Books & Works on Paper Including Autographs & Memorabilia (31 Mar

Total Page：16

File Type：pdf, Size：1020Kb

Books & Works on Paper including Autographs & Memorabilia (31 Mar 2020) Tue, 31st Mar 2020 Viewing: Clients may bid online via our own bidding platform, by telephone or absentee bidding as normal. Lot 74 Estimate: £1000 - £1500 + Fees Vitruvius (Pollio) Vitruvius (Pollio) De architectura libri decem nuper maxima diligentia castigati atque excusi, additis, Iulii Frontini de aqueductibus libris propter materiæ affinitatem, 2 parts in one volume, with separate pagination, woodcut printer’s device on title, ink faded, last leaf supplied in early facsimile, lacking Giunta’s device on verso, circa 140 illustrations, some leaves misnumbered, front endpaper and first 2 leaves restored, some spotting or foxing, paper flaws to E1, slight water staining to quire E & F, contemporary marginalia in part 2, later vellum over boards, new endpapers, soiled, upper hinge split, with loss, slight worming, [Adams V 904; Berlin Kat. 1800; Cicognara 699; Fowlwe 396; Sander 7697], 8vo, Giunti, Florence, 1522. ***Filippo Giunta’s re-edition in italics of the 1513 pocket version of Vitruvius, following the illustrated edition that Fr' Giocondo had published in Venice in 1511, with the woodcuts from the same blocks. It is accompanied by Frontinus’ treatise, De aquæductibus. It has been proved that Giocondo himself went back over the text, the index and the illustrations. A copy from 1511 kept at the ‘Centro Internazionale di Studi di Archittetura Andrea Palladio’, which was used to prepare the Giunta edition (Tura 2011, pp. 29- 36) proves this. Giocondo’s corrections are concerned above all with assimilating the errata from 1511, including the illustrations. The work is dedicated to Giulio de' Medici. Giovanni Giocondo of Verona (1435-1515) was an Italian friar, architect, antiquary, archaeologist, and classical scholar. See L. A. Ciapponi, ‘Fra Giocondo da Verona and his edition of Vitruvius’, in ‘Journal of the Warburg and Courtauld Institutes’, 47, 1984, pp. 72-90, & A. Tura, “Un Vitruvio a Vicenza, un Alberti a New York", ‘Pegasus, Berliner Beiträge zum Nachleben der Antike’, 13, 2011, pp. 29-39..

Copy Link

Recommended publications

Ancient Battles Guido Beltramini
Ancient Battles Guido Beltramini In 1575 Palladio published an illustrated Italian edition of Julius Caesar’s Commentaries. Five years later, his death halted the publication of Polybius’ Histories, which included forty-three engravings showing armies deployed at various battles: from Cannae to Zamas, Mantinea and Cynoscephalae. At the height of his career, Palladio invested time, energy and money into two publishing ventures far removed from architecture. In fact the two publications were part of a world of military matters which had attracted Palladio’s interest since his youth, when it formed an integral part of his education undertaken by Giangiorgio Trissino. As John Hale has shown, sixteenth-century Venice was one of the most active centres in Europe for military publications dealing with matters such as fortifications, tactics, artillery, fencing and even medicine. The distinguishing element in the Venetian production of such books was the widespread belief in the importance of the example of the Classical Greek and Roman writers, shared by men of letters and professional soldiers. This was combined with particular care shown towards the reader. The books were supplemented with tables of contents, indices, marginal notes and even accompanied by the publication of compendia illustrating the texts, such as the series entitled Gioie (‘Gems’) which Gabriele Giolito published from 1557 to 1570 (Hale 1980, pp. 257-268). Fig 1: Valerio Chiericati, manuscript of Della Many of the leading players in this milieu were linked to Trissino, albeit Milizia. Venice, Museo Correr, MS 883 in different ways: cultivated soldiers like Giovan Jacopo Leonardi, the Vicentine Valerio Chiericati (fig.
[Show full text]
Gian Cristoforo Romano in Rome: with Some Thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II
Gian Cristoforo Romano in Rome: With some thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II Sally Hickson University of Guelph En 1505, Michel-Ange est appelé à Rome pour travailler sur le tombeau monumental du pape Jules II. Six mois plus tard, alors que Michel-Ange se trouvait à Carrare, le sculpteur et antiquaire Gian Cristoforo Romano était également appelé à Rome par Jules II. En juin 1506, un agent de la cour de Mantoue rapportait que les « premiers sculpteurs de Rome », Michel-Ange et Gian Cristoforo Romano, avaient été appelés ensemble à Rome afin d’inspecter et d’authentifier le Laocoön, récemment découvert. Que faisait Gian Cristoforo à Rome, et que faisait-il avec Michel-Ange? Pourquoi a-t-il été appelé spécifi- quement pour authentifier une statue de Rhodes. Cet essai propose l’hypothèse que Gian Cristoforo a été appelé à Rome par le pape probablement pour contribuer aux plans de son tombeau, étant donné qu’il avait travaillé sur des tombeaux monumentaux à Pavie et Crémone, avait voyagé dans le Levant et vu les ruines du Mausolée d’Halicarnasse, et qu’il était un sculpteur et un expert en antiquités reconnu. De plus, cette hypothèse renforce l’appartenance du développement du tombeau de Jules II dans le contexte anti- quaire de la Rome papale de ce temps, et montre, comme Cammy Brothers l’a avancé dans son étude des dessins architecturaux de Michel-Ange (2008), que les idées de ce dernier étaient influencées par la tradition et par ses contacts avec ses collègues artistes.
