TUNSTALL, Cuthbert

BM – WOODHULL – DUNN COPY

De arte supputandi libri quartuor.

London, In aedibus Richardi Pynsoni, Anno Verbi incarnati. 14 Oct. 1522

£32,500

FIRST EDITION. 4to. 204 unnumbered leaves. A-S⁴, T⁶, TV⁶, V⁶, X-Z⁴, a⁴, ab⁶, b-z⁴, &⁴. Roman letter. Title within a fine historiated woodcut border signed HH and copied from Holbein (McKerrow & Ferguson 8), errata on verso, floriated white on black criblé woodcut initials, woodcut mathematical tables, errata crossed out in an early hand with the corresponding corrections added throughout, occasional manuscript underlining. British Museum sale duplicate 1787, stamp on title, manuscript date “June 18th 1813″, on rear flyleaf in Michael Wodhull’s hand (1740-1816), bookplate and label of George Dunn (1865-1912), Woolley Hall, on pastedown, mss. note in pencil in his hand “Wodhull’s copy, see fly leaf at end.” with his distinctive price code and date March 1910, “John Burns, May 23 1918”, mss above, Erwin Tomash label above. Light age yellowing, a few quires lightly browned, some minor marginal spotting, title a little dusty with thumb marks at margin, the occasional mark or ink splash. A very good copy, generally crisp and clean, with good margins, some deckle edges, in late C18th calf, covers bordered with a single gilt rule, spine, rebacked with former spine laid down, gilt ruled in compartments, red morocco labels gilt lettered, a.e.g. corners a little worn, a little rubbed. 

First edition of the first English book wholly on arithmetic, by the great Catholic humanist, Cuthbert Tunstall (1474-1559). The work was Tunstall’s farewell to secular scholarship as he was made Bishop of London a few days after its publication, and thereafter Lord Privy Seal. He wrote it so that his friends could make their own calculations and no longer be cheated by money changers. It is designed as a practical work on arithmetic with the emphasis on commercial transactions, undoubtedly based on models Tunstall encountered during his studies in Padua. “The book includes many business applications of the day, such as partnership, profit and loss and exchange. It also includes the rule of false, the rule of three and numerous applications of these and other rules. It is, however, the work of a scholar and a classicist rather than a businessman.” Smith p.134, It is dedicated to his particular friend Thomas More, who, the previous year had been appointed sub-Treasurer of England, because there was no more appropriate dedicatee than the man engaged in supervising the finances of the King This was also the return of the compliment which, six years earlier, More had paid Tunstall in the opening lines of the Utopia. The work was actually rather too scholarly for ordinary businessmen and it was not reprinted in England. However, it achieved some success on the continent and Rabelais (Oeuvres II 222) mentions it as required reading for the young Gargantua in Paris; it was also prescribed as an arithmetical study text in the Oxford statues of 1549, (together with Cardano).“The dedicatory epistle to M[ore], gives an interesting picture of M[ore] and Tunstall” Gibson 157.

“Cuthbert Tunstall began his studies in Oxford but soon moved to Cambridge because of the plague. He later studied Canon and Roman law at Padua. He held several appointments in Henry VIII’s court and was made Bishop of London only a few days after this work was published. This is the first complete work on arithmetic to be published in England. It was preceded only by a chapter in Caxton’s Myrrour of the World, published in 1481. .. In content and structure the work resembles that by Luca Pacioli and other Continental arithmetics, which Tunstall undoubtedly encountered in Padua or during his extensive travels for Henry VIII. An unusual feature in the book is the separate tables for addition and subtraction as well as those usually found for multiplication. .. Robert Recorde’s English language arithmetic appeared fifteen years later in 1537 and seems to have eclipsed Tunstall’s work, at least in England. The title page is a revised version of one by Hans Holbein, whose initials can be seen on the left border. The woodcut was first used by a printer in Basel in 1516.” Erwin Tomash.

Michael Wodhull studied at Winchester school when Joseph Warton was second master; he later attended Brasenose College Oxford. He was high sheriff of Northamptonshire in 1783. Wodhull wrote poetry, collected first editions of classics and incunabula, and contributed many items to the Gentleman’s Magazine under the signature “L. L.” One of his Euripides translations appeared in an Everyman’s Library edition. The character “Orlando” in Thomas Frognall Dibdin’s Bibliomania is supposed to represent Wodhull. Dunn was a bibliophile who amassed a splendid library with particular strengths in early printing, law books and medieval manuscripts. His remarkable collection was sold in a number of sales between 1913 and 1917. 

