small adhesion spots slightly affecting some unimportant image to 2 plates; faint ink drip on inner blank margin of one leaf; bottom of plate 26 has been neatly remargined. Modern red morocco backed marbled boards. $2850 FIRST EDITION, unrecorded early issue, of these beautifully executed full-page portraits of the popes from Urban VI to Pius V with biographical notice of each portrait on verso of preceding portrait. Our copy also has appended the extra portrait of Pope Gregory XIII that Mortimer notes only appears in some copies since the work war published several years before Gregory was raise to the position of pope in 1572. The engraved title appears within an extraordinarily elaborate architectural border "with a figure representing the Christian Church at the head, and arms and devices of various members of the Cybo family (Johnson, Engraved title-pages, p. 13). The upper shields ar those of popes Boniface IX and Innocent VIII. The device at the foot is that of the dedicatee, Alberico Cybo Malaspins, marchese di Massa." (Motimer). Regarding the plates Mortimer also notes: "The volume consists of twenty-seven full-page engraved portraits of the popes from Urban VI to Pius V, printed on the recto of each leaf with text on the facing page. The copperplates vary in size ... and include the name on an ornamental tablet and coat of arms. The last engraving is signed, 'Philippus Soius fecit.’... The portrait of Julius II is engraved from a Raphael's portrait, and that of Leo X may have been base on Raphael's portrait of the pope with two cardinals. ... These copperplates were in preparation in 1562, and Panvinio included most of them in a set of manuscript volumes sent by him to Johann Jakob Fugger. In an article on the Fugger volumes, O. Hartig gives notes on sources for the portraits and on the relationship of the Lafrery publication to the larger work in manuscript; ... The Lafrery portrait of Pius V (elected pope in 1566) was not in the Fugger volumes, and is listed without reference to the Panvinio set in the Thieme- Becker article on Philippe de Soye, vol. 31, p. 315. The signature on the last plate therefore, does not mean that the whole series was prepared by de Soye." (Mortimer). In our copy the plate of Pius V appears in an unrecorded early state before the addition of the engravers signature and engraved line on which it would rest. None of the online facsimiles that I could find also lack the signature which would indicate this to be the earliest impression of the plate. While there is some light hand soiling in a few blank corner margins the plates appear in fine dark impressions. § BM/STC Italian, p. 488; EDIT 16 CNCE 47232; Mortimer, Italian no. 356; Roland, Lafréry, p. 374.

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IMPORTANT SOURCE FOR ROMAN ARTISTS, SCULPTORS & ARCHITECTS OF THE 17TH & 18TH CENTURIES 23. PASCOLI, Lione. Vite de pittori, scultori, ed architetti moderni. Rome: Per Antonio de' Rossi, 1730-36. 4to, 2 volumes. [24], 330, [6]: [16], 560, [6] pp. 1 blank leaf. Titles printed in red and black; woodcut initials. Occasional toning or light foxing. Both title-pages with tiny Jesuit stamp ("Bibl. Dom. Prof. Rom") with light duplicate stamp on inner margins. Book plate of literary historian Petrus (Piero) Misciattelli (1882-1937). Completely uncut copy. Original publisher's flexible boards. $1250 FIRST EDITION. "The lives of artists who worked in Rome in the 17th and early 18th centuries. Includes foreign artists in Rome. On the whole the information is reliable. Each volume is divided into three sections: painting, sculpture, and architecture." (Arntzen-Rainwater). "Questa è l'opera che meglio illustra la lacuna dei tempi che restava a riempirsi in quell' epoca" (Cicognara). Volume one is dedicated to Vittorio Amadeo and volume two is dedicated to Carlo Emanuel. Lione Pascoli (1674-1744) was an Italian abbot, art historian, collector, and economist. He was an avid collector of art, amassing a large collection of works. A very attractive set, very wide margined, uncut in the original publisher's boards. § Cicognara 2342; Arntzen-Rainwater H112. .

ROMAN PAINTERS, SCUPTORS AND ARCHITECTS 1641 TO 1673 24. PASSERI, Giovanni Battista. Le vite de pittori, scultori ed architetti che anno lavorato in Roma morti dal 1641 fino al 1673 ... Prima edizione. Rome: Presso Gregorio Settari, 1772. 4to, [2], XVI, 492 pp. With engraved title-page printed in red and black (signed Carloni inc.) and woodcut initials and tailpieces. Few minor blemishes neat tear repairs to blank margins of title and blank margins of some leaves. Uncut, wide margined copy. 19th century half vellum and marbled boards. $1250 FIRST EDITION of this rare and important biographical notes on 17th century Roman artists which continues the work, Vite de' pittori, scultori et architetti, by Giovanni Baglione (1571-1644) which covered the period of 1572 to 1642. "1st ed. published posthumously by Giovanni Lodovico Bianconi [1717-1781] with notes by Giovanni Gaetano Bottari [1689-1775] ... Consists of long biographical articles on Roman artists arranged chronologically by death date, from 1641-73. Continues where Bagione (H50) ends. Giovanni Battista Passeri [ca. 1610-1679] an artist-writer who belonged to a conservative circle (he omitted Bernini), recorded the artistic life in Rome from 1641-73" (Arntzen-Rainwater). "Of the greatest importance for the study of Roman art from the 17th century, ... meaningful for the quantity and reliability of the information, epoch-making through the clear expression of his knowledge of the history of art. The situation following the end of the period of Roman supremacy" (Thieme-Becker XXVI, 283; trans.). § Cicognara 2344; Arntzen-Rainwater H 72; Gamba 2040; Olschki 17762.