[Show full text]
C HAPTER THREE Dissertation I on the Waters and Aqueducts Of
Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B. Evans http://www.press.umich.edu/titleDetailDesc.do?id=17141, The University of Michigan Press C HAPTER THREE Dissertation I on the Waters and Aqueducts of Ancient Rome o the distinguished Giovanni Lucio of Trau, Raffaello Fabretti, son of T Gaspare, of Urbino, sends greetings. 1. introduction Thanks to your interest in my behalf, the things I wrote to you earlier about the aqueducts I observed around the Anio River do not at all dis- please me. You have in›uenced my diligence by your expressions of praise, both in your own name and in the names of your most learned friends (whom you also have in very large number). As a result, I feel that I am much more eager to pursue the investigation set forth on this subject; I would already have completed it had the abundance of waters from heaven not shown itself opposed to my own watery task. But you should not think that I have been completely idle: indeed, although I was not able to approach for a second time the sources of the Marcia and Claudia, at some distance from me, and not able therefore to follow up my ideas by surer rea- soning, not uselessly, perhaps, will I show you that I have been engaged in the more immediate neighborhood of that aqueduct introduced by Pope Sixtus and called the Acqua Felice from his own name before his ponti‹- 19 Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B.
[Show full text]
Epigraphical Research and Historical Scholarship, 1530-1603
Epigraphical Research and Historical Scholarship, 1530-1603 William Stenhouse University College London A thesis submitted in fulfilment of the requirements of the Ph.D degree, December 2001 ProQuest Number: 10014364 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014364 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis explores the transmission of information about classical inscriptions and their use in historical scholarship between 1530 and 1603. It aims to demonstrate that antiquarians' approach to one form of material non-narrative evidence for the ancient world reveals a developed sense of history, and that this approach can be seen as part of a more general interest in expanding the subject matter of history and the range of sources with which it was examined. It examines the milieu of the men who studied inscriptions, arguing that the training and intellectual networks of these men, as well as the need to secure patronage and the constraints of printing, were determining factors in the scholarship they undertook. It then considers the first collections of inscriptions that aimed at a comprehensive survey, and the systems of classification within these collections, to show that these allowed scholars to produce lists and series of features in the ancient world; the conventions used to record inscriptions and what scholars meant by an accurate transcription; and how these conclusions can influence our attitude to men who reconstructed or forged classical material in this period.
[Show full text]
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
[Show full text]
On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis
7 / 2020 On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis Abstract Among the images that describe the proportions of the human body, Leonardo da Vinci’s one is certainly the most effective, despite the fact that the iconic drawing does not faithfully follow the measurements indicated by Vitruvius. This research concerned the geometric analysis of the interpretations of the Vitruvian man proposed in the Renaissance editions of De Architectura, carried out after the aniconic editio princeps by Sulpicio da Veroli. Giovanni Battista da Sangallo drew the Vitruvian figure directly on his Sulpician copy, very similar to the images by Albrecht Dürer in The Symmetry of the Human Bodies [Dürer 1591]. Fra Giocondo proposes in 1511 two engravings of homo ad quadratum and ad circulum in the first Latin illustrated edition of De Architectura, while the man by Cesare Cesariano, author of the first version in vernacular of 1521, has a deformed body extension to adapt a geometric grid. Francesco di Giorgio Martini and Giacomo Andrea da Ferrara also propose significant versions believed to be the origin of Leonardo’s figuration due to the friendship that bound them. The man inscribed in the circle and square in the partial translation of Francesco di Giorgio’s De Architectura anticipates the da Vinci’s solution although it does not have explicit metric references, while the drawing by Giacomo Andrea da Ferrara reproduces a figure similar to Leonardo’s one. The comparison between the measures expressed by Vitruvius to proportion the man and the various graphic descriptions allows us to understand the complex story of the exegesis of the Roman treatise.