ESTC S118552. STC 24319. Tomash & Williams T57 (this copy) Smith, Rara arithmetica, pp.132-4

K165

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CAMDEN, William

Annales rerum Anglicarum et Hibernicarum, regnante Elizabetha, ad annum salutis M. D. LXXXIX.

London, Typis Guilielmi Stansbij, impensis Simonis Watersoni, 1615.

£1,250

FIRST EDITION. pp. [xii], 499, [xxiii]., A⁴, B⁴,(±B1), C-3V⁴. Wanting two prelim. blanks. Roman letter, some Italic, text within box rule. Large historiated and floriated woodcut initials, woodcut head and tail-pieces. Coloured woodcut arms cut from a C17th armorial book, motto “All for the best” loosely inserted, engraved armorial bookplate of Montagu George Knight (1844-1914),(engraved by Charles W. Sherborn) on pastedown, his label with mss. shelf mark above. Very light age yellowing, verso of last a little dusty. A very good copy, crisp and clean in handsome contemporary English calf, covers bordered with a double blind rule, spine with raised bands blind ruled in compartments, tan morocco label gilt lettered, edges gilt ruled, small repair to head of spine, a.e.r. 

First edition of the first part of this most important history of the reign of Elizabeth I. In 1597, William Cecil, 1st Baron Burghley suggested that Camden write a history of Queen Elizabeth’s reign. The degree of Burghley’s subsequent influence on the work is unclear: Camden only specifically mentions John Fortescue of Salden, Elizabeth’s last Chancellor of the Exchequer, and Henry Cuffe, Robert Devereux, 2nd Earl of Essex’s secretary, as sources. Camden began his work in 1607. The first part (books 1–3) appeared in this work, the second part (book 4, covering 1589–1603) was completed in 1617, but was not published until 1625 (Leiden), and 1627 (London), following Camden’s death. The Annales were not written in a continuous narrative, but in the style of earlier annals, giving the events of each year in a separate entry. Sometimes criticised as being too favourably disposed towards Elizabeth and James I, the Annales are one of the great works of English historiography and had a great impact on the later image of the Elizabethan age. Hugh Trevor-Roper said about them: “It is thanks to Camden that we ascribe to Queen Elizabeth a consistent policy of via media rather than an inconsequent series of unresolved conflicts and paralysed indecisions.”

“Camden’s Annals of the Reign of Queen Elizabeth was the first of his two great works to be begun .. It was a work concerned predominantly with the politics of the recent past – a veritable minefield! For that reason Raleigh in his History of the World had studiously avoided it. ‘Whosoever in writing a modern History’, he declared, ‘shall follow Truth too near the heels it may happily strike out his teeth’. Camden’s approach was to tread carefully but purposefully – although in the end that inevitably aligned him with the government rather than its critics. ‘Things manifest and evident I have not concealed’, he asserted; ‘things doubtful I have interpreted favourably; things secret and abstruse I have not pried into’. Writing what Trevor-Roper has termed ‘politique history’, Camden identified himself with the hierarchical political and religious order of the Elizabethan age, a stance perfectly revealed when he dealt with rebellions and with the growth of Puritanism. Camden’s researches for his history of the Queen’s reign were based on state papers and diplomatic despatches, made available to him through Burghley’s good offices, on legal records, and on Parliamentary proceedings. The arrangement he adopted – as his title makes clear – was a chronological one. Lengthy digressions and invented speeches (both characteristic devices of Renaissance historiography) were shunned. ‘Speeches and orations’, he declared, ‘unless they be the very same verbatim or else abbreviated I have not meddled withal, much less coined them out of mine own head’. He avoided excessive moralising, was interested always in the sequence of events and in causes and processes, and adopted a consistently questioning approach. With evident approval he quoted the views of the classical historian Polybius: Camden’s Annals were not designed as leisure-time reading but in the best Renaissance tradition, as an earnest attempt to convey the political wisdom of the recent past. ..Any exploration of a country’s history is an act of discovery or re-discovery, designed to extend the boundaries of knowledge and understanding. Camden’s Annals represented a kind of map of the recent past, a new and original contribution to the geography of knowledge.” R.C. Richardson. ‘William Camden and the Re-Discovery of England’.

Without the errata leaf added at end of some (presumably later) copies.

ESTC S107145. STC 4496. Lowndes. 358. Not in Pforzheimer. 