WITH 2 ORIGINAL ETCHINGS BY JACQUE CALLOT 25. PERI, Giovanni Domenico. Fiesole distrutta. Florence: (Nella stamperia di Zanobi Pignoni), 1619. 4to, [3] leaves, 197, [3] pp. (last page blank). With engraved title-page and portrait by Callot; woodcut printer's device on last leaf below woodcut vignette and woodcut initials; each canto preceded by "Argomento" in decorative border; inner margins of first three leaves reinforced; some light foxing and minor hand soiling to first few blank margins with some light fraying. Old vellum over boards with gilt tooling (Some warping and minor damage to spine). $975 FIRST EDITION of this epic poem in twenty cantos which is the longest and best work by Giovanni Domenico Peri (1564-1639), the famous "farmer poet" (Libreria Vinciana). The work is illustrated with two fine etchings by JACQUES CALLOT IN FIRST STATE: the frontispiece, known as "La belle jardinière", with the Muse of Poetry offering a drink from the Pierian Spring to a beautiful peasant girl; and the portrait of Peri, framed by two bulls, farming tools and musical instruments. Both plates allude to the simple, modest life of Peri, the celebrated "Poeta Contadino", who ran away from school as a boy and lived with shepherds for several years. The pastoral 17

life so pleased him that he never ceased to keep herds. It has also been said of Peri that all he took as a favor from Cosimo de' Medici, Grand-Duke of Tuscany, to whom he had dedicated his poem, was a bag of grain for his family. This is the issue without the dedication on the verso of the Preface to the Reader (leaf 2). § Brunet IV, 498; Libreria Vinciana 2831; Lieure, Callot, 304 & 305; Meaume, Callot, 304-305; Tiraboschi VIII, 381-381; Belloni, Seicento, 214-215; Olschki, Choix, XII, 18610.

60 MAGNIFICENT ENGRAVINGS BY PICART / UNCUT COPY 26. PICART, Bernard; LA BARRE DE BEAUMARCHAIS, Antoine de. Tafereel, of beschryving van den prachtigen tempel der zang-godinnen, vertoond in LX. heerlyke kunststukken, behelzende alle de voornaemste geschiedenissen van de fabel-oudheid. Amsterdam: by Zacharias Chatelain, 1733. Large folio, [8], XXVIII, 158, [4] pp. Added engraved title, title vignette; initials; head- and tailpieces with 60 engraved plates by Picart. Title printed in red and black. Half-title with 19th century gift inscription; some minor smudging to bottom corner blank margin of some leaves; completely uncut wide margined copy. Contemporary red sheep backed marbled boards (worn with corners bumped, head of spine damaged). $2850 FIRST DUTCH EDITION of this superbly illustrated work which was also issued at the same time in French and English language editions. The engraved descriptive text that appears at the bottom of the engravings are in French, English, German and Dutch. Picart's magnificent engravings, each appearing within an ornate engraved border, depict fables from the ancient world, many taken from Ovid. The plates, going back to de Marolles representations of classical sites of ancient mythology, are depicted in rich, dramatic moving landscapes; including Pandora, Prometheus, Phaeton, Daphne, Orpheus, Salamacis, Icarus, Narcissus, Arion, etc.; also present are some wonderfully dramatic night scenes including stellar allegories, etc. The text is by Antoine de La Barre de Beaumarchais. "Bernard Picart was the outstanding professional illustrator of the first third of the eighteenth century, an age during which the designs for the finest illustrated books were typically drawn by leading painters. He worked for the most part in the fading baroque tradition, but there are elements in his immense production which herald the new age. When his diverse accomplishments are finally catalogued and analyzed, his standing as a book artist will be greatly enhanced" (Ray p. 7).

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A very attractive, completely uncut, copy with the beautiful plate appearing in fine dark impressions and appearing in a contemporary, probably publisher's, binding. § Brunet V, 696; Thieme-Becker, XXVI, 573; cf. Cohen-deRicci, 531 (English and French eds.).