[Show full text]
Veleia 29.Indd
JEAN MATAL AND HIS ANNOTATED COPY OF THE EPIGRAMMATA ANTIQUAE VRBIS (VAT. LAT. 8495): THE USE OF MANUSCRIPT SOURCES1 jean matal y su copia anotada de los EPIGRAMMATA ANTIQUAE VRBIS (vat. lat. 8495): el uso de las fuentes manuscritas Resumen: Entre los ejemplares de los Epigrammata Antiquae Vrbis (1521) editados por J. Mazochius y copiosamente anotados por humanistas del s. xvi, es sin duda el de Jean Matal (ms. Vat. Lat. 8495) el que revela unos objetivos más claros y un método de trabajo más sistemático. Hasta ahora se han puesto de relieve los esfuerzos del mismo Matal o de sus numerosos informantes para corregir las inscripciones mediante su autopsia; más desaper- cibido ha quedado, sin embargo, el estudio que realizó de diversas fuentes manuscritas con las que igualmente colacionó los textos impresos. En este artículo avanzamos en la identifi- cación de estas fuentes manuscritas y analizamos el método de trabajo que desarrolló, y por el que no solo merece formar parte de la vanguardia en la ciencia epigráfica, sino que debe ser considerado como el iniciador del uso de las herramientas filológicas para la edición de los textos epigráficos. Palabras clave: Mazochius, Metellus, Epigrafía, Manuscritos, Humanismo. Abstract: Among the different copies of the Epigrammata Antiquae Vrbis (1521) published by J. Mazochius and abundantly annotated by 16th century humanists, Jean Matal’s (ms. Vat. Lat. 8495) is undoubtedly the one that reveals the clearest objectives and the most systematic work method. The importance of Matal’s efforts, as well as those of his many informants, to correct the inscriptions based on their autopsy has already been highlighted.
[Show full text]
Appendix I: Notable Personages
Appendix I: Notable Personages Villard de Honnecourt (thirteenth century?) –– Livre de portraiture (ca. 1230) Petrus Peregrinus of Maricourt (thirteenth century?) –– Epistola Petri Peregrini de Maricourt ad Sygerum de Foucaucourt, militem, de magnete (Letter of Peter Peregrinus of Maricourt to Sygerus of Foucaucourt, Soldier, on the Magnet) (1269) Guido da Vigevano, (Pavia, ca. 1280–Paris, after 1349) –– Texaurus regis Francie (1335) –– Liber notabilium illustrissimi principis Philippi septimi, Francorum regis, a libris Galieni per me Guidonem de Papia, medicum suprascripti regis atque consortis eius inclite Iohanne regine, extractus, anno Domini 1345 (1345) Giovanni Dondi dell’Orologio (Chioggia, ca. 1330–Abbiategrasso, 1388) –– Completion of the astronomical clock Astrarium (1364) –– Tractatus astrarii (fourteenth century) Konrad Kyeser (1366–after 1405) –– Bellifortis (ca. 1405) Filippo Brunelleschi (Florence, 1377–1446) –– Cupola (Dome) of Duomo of Florence (1420–1436) Anonymous of the Hussite Wars –– Manuscript of the Anonymous of the Hussite Wars (after 1472) Mariano Daniello di Jacopo (Taccola) (Siena, 1381–ca. 1458) –– De Ingeneis (ca. 1419–1450) –– De Machinis (1449) © Springer International Publishing AG, part of Springer Nature 2019 343 P. Innocenzi, The Innovators Behind Leonardo, https://doi.org/10.1007/978-3-319-90449-8 344 Appendix I: Notable Personages –– Copy of De Machinis from Paolo Santini (colored manuscript version, second half of the fifteenth century) Ms. Lat 7239, Bibliothèque Nationale, Paris. Giovanni Fontana (Venice, 1395?–after 1454) –– Bellicorum instrumentorum liber (ca. 1430) –– Nova compositio horologi 1418) –– De horologio aqueo (ca. 1417) Leon Battista Alberti (Genoa, 1404–Rome, 1472) –– Ludi mathematici (1448) –– De re aedificatoria (1450) Roberto Valturio (Rimini, 1405–1475) –– De re militari (1472) printed version in Latin –– De re militari (1483) printed version in Italian Piero della Francesca (Borgo Sansepolcro, ca.