L3200

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ANTIQUARUM STATUARUM URBIS ROMAE

BESPOKE CONNOISSEUR’S BINDING

Antiquarum Statuarum Urbis Romae quae in publicis privatisque locis visuntur, Icones. Terza Parte. 

Rome, Lorenzo Vaccari, 1584. 

£4,250

4to. Fine engraved architectural title and 72 engraved plates of Roman statuary, all mounted, followed by a hundred or so blank leaves, C18th engraved bookplate of J.M. Tourret on verso of front fly. Small oil stain to lower outer corner of last three blank leaves. A fine copy of this suite of engravings all in very good impression, in beautiful C18th red morocco by the MM atelier, covers bordered with a triple gilt rule, large fleurons gilt to corners, green morocco inlay on upper cover bordered with gilt rolls and title gilt, spine double gilt ruled in compartments, large flower gilt at centres with semée of small tools gilt, green morocco title label, edges gilt rolled, two large wallets fashioned of blue painted paper on front and rear pastedowns, a.e.g.

A lovely copy of this suite of prints in a beautiful, most unusual and ingenious binding by the M.M. atelier in Paris, incorporating two large wallets to store drawings or prints. The binding was undoubtedly made with the idea in mind that a collector, perhaps on a grand tour of Italy, could use the wallets to store the engravings or drawings he found on his travels, to perhaps paste them into the blank leaves at a later date, or to make notes or drawings directly on these leaves. We have found other books with J M Tourret’s label but nothing about his life, or his collection. The book is a most ingenious design, beautifully bound, a wonderful object, that gives an insight into collecting on the grand tour. 

The binding can be attributed to the ‘MM’ binder; the corner-piece tool on the covers corresponds exactly with that identified as tool ‘MM6’ in cyclopedia.org. These bindings “range from 1770 to at least 1786. ..  This able binder appears to be a master of the classic dentelles of the 60’s and may have apprenticed with a famous royal binder from that period. At the same time he uses tools in the same fashion as Jubert in the mid 80’s. It would not surprise me if these two binders were about the same age and apprenticed with Derome, Douceur or Dubuisson. Unlike the work of Jubert we do not see the inclusion of any Derome tools or fers à l’oiseau in the decoration of these bindings. From the very first examples we see bindings of a very important and high standing. A 1776 Royal Almanach with the arms of Louis XVI. Somehow I doubt whether one goes from apprenticeship to royal bindings all that quickly. .. Also note Douceur’s influence in the tools, flowers and floral motifs dominant.” cyclopedia.org

The fine set of Prints are by the publisher printmaker Giovanni Battista de’ Cavalieri “Engraver, printer and print publisher, from Villa Lagarina near Trento. Active in Venice and from 1559 in Rome. In 1577 he had a bottega in Parione which he let out to a cartolaio, Girolamo Agnelli. His own house was in the vicolo di Palazzo Savelli, with a workshop next to it. He was the brother-in-law of Lorenzo Vaccari. .. By 1560 he seems to have been publishing his own plates. He entered into partnerships for publishing: in 1567 with Perino Zecchini de Guarlottis ..and in 1576 with Lorenzo Vaccari. In 1577 he was employing a printer: Francesco Cornuti. He acquired old plates that he recut. He published plates by his contemporaries, including Cort. He himself engraved after works of many artists, including Francesco Salviati, Daniele da Volterra, Raphael, Michelangelo, Polidoro da Caravaggio, Livio Agresti and Baccio Bandinelli. He also made copies of earlier prints. His subject matter included the devotional, topographical, antiquarian, didactic and ‘popular’. He published a number of important series: the ‘Pontificum Romanorum Effigies’ of 1580 and the ‘Romanorum Imperatorum Effigies’ of 1583; the ‘Ecclesiae Militantis Triumphi’ of 1583 and the ‘Ecclesiae Anglicanae Trophaea’ of 1584; the ‘Antiquarum Statuarum Urbis Romae’, the first book of which was first published before 1561/2 (Book 1 and 2 together, before 1584; Books 3 and 4 in 1594).” M. Bury, ‘The Print in Italy 1550-1625’, British Museum. Brunet states that there is a copy of this set at the Bibliotheque Imperiale that contains 82 engravings though also states that sets generally vary largely in the number of plates included. He concludes “Au reste, il est difficile de dire rien de bien exact sur le nombre et l’ordre de ces planches qui ont été publiées à plusieurs reprises sans numérotage et sans table” (Brunet).