IMPORTANT WORK ON PAINTING IN THE RENAISSANCE 27. PINO, Paolo. Dialogo di pittura. Nuovamente date in luce. Venice: (Comin da Trino for) Pauolo Gherardo, 1548. 8vo, 34 leaves. Woodcut printer's device on title-page; woodcut historiated initials and headpiece; Italic type; small paper flaw in blank corner margin of leaf 15. Fine copy. Contemporary vellum (some warping). $4850 FIRST EDITION of this important dialogue on art which is carried on between two painters, the witty and frivolous Lauro and the more serious and pedantic Fabio, which gives us some idea of what the Venetians thought about painting in the middle of the Cinquecento. "The dialogue takes place between a Venetian and a Tuscan. Remarks on feminine beauty lead to a discussion on beauty as intermediate between art and nature, the need for rules of perspective and proportion, the status of painting as a liberal art, based on the nobility of drawing (disegno). Painting is said to consist of disegno, inventione and colore. The Venetian praises the handling of colour by Giorgione and Titian, and argues for the superiority of painting over sculpture." (Royal Academy Catalogue) Paolo Pino (1534–1565) was himself a painter as well as a writer on art who once worked with Antonello da Messina. He was born in Venice and studied art under Giovanni Gerolamo Savoldo. In the present work he affirms the supremacy of the Venetian School over the Florentine School and anticipated some aspects of the Mannerist style. He mentions several great artists of his own time including: Leonardo, Raphael, Titian, Giorgione, and Michelangelo, and has high praise for Albrecht Duerer. The author's dedication is to Francesco Donato (1468- 1553), Doge of Venice. Ref.: A. Mazza, Paolo Pino, teorico d'arte e artista: il restauro della pala di Scorzè (1992); M. Pardo, Paolo Pino's Dialogo di pittura: a translation with commentary (Ann Arbor: 1984); F. Bernabei, 'L'ombra, la cosa, il lavoro', in A. Ven., 32 (1978), p.147-52. § EDIT 16, CNCE 25765; BM/STC Italian, 521; Cicognara 185; Schlosser, Kunstlit., 210, 218f; Blunt 82ff.; Steinmnn-Wittkower, Michelangelo Bibl., 1505; Thieme-Becker XXVII, 60; Graesse V, 300.

ARTISTS AND ARCHITECTS OF VERONA 28. POZZO, Bartolomeo Fr. dal, conte. Le Vite de' Pittori, De Gli Scultori et Architetti Veronesi Raccolte da varj Autori stampati, e manuscritti, e da altre particolari memorie. Con la narratiua delle pitture, e sculture, che s'attrouano nelle chiese, case, et ultri luoghi publici, e priuati di Verona, e suo territorio. Verona: Per Giovanni Berno, 1718. 4to, [8], 313, [3] pp. With woodcut title vignette of the Piazza dei Signori with the Basilica Palladiana. Early collector's small stamp on title-page. Fine copy. Contemporary half calf and marbled paper covered boards. $1450 FIRST EDITION. "The lives of artists from Verona, and descriptions of the art treasures in the city, including private collections and decorative paintings in buildings. Based on documents and earlier sources. Index of artists (4 pages) at the beginning of the volume" (Arntzen-Rainwater). "Libro accreditato, e scritto da un coltissimo amatore di cose patrie." (Cicognara). "Brief biographies of the important artists of Verona, many architects among them, from the fourteenth century to the beginning of the eighteenth.” (Fowler). A short 44 page supplement (Aggiunta all Vita) was separately published the same year and is generally lacking in the copies listed in the OCLC (Fowler being an exception). § Lozzi 6272; Slocum 8185; Cicognara 2351; Arntzen-Rainwater H116; Schlosser-Magnino, pp. 532, 550, 566; Fowler 254 (with Aggiunta); Univ. Cat. Books on Art II, p. 1646.

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ONE OF THE MOST BEAUTIFUL DANCES OF DEATH SERIES 29. RENTZ, Michael Heinrich; SPORCK, Franz Anton Count von. Erinnerungen des Todes und der Ewigkeit bey zwey und fünfzig von den berühmten M. Rentz in Kupfer gestochenen Vorstellungen, welche zur Erweckung geistlicher Gedanken, und zur Uebung der Tugend dienen. Linz: Akademische Buchhandlung, 1779. Folio, [2], 182, [2] pp. With woodcut vignette on title-page, engraved frontispiece and 52 engraved plates by M. Rutz (last plate is numbered 50 but both 48 and 50 are used twice in the numbering series). Usual foxing and occasional light browning of text found in this work due to quality of paper; faint damp mark in margins of few leaves; few plates a little loose at beginning because of the heavier paper stock used. Contemporary half-calf (covers rubbed but sound). $3500 Reissue of the original sheets with the printed plates of this magnificently illustrated Baroque dance of death series, with a new title-page that appeared in 1753 (Geistliche Todts-Gedancken) with a Passau imprint (Gedruckt bey Friderich Gabriel Mangold & Lintz: Verlegts, Frantz Anton Ilger). "Sporck has endeavored to create a work which was intended as a counterbalance to the opulent Protestant religious literature. He succeeded in producing one of the most perfect Baroque Books, but one is aware of its isolation - it is the whimsy of a rich man. In the present magnificent and flawless copy the plates are exquisite, but the language of the text is provincial Church German which has become almost lifeless" (Faber du Faur, II, 1146f; 1753 issue) The beautiful engravings are by the German painter and engraver, Michael Heinrich Rentz (1698-1758), from Nuremberg who had settled in Kukusbad in Bohemia. He worked at the court of Count von Sporck of Kukus near Prague. Rentz had been commissioned by the Count to paint a monumental Dance of Death based on the designs of Holbein. Their transfer to engraving, either by Rentz or done under his direction, were however reinterpreted and transposed to events occurring in luxuriously furnished rooms and dramatic landscapes of the German Baroque style. "Franz Anton Count Sporck (1662-1738), son of a commander of cavalry and field marshal, was a sickly man who possessed enormous wealth. From his estates in Bohemia he exerted influence on all the arts. The poet Gottfried Benjamin Hancke was in his service. Sporck was also very active in fostering his Catholic religion and carrying on lawsuits, for he had an aggressive spirit. He was one of the few eminent aristocratic patrons of the arts Germany produced" (Faber du Faur, II, p. 124). In comparing the online copy of Geistliche Todts-Gedancken published in 1753 at the Getty it is clear that these are the original sheets reissued with a new title-page, The Getty has the same foxing found here but to an even greater degree. § Schulz B31; Praz 468; Massmann 50; Oppermann 1196 "Eine der schönsten Totentanz-Folgen."; Nagler, 13, 20

