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. 1 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. 2 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.