Brunet, I, 320. Graesse, I, 149. Rossetti 1749; Edit 16 CNCE 1991. Adams C1179 Cicognara 3492; Olschki Choix 16668 (pts. I and II only). Not in BM STC It., or Mortimer Harvard C16.

L3195

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WARD, Robert.

A VERY COMPREHENSIVE WORK

Animadversions of warre….

London, John Dawson, [ Thomas Cotes, Richard Bishop], 1639.

£6,950

FIRST EDITION, second issue. Folio. pp. [xxviii] 90 [2], 91-394, [2], 101, [vii]. Roman letter. Sep. pr. t-p to each part within double-ruled borders, woodcut ornament on first, printer’s device on second. Splendid engraved general title by William Marshall (Johnson 64), depicting mounted knight on pedestal; Roman soldier left side, his foot on a cherub, right side, woman in armour holding book, woodcut illustrations and extensive diagrams (3 folding), woodcut initials and ornaments. Lower outer corner of one index leaf torn with loss of a couple of letters. Very good copy in 18th C tree-calf, spine gilt in compartments, red morocco label, all edges yellow. 18th and 19th C armorial bookplates of Earls of Macclesfield, Shirburn castle library blindstamp to first and second leaves.

Subtitled: “Composed of the most refined discipline, and choice experiments that these late Netherlandish, and Swedish warres have produced. With divers new inventions, both of fortifications and strategems” this manual of 17th C warfare by an experienced soldier provides an insight into all matters military, including the latest technologies, e.g. hand grenades: “Earthen Bottels to be made of a round fashion … halfe full of Serpentine powder, or somewhat more, there is to be mixt with it a quantity of Hogges of Stone, Brimstone, Saltpeeter twice refined, Aqua Vitae, Pitch …” Divided into 22 sections, it describes first how to make provision for war, the stockpiling of provisions, preparation of armour and weapons, provision of money, shipping and soldiers; then all aspects of fortification in geometrical terms, how to fortify a hexagonal figure with flanks or irregularly shaped fortifications, and evaluates construction methods employed in different parts of Europe. There follows a detailed discussion of the use of artillery, especially in forts. Other sections explain how to send messages out of fortified places and lay mines, and discuss the duties and valour of soldiers in field and fort, closing with a debate on duels. The duties of different ranks are considered, concluding with the discussion of the ‘Council of Warre’. Next examined is the art of drilling, both with infantry and cavalry specifying how an officer should conduct himself, followed by a discussion of ‘politicke’ stratagems or ploys with examples of their successful use. A description of a diverse selection of instruments of war, engines, the use of grenades, fireballs, bombs and powder pots concludes the first book. The second discusses the requirements of generalship and the principles to observe when marching and encamping an army. There is a disquisition on military law and precepts a general should follow before going into battle. The work concludes with a detailed survey of battle formations depending on the number and proportion of horse and foot respectively. A very comprehensive work.

Robert Ward was a ‘Gentleman and Commander,’ but we have not been able to trace any further details of his life.

‘A book of reference on nearly all branches of the military art this will be found of the greatest value. It has been much quoted by modern writers on military antiquities’ Cockle 147. STC 25025. Spaulding and Karpinski 129. Lowndes 2838.

L3275

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BEDE, Saint the Venerable.

PRINTED IN ANGLO SAXON

Historiæ ecclesiasticæ gentis Anglorum libri V. ..

Cambridge, ex officina Rogeri Daniel, celeberrimæ Academiæ typographi, 1644.

£2,750

FIRST EDITION thus. Three works in one. Folio. pp. [xx], 463, 468-490, 487-570, [xxii], 152, [ii], 153-158, 157-226, [x]. Double page engraved map. A⁴(-A1;+pi²,2pi1), B-3S⁴,3T⁴(±3T3), 3V-4E⁴, 4F²; ²[par.]⁶, A-2C⁴, 2D-2E⁶, 2G⁴. “Leaf 3T3 cancelled and replaced with separate dated title page “Chronologia Anglo-Saxonica elegans et perantiqua”, with imprint “ex officina Rogeri Daniel”. Archaionomia, sive De priscis Anglorum legibus libri … Gulielmo Lambardo interprete.” has separate dated title page, pagination and register. A reissue, with reset title page, of Wing A3605.” ESTC. Roman and Saxon letter in double column, some Italic. First title in red and black, second and third with small woodcut printer’s device, fine floriated woodcut initials, grotesque head and tail-pieces, autograph of Robert Shafto at head of t-p, engraved armorial bookplate of ‘Robert Shafto of Benwell esq.” on pastedown, engraved armorial bookplate of William Adair esq. on rear pastedown. Light age yellowing, light waterstain towards upper margin on last few leaves, very minor marginal dust soiling in places. A very good copy, crisp and clean in handsome contemporary calf, covers bordered with a double blind rule, spine, well rebacked with original spine laid down, raised bands, double blind ruled in compartments, later red morocco label gilt, stubbs from a vellum leaf, corners restored, a little rubbed and scratched.