HISTORY OF DEVENTER UP TO 1641 30. REVIUS, Jacobus. Daventriae illustratae, sive Historiae urbis Daventriensis, libri sex. Perducti usque ad annum à nato Christo MDCXLI. Quibus etiam non pauca quæ ad universam Transisalaniam, & regiones finitimas spectant, per occasionem edisseruntur. Leiden: ex officinâ Petri Leffen (typis Wilhelmi Christiani Boxii), 1651. 4to, [XX], 788 pp. 6 parts in 1 vol. Large title woodcut; title printed in red and black. With 2 half-page text woodcuts and a number of medallion sized text woodcuts taken from coins; some light toning towards end; small repair to blank margin of leaf 4G1; fine copy. Recent full calf with original leather laid over. $875 FIRST EDITION the history of the city of Deventer and surround region, in six books, from its founding up to the year 1641. "Through his major work (Daventriae ...), which also includes a number of important dates for the history of the church, Revius shows that he was entitled to a place of honor among contemporary historians" (Herzog-H. XVI, 713; trans.). Jacobus Revius (1586-1658) was a famous Dutch poet, Calvinist theologian and church historian. His most renowned collection of poems, the Over-ysselsche Sangen en Dichten (1630), forms a high point of the Dutch baroque. The Synod of Dort assigned to him a part in the new revision of the Dutch translation of the Old Testament; the Statenvertaling. The committee of translators and revisers, which convened at Leiden in 1633-34, made Revius secretary. He likewise took an active part in the establishment of the Athenaeum at Deventer in 1630, and from 1641 he served as regent at the State Seminary at the University of Leiden. His closing years were embittered by the rise of Cartesianism, to which he was intensely opposed. § Univ. Cat. of Books on Art, II, p. 1723; Van der Aa, R 89.

FINE ENGRAVED PLATES 31. SANGRINUS, Angelus. Speculum & exemplar christocolarum vita beatissimi patris Benedicti Monachor Patriarche Sanctissimi. Rome: Bart. Bonfadinus, 1587. 4to, [16], 246, [6] pp. Engraved title-page and 52 numbered engraved plates; woodcut printer's device at end; large woodcut initials and headpieces; contemporary inscription crossed out by early hand on title; tiny ink stain in outer blank margins of few leaves; small ink stain along the outer bottom blank margins of ca. 100 pp.; light spotting to text on page 227. Contemporary vellum. $1650 Second, much enlarged, edition of this biography of Saint Benedict, Abbot of Monte Cassino, composed in hexameters by a monk of Monte Cassino, the most important Benedictine institution. The work first appeared the previous year in Florence in a quarto of only 159 pages and only six engraved plates. The text has not only been enlarged to 246 pages but the engravings have been enlarged to fifty-two as well as a new engraved title- page. The fine illustrations depict scenes from St. Benedict's life accompanied with Latin quatrains by Sangrinus (d. 1593), who has also provided new prefatory material for this edition dated August, 1587. The engravings are attributed to Philippe Thomassin after the drawings of Bernardo Passeri (see Exhibition cat.: The Abbey of Saint Michel; abbaye- saintmichel.com/index.htm). Thomassin (1562-1622), a French engraver who spent most of his life in Rome is perhaps best known for having taught Jacques Callot and Nicolas Cochin. Jörg Schaeffer had a copy of the of the 1586 Florence edition (cat. 45, item no. 55.) where he illustrates one of the six engravings which corresponds to plate four in this copy. It is almost identical but with some additions in the foreground and a different set of verse engraved below. The plates for the present edition were later issued separately without text. An English translation was published in 1980; "A mirror and model for the followers of Christ: The life of the most blessed and saintly Benedict, father and patriarch of monks.". § EDIT 16, CNCE 26608; Adams S-310; BM/STC, Italian p. 605; Brunet V, 126; not in Mortimer or Johnson, Ital. Engraved Title-pages, 16th cent.