[Show full text]
Downloaded Without Charge At
Foreigners and the City: An Historiographical Exploration for the Early Modern Period Donatella Calabi NOTA DI LAVORO 111.2006 SEPTEMBER 2006 KTHC - Knowledge, Technology, Human Capital Donatella Calabi, Dipartimento di Storia dell'Architettura, Università IUAV di Venezia This paper can be downloaded without charge at: The Fondazione Eni Enrico Mattei Note di Lavoro Series Index: http://www.feem.it/Feem/Pub/Publications/WPapers/default.htm Social Science Research Network Electronic Paper Collection: http://ssrn.com/abstract=928792 The opinions expressed in this paper do not necessarily reflect the position of Fondazione Eni Enrico Mattei Corso Magenta, 63, 20123 Milano (I), web site: www.feem.it, e-mail: [email protected] Foreigners and the City: An Historiographical Exploration for the Early Modern Period Summary This paper will focus on the physical traces left by different minorities in the European city of the early modern age. Looking to the urban context in the main important ports and commercial centers we can find violent conflicts, traditional uses, as well as new urban strategies by the governors to keep together (for economic and social purposes) city-dwellers and foreigners. The invention of specific buildings and the effect on the architectural language is often quite visible and a mean of cultural exchanges. Keywords: City, History of Architecture, Modern Age, Foreigners, Minorities This survey is part of the research carried out by the Università Politecnica delle Marche (Ancona) within the Network of Excellence "Sustainable Development in a Diverse World" (SUS.DIV), funded by the European Commission, FP6, Contract No. CIT3-CT-2005-513438, and co-ordinated by FEEM under the scientific lead of K.U.
[Show full text]
Art and Life in Renaissance Venice Free Download
ART AND LIFE IN RENAISSANCE VENICE FREE DOWNLOAD Richard Losick,Michael Levine,Alexander Gann,Tania Baker,Stephen Bell,Ms. Patricia Fortini Brown | 176 pages | 20 Mar 2005 | Pearson Education (US) | 9780131344020 | English | Upper Saddle River, United States The High Renaissance in Venice The bacchants are disposed about the miraculous stream of wine that flows through an island, dancing, singing, and drinking. In Boy with a Greyhound The most important artists of the Venetian schools were the Bellini and Vivarini families, as mentioned. Extended Events Calendar. Depictions of lions in paintings represented the significance of the saint as the patron of the city of Venice. A wealth of vivid images— Including Carpaccio's Two Venetian Ladies on a Terrace and Hunting in the Lagoon shown in its complete form for the first time in print! The Venetian style exerted great influence upon the subsequent development of Western painting. A marvelous picture— Not only of the art world in Venice but also of the city itself. Profile Ph. Picture Credits. Collectively, they guarded the Venetian art market zealously, to the point that one did not purchase paintings produced outside of the schools. Graduate students writing dissertations under her supervision have pursued themes relating to Venetian art ranging from patronage to painting to portraitureand on art and architecture in Siena, Florence, Rome, and Ragusa, as well as on the trade in antiquities between Italy and the eastern Mediterranean and post-Byzantine art in Venetian and Ottoman territories. Through close examination of Renaissance paintings, drawings, book illustrations, and other art works, Patricia Fortini Brown brings fourteenth and fifteenth century Venice alive.
[Show full text]
127-San Pietro in Vaticano.Pages
Saint Peter’s Basilica Vatican City The Papal Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as the Basilica Papale di San Pietro in Vaticano and commonly known as Saint Peter's Basilica, is located within the Vatican City. Saint Peter's Basilica has the largest interior of any Christian church in the world, holding 60,000 people. It is the symbolic "Mother church" of the Catholic Church and is regarded as one of the holiest Christian sites. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom". In Catholic tradition, it is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, first Bishop of Rome and therefore first in the line of the papal succession. Tradition and some historical evidence hold that Saint Peter's tomb is directly below the altar of the basilica. For this reason, many Popes have been interred at St Peter's since the Early Christian period. There has been a church on this site since the 4th century. Construction of the present basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed on November 18, 1626. Saint Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age.
[Show full text]
A New Edition of Vitruvius's
James Stevens Curl my shelves as well, I was fully aware of the enormous under taking any new version of Vitruvius would involve, so when I A New Edition of Vitruvius's learned that a project had just been agreed and contracted I was both pleased (because I felt a brand-new illustrated translation De Architectura libri decem was a necessity), and a trifle disappointed that my bid had gone in too late. It is therefore extremely interesting to have the re INGRID D. ROWLAND and THOMAS NOBLE HOWE sults of so much effort before me for review now, at the end of (Eds.) (1999) 1999. I am very glad to have the book, and there are many vir VITRUVIUS: Ten Books on Architecture tues in its favour (as well as the unfortunate faults to which I (Cambridge, New York, and Melbourne: Cambridge University Press), shall allude below). ISBN 0-521-55364-4, PP. 352, 110 line drawings, Fifty Pounds. I have never fully understood the received opinion among scholars and commentators that Vitruvius was somehow pedes have to start by declaring an interest. Some time ago I trian and dull, or that certain architectural treatises during the suggested to Cambridge University Press that a new edi Renaissance period (notably Alberti's De re aedificatoria) were re I tion of Vitruvius' s De Architectura libri decem would be a good garded as models of learned Latin writing. In Alberti's case, he idea, preferably having the Latin text on the left-hand page and set out to supersede Vitruvius's authority, and many regard his a translation on the right, with footnotes at the bottom of each Latin as far more elegant and precise than that of the Augustan double-page spread to be really useful.
[Show full text]