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DANCE OF DEATH WITH WOODCUTS FROM SCHARFFENBERG'S 1576 SERIES 32. SCHARFFENBERG, Georg. Der Todten-Tantz, wie derselbe in der weitberühmten Stadt Basel als ein Spiegel menschlicher Beschaffenheit ganz künstlich mit lebendigen Farben gemahlet, nicht ohne nützliche Verwunderung zu sehen ist. Basel: Bey Gebrüdern von Mechel, 1796. 8vo, [44] leaves. With title woodcut, 2 woodcut headpieces and 41 almost full-page woodcuts with German verses above and below each illustration (versos blank). Many of the woodcuts with the monogram "GS" above woodcutting tool. Modern collector's name stamp on front fly-leaf. 19th century decorated boards. $1750 Beautifully illustrated dance of death series with the woodcuts mostly copied or derived from the work of Hans Holbein. Most of the fine woodcuts are signed with the initials “GS” with the shape of a woodcutter’s knife below which has led to their being attributed to Georg Scharffenberg (ca. 1530 - ca. 1607). These woodcuts originally appeared in Huldrich Frölich’s Zwen Todentäntz published in 1588 with text and illustrations taken partly Basel's dance of death and partly Bern's dance of death. The final woodcut depicting Adam and Eve’s Expulsion is also dated “1576” which indicates they predate Frölich’s work by 12 years; but any earlier appearance doesn't seem to be recorded. The painter Hans Kluber was employed to make extensive restorations of the Bern mural in 1568 and even had the hutzpah to add himself, in a modern Spanish dress along with his wife and son, to the mural as the "The Painter" which is included here under “Der Tod zum Mahler” with his families biographical notes. Since the mural was already over a hundred years at the time it would appear to be a bit of shameless self-promotion. In 1715, the Mechel family took over the woodcuts and published them along with the text from Basel's dance of death under the very misleading title, “Der Todten-Tantz, wie derselbe in der weitberühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit, gantz künstlich mit lebendigen Farben gemahlet, nicht ohne nützliche Verwunderung zu sehen ist.” People who purchased the book were bound to believe the pictures were a representation of the dance of death in Basel. In fact many of them are based on Hans Holbeins Basel Dance of Death but they are often reinterpreted by Scharffenberg and some are also from the Bern series while others were added from various sources. A very nice copy. The present edition also clearly displays that despite their age they were in a remarkable fine condition when the impressions were made and compare very favorably with their first appearance in 1588. § Massmann, Basler Totentanze, 17; Minns 32; Massmann 31f; Slg. Oppermann 1131.

FABLES WITH 20 ETCHINGS BY J.R. SCHELLENBERG 22

33. SCHELLENBERG, Johann Rudolf (ed. & illustrator). Fabeln von Hagedorn, Gleim und Lichtwer. Mit Kupfern von J.R. Schellenberg. Winterthur: Heinrich Steiner und Compagnie, 1777. 8vo, [16], 80 pages, (including 2 blank leaves at end of prelims). Etched additional title and 20 plates by Johann Rudolph Schellenberg; with dedication to Daniel Chodowiecki printed in Kurrent type; some offsetting from plates; scattered light foxing; printed on a fine thick paper. Contemporary boards (very worn but sound). $2250 FIRST EDITION of this rare collection of fables beautifully illustrated by the talented Swiss engraver and designer, Johann Rudolf Schellenberg (1740-1806), who prefaces the work with a dedication to his friend and fellow painter and engraver, Daniel Chodowiecki (1726–1801), which is printed in a very decorative "Kurrent" type which imitates German cursive handwriting of the period. Schellenberg, who was both editor and engraver, used the texts of three contemporary German authors for the work: Friedrich von Hagedorn (1708-1754); Magnus Gottfried Lichtwer (1719-1783); Johann Wilhelm Ludewig Gleim (1719-1803). A masterpiece of Swiss-German book design and illustration from the latter half of the 18th century. § Bodemann, Katalog Illustrierter Fabelausgeben 1461-1990, 165.1; Lanckoronska-Oehler II, 175; Rümann (18th cent.) 385.

WITH 74 EMBLEMS ETCHED BY CRISPIJN VAN DE PASSE II 34. SCHOONHOVIUS, Florentius. Emblemata, partim moralia, partim etiam civilia. Leiden: Elzevir, 1626. 4to, [12], 235 pp. With engraved title-page, full-page engraved portrait in text and 74 text engravings by Crispijn van de Passe II. Some light toning foxing; occasional, mostly marginal, hand soiling and smudges (not affecting plates); some neat marginal tear repairs (no loss of paper or image). Contemporary vellum. $975 First Elzevir edition, second in all, after first appearing at Gouda in 1618: "Elzevier acquired the plates from A. Burier for this re-issue" (Landwehr). This collection of Latin poems with commentary by the Dutch jurist and poet, Florens van Schoonhoven (1594 - 1648), is illustrated with 74 beautiful half-page etchings by Crispijn van de Passe II (1594-1670). Each of the emblems is preceded by a motto, followed by explanatory Latin couplets and a Commentarius in prose. The author converted to Catholicism late in life which is believed to be the reason he didn't become mayor of Gouda as his father and grandfather had before him. "Crispijn van de Passe II was perhaps the most gifted member of a family of engravers. His father, Crispijn van de Passe the elder (about 1565-1637) ... was probably a pupil of Henrik Goltzius's teacher, Dirck Volckertsz. Coornhert. ... Crispijn II, like his brothers and sister, was apparently a pupil of his father. He worked with his father until the period 1617-1630, during which he was mostly in Paris, teaching drawing at the Riding School, Pluvinel's school for young aristocrats and court pages, and engraving for book illustration. In the period 1630-1639 he was again in Utrecht employed in his father's workshop. His father died in 1637, and in 1640 the younger Crispijn settled in Amsterdam, establishing his own printing and publishing firm. ... Crispijn the younger's long period of activity in Paris was not unusual. The Van de Passe family, like most professional engravers, had strong international connections." (Ackley, Printmaking in the Age of Rembrandt, MFA, p. 94). The present series of etchings were done early in de Passe's career while working in his father's atelier; a period when his work would often be misattributed to the elder Van de Passe. While the present copy does show traces of use it is complete and the beautiful engravings appear in fine dark impressions. Preserved in its original vellum binding. § Landwehr, Dutch Emblems, no. 728; Praz, Emblem Books, p. 493. Willems, Elzevir, no. 262. 23

OBLONG POCKET SCHUT PRINT BIBLE 35. SCHUT, Pieter Hendrickszoon. Toneel der voornamste Historien des Ouden en Nieuwen Testaments, bestaande in driehondert ses en dertig afbeeldingen. Cierlyk in 't koper gebragt door Pieter H. Schuts, en nieuwlyks uitgegeven door Philippus Losel. Rotterdam: Philippus Losel (bookseller), 1739. Oblong 8vo, 2 parts in 1 volume each with a printed title-page with a total of 336 engraved plates (192 plates in volume I and 144 in volume II). Single line of descriptive text in Dutch with Biblical citation below each engraving. Some very light hand soiling and minor traces of use. Contemporary vellum over boards. $1850 Beautiful and handsomely preserved example of this pocket sized picture Bible by the Dutch engraver Pieter Hendrikszoon Schut (1618/19-1660) which he had originally produced while employed by the Amsterdam publishing firm run by the father and son, Nicolaes and Claes Jansz. Visscher, who were also noted engravers: In fact about a dozen of the engravings are signed by Claes Janszoon and a few by Nicolaes. Schut based his biblical illustrations on the print bible published by Matthew Merian the Elder. Schut copied Merian's 233 prints, so that the final engravings in Visscher's print bible appeared as the mirror image of the original. This print Bible, better known as the Schut-Bible (Schutbijbel), appears to have been first published around 1650. There are two types of Schutbijbels: the large Schutbijbel with engravings after the prints of Merian in their original size (ca. 11.5 x 15 cm) and the present example of the small Schutbijbel with engravings that are reduced copies of the original (ca. 9 x 6 cm). This is the second edition to be published by Philipp Losel in Rotterdam (1st: 1733). While the work went through a number of editions well preserved examples, such as the present copy, are very rare. These types of print Bibles were literally read to pieces. You only have to view the copies scanned by Google to see examples of what heavy use these works were subject to. For Schut's O.T. Bible engravings see: Patriarchs, Angels & Prophets: The Old Testament in Netherlandish Printmaking from Lucas Van Leyden to Rembrandt (Museum Het Rembrandthuis, 1996) by Peter van der Coelen, II, p. 160. § Hollstein 26, p, 172, no. 46 (Schut); Simon p. 272, 1 (Visscher).

BEAUTIFUL EXAMPLE OF BAROQUE BOOK ILLUSTRATION 36. SMIDS, Ludolph; SCHOONEBEEK, Adriaan. Pictura loquens; sive heroicarum tabularum Hadriani Schoonebeeck, enarratio et explicatio. Amsterdam: ex officina Hadriani Schoonebeek, 1695. 8vo, [16], 240, [16] pp. Engraved frontispiece, engraved title vignette, full-page engraved portrait and 60 full-page text etchings by Schoonebeek. Bookplates Van der Helle; fine fresh copy printed on a thick high quality paper. 18th century richly gilt decorated flame calf, all edges gilt (front hinge cracked and tender). $1650 FIRST EDITION of this work on heroic imagery, composed of sixty quotations taken from ancient and modern Latin writers, with the interpretation of the editor; the Dutch physician and author, Ludolph Smids (1649-1720), who in addition to making noteworthy medical contributions, also, as seen here "dedicated himself to history, poetry and numismatics" (Lindeboom, Dutch med. bio., p. 1826). The work is a beautiful example of Baroque Book Illustration with each quotation faced by a fine etched plate by Adriaan Schoonebeek (ca.1660-1714), who had been a student of Romeyn de Hooghe and whose influence can be clearly seen. Brunet notes that the same plates were afterwards published in the Histoire mythologique des dieux et des béros de l'antiquité (Amsterdam; 1715). The plates appear in fine dark impressions and although not a true emblem book, because of the artist’s interpretation of the subject, the volume does get an occasional mention in the emblem literature. A beautifully illustrated and elegantly bound volume. § Brunet V, 412 “recherché à cause des gravures”; Praz p. 498; Cicognara, 1041; UCBA II, 1895; Wurzbach, Niederländisches Kunstlerlexicon II, 582, 15.

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COLOR RED / RUBIA TINCTORUM USE IN MEDICINE & ITS HISTORY AS A RED DYE AGENT 37. STEINMEYER, Georg Friedrich. Dissertatio inauguralis medica de Rubia tinctorum. Strassburg: Joh. Henricus Heitz, 1762. 4to, 32 pp. Contemporary notation on title-page. Modern wrappers. $375 FIRST EDITION of this scarce doctoral dissertation on the uses of plant madder (rubia tinctorum) also called common madder or dyer's madder which is a herbaceous perennial plant species. It has been used since ancient times as a vegetable red dye for leather, wool, cotton and silk. For dye production, the roots are harvested in the first year. The outer brown layer gives the common variety of the dye, the lower yellow layer the refined variety. The dye is fixed to the cloth with help of a mordant, most commonly alum. Madder can be fermented for dyeing as well (Fleurs de garance). In France, the remains were used to produce a spirit as well. The author provides a detailed bibliography of historical and contemporary references to the plants uses in medicine as well as references to its practical uses as a dying agent. Included are a series of experiments that can be done with the various parts of the plant. § Waring, Bibl. Therapeutica, p. 665; Bibliotheca Tinctoria, no.1008.

FIRST AMONG THE CLASSICS OF ART HISTORY / "THE FIRST MODERN HISTORY OF ART" PMM 38. VASARI, Giorgio. Le vite de' piu eccellenti pittori, scultori et architetti.... Parte prima, e seconda [Parte terza primo volume & Parte terza secondo volume]. In questa nuova edizione diligentemente riviste ricorrette accersciute d'alcuni Ritratti, & arrichite di postille nel margine. Bologna: Per gli Heredi di Euangelista Dozza, 1647. 4to, 4 parts in 3 volumes (vols. 1-2 & 3/I-II; as issued). Engraved frontispiece by C. Bloemaert after Angelo Canini (bottom margin trimmed to edge of plate). With ca. 150 woodcut portraits within ornamental woodcut borders, woodcut lily device on titles; woodcut printer's device at end of text (before index). Ink erosion to top margins of 2 index leaves in vol. 3 (Lll2 & 3) affecting some text; some light uniform toning; modern private collector's bookplate ("Anytae Raphaelae Cavalieri"). Contemporary mottled sheep with gilt spine labels. $1850 New corrected edition of "The key source of Renaissance biography" (Chamberlain) which served as the model for such writing for over two centuries. This collection of the 'Lives of the Most Excellent Architects, Painters and Sculptors' was first published in 1550 (unillustrated) and will always occupy the first place among the classics of art history. This new edition includes the fine original woodcuts from the first illustrated edition of 1568 which appear here in fine dark impressions. The text is written in a very pleasant style, interspersed with amusing anecdotes. This new edition has a new dedication to Grand Duke Ferdinand II of Tuscany by the editor, Carlo Manolessi, which is dated Bologna 21 March 1647 which is followed by his letter to the reader. "The Lives of the Most Excellent Painters, Sculptors and Architects is the first modern history of art. It has made Vasari's name immortal, thought in his own day he was considered first and foremost a painter and architect (he worked mainly in Rome and Florence where he was a protégé of the Medici) ... It became a model for subsequent writings on the history of art ..." (PMM). As noted the series of portraits appear in fine dark and clean impressions. The series of six different woodcut borders, in which the portraits would be slotted, however occasionally display some cracking and wear, no doubt because of the uneven pressure and the weakness resulting from having a holes cut into the structure for slotting in the portraits and the artist's names. Also: "Carlo Manolessi in this edition completed the frames left empty by Vasari with the corresponding portraits. Loh, Still Lives, 20-1; Pon, “Lives and Afterlives,” esp. 247-8." (From the Vite or the Ritratti? Previously unknown portraits from Vasari’s Libro de’ Disegni Moretti, Laura & Roberts, Sean). A very handsome set with the exception of the minor loss of text on two index leaves caused by erosion resulting from a small spill of very acidic ink along the top margin (volume III, leaf Lll2 & 3). § Univ. Cat. of Books on Art, II, p. 2037; Thieme-Becker, VI, p. 533, VII, p. 415- 16; cf. Cicognara 2391, Arntzen-Rainwater, H48a, Schlosser, Kunstlit., 253ff, Blunt, Art. Theory, 86ff., Chamberlin, Art Ref., 2041, Mortimer, Italian, no. 515, PMM 88(1568 ed.).

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ILLUSTRATED FUNERARY CELEBRATION FOR THE KING OF SPAIN 39. VENUTI, Niccolò Marcello. Esequie di Luigi I. cattolico e delle Spagne celebrate in Firenze nella chiese di S. Maria Novella ... il dì XXVI. di ottobre MDCCXXIV. [BOUND WITH] BOCCADIFERRO, Camillo Antonio. Delle lodi di Luigi I. ... Orazione recitata pubblicamente dall'autorenell'esequie celebrate in Firenze. Florence: Nella stamperia di S.A.R. per li Tartini, e Franchi, 1724. Folio, Two parts in one volume. XXIII pp.; 12 pp. With woodcut title vignette, headpiece and 5 folding engraved plates by Ferdinando Ruggieri (ca. 1691-1741) in first volume. Fine wide margined copies. Contemporary vellum over boards (chipping to head and tail of spine). $975 Beautiful copy of this account of the funerary celebration of Louis I (1707-1724), King of Spain. His father, Philip V of Spain, had been involved in a number of intrigues against the house of Orleans. Believing that he could claim the thrown of France, Philip abdicated in 1724, naming his 17-year old son Louis as his successor. However, Louis died only a few months later from smallpox, forcing Philip to return to the throne. His son's death was commemorated with this elaborate ceremony in Florence, organized by Girolamo Ticciati (1676-1740). The fine folding engravings depict the exterior view and the ground plan of the Dominican church of Santa Maria Novella as well as the interior decorations and the catafalque. The descriptive text is by the young nobleman and scholar, Niccolò Marcello Venuti (1700-1755), who would later become the founder of the Accademia Etrusca, a scholar of economics and law, and teacher at the University of Pisa. He is best known for his "Description of the first discoveries of the ancient city of Herculaneum," published in 1747. § Palau 358.790 & 18221 (under Ascanio) & 31179 (Boccadiferro); Berlin Cat. 3247 (both titles); Riccardi 841.

FIRST MODERN STUDY OF EGYPTIAN HIEROGLYPHS & A RENAISSANCE ILLUSTRATED DICTIONARY OF SYMBOLS 40. VALERIANUS, Pierio. Hieroglyphica, sive de sacris aegyptiorum literis commentarii Ioannis Pierii Valeriani ... : lectori habes in hisce co[m]mentarijs non solùm variarum historiaru[m], numismatu[m], veterumq[ue] inscriptionum explicationem, verum etiam praeter aegyptiaca et alia pleraq[ue] mystica, tum locorum co[m]munium ingentem magna cum oblectatione syluam, tum sacrarum literarum, in quibus haud rarò et christum ipsum et apostolos prophetasq[ue] huiusmodi locutionibus usos fuisse videmus exquisitam interpretationem, vt sanè non temerè Pythagoram, Platonam, aliosq[ue] summos viros ad aegyptios doctrinae gratia profectos intelligas, quippe cùm hieroglyphicè loqui nihil aliud sit, quàm diuinarum humanarumq[ue] rerum naturam aperire. Basel: [Michael Isingrinus], 1556. Folio, [12], 15. [1] pp, leaves 15-424, [26] leaves. Woodcut printer's device on title and last page; beautiful full-page woodcut portrait of author by Tobias Stimmer on title verso, numerous text woodcuts and woodcut historiated initials. Owner's inscription on front flyleaf of "Jo Wilh Schroeder" (dated 1765) probably the famous German Orientalist Johann Wilhelm Schröder (1726-93). Early repair to corner of last leaf (blank except for 26

printer's device); tiny piece torn from bottom outer blank margin of leaf 358; light discoloration spots on last few leaves of index; overall a very handsome copy. Contemporary blind tooled alum tawed pigskin over beveled wooden boards dated “1564” with 2 brass clasps intact (very rubbed, top hinge cracked but thick binding cords are sound; small corner piece of front flyleaf clipped off). $2250 FIRST EDITION. "Hieroglyphica by the Italian humanist Pierio Valeriano (1477–1560), also known by the Latinized version of his name, Pierius Valerianus, is the first modern study of Egyptian hieroglyphs. Originally published in Basel, Switzerland, in 1556, the book became very popular in Europe. It was reprinted in the 16th and 17th centuries and translated from the original Latin into French and Italian. ... Valeriano partly based his book on the Hieroglyphica of Horapollo, who is said to have been an Egyptian priest whose work survives in a fifth-century Greek translation that was discovered on the island of Andros in 1419. The Hieroglyphica is often considered a Renaissance dictionary of symbols. Valeriano collates a wide variety of passages from ancient authors and brings together Egyptian, Greek, Roman, and mediaeval symbols, with commentary and numerous illustrations. The work is dedicated to the Duke of Florence, Cosimo de’ Medici (1519–74)." (L.C. online exhib. Feb 29, 2012). The work is actually set up into two books with the second having a dedication to the banker Johann Jacob Fugger (1516- 1575). The full-page woodcut of the author, attributed to Tobias Stimmer, is an extraordinary fine example of his work. The text woodcuts have an emblematic character depicting i.a. animals, monsters, freaks. "In Valerianus' book the hieroglyphs are wedded to the symbolism of mediaeval lapidaries and bestiaries" (Praz). Also included and illustrated are the measuring and counting systems of the ancients. § VD 16, V 115; Adams V-50; Landwehr, German Emblems, no. 614; Praz p. 521; Berlin Cat. no. 4503.

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