First edition, second issue, of the Old English text of Bede’s Ecclesiastical History of the English People, the chief source for English history from the arrival of St. Augustine in Kent in 597 until 731; a reissue of the first edition with a cancel title page and the addition of a third work, William Lambarde’s pioneering edition of Anglo Saxon laws and customs. here with the Anglo-Saxon texts. The work also contains the editio princeps of the Anglo Saxon Chronicle. Bede was one of the greatest scholars of the Anglo-Saxon period. He produced a large number of works on subjects as varied as science, music, poetry and biblical commentary, but he is most famous for his Ecclesiastical History of the English People, one of our best-written sources for early English history. Bede is sometimes regarded as the father of English history and is most famous for his Historia ecclesiastica gentis Anglorum, which was completed in 731 when he was around 59 years old. This work was modelled on the Ecclesiastical History by the Greek historian Eusebius of Caesarea (d. 339/340), and it tells the story of the establishment and spread of Christianity in England and the emergence of the Anglo-Saxon kingdoms. It survives in some 150 manuscripts. Different versions suggest that the work was circulated while Bede was still alive, such was its popularity. The Old English version of Bede’s Historia ecclesiastica gentis anglorum is one of the earliest and most substantial surviving works of Old English prose. Translated anonymously around the end of the ninth or beginning of the tenth century, the text, which is shorter than Bede’s original, was well known and actively used in medieval England, and was highly influential.

Abraham Wheelock produced the editio princeps of the Old English version of Bede’s  Ecclesiastical History of the English People and the Anglo-Saxon Chronicle (1643–4). In the same work he published an important edition – and the first in England – of  Bede’s  Ecclesiastical History in its original Latin text opposite the Old English version, along with Anglo-Saxon laws. Many of the notes in this edition consist of the Old English homilies of  Aelfric of Eynsham, which Wheelock translated himself into Latin. In the following year another, enlarged issue came out which also included an updated version of William Lambarde’s legal text “Archaionomia.” This text was likely a collaboration between Wheelock and his friend Sir Roger Twysden. The editio princeps of the Anglo-Saxon Chronicle was based mainly on the Cotton manuscript, and is the chief source of our knowledge of that MS. which perished, all but three leaves, in the Cottonian fire of 1723. 

Robert Shafto (circa 1732 – 24 November 1797) was British politician who sat in the House of Commons between 1760 and 1790. He was the likely subject of a famous North East English folk song and  nursery rhyme “Bobby Shafto’s Gone to Sea”

Wing B1662 and A3605; ESTC R11643

L3188

SCORZ, Geraldo.

UNRECORDED IN THE US

Relacion verdadera de la insigne vitoria que alcanço el rey de Polonia, contra el gran duque de Moscobia.

[Madrid, F. de Ocampo, 1634.]

£1,250

Folio. 2 unnumbered and unsigned ll., [*]2. Roman letter, little Italic. Uniform slight age browning, minimal spotting. A very good copy in modern wrappers.

Very good copy of this remarkable ephemeral survival—an important witnesses to Spain’s perception of Russia during the Siglo de Oro. First issued with a slightly different title in Seville by Juan Gomez de Blas, this work belongs to the popular European genre of ‘relaciones’, two-leaf folio news reports on major international events, here unusually concerned with Muscovy, a monarchy with which Spain still had little contact. This ‘relacion’ reported, on the basis of an official Polish missive, the victory and basic events of the Russian siege of Smolensk in 1632-34, eventually curbed, despite the lesser forces, by Władisław IV who had just succeeded his late father as King of Poland. The Muscovy soldiers, it recounted, brought about ‘great havoc’ in Smolensk ‘by capturing people, destroying fields, stealing cattle and other things at hand’. Indeed, such early C17 ‘relaciones’ were still influenced by half-fictional accounts presenting Muscovy as a place inhabited by barbarians, traitors and faithless people ruled by an absolutist regime (‘Muscovy in the Golden Age in Spain’, 147). From the early C17, the increasing appearance of Muscovy in ‘relaciones’ as well as chronicles or literature, such as Lope de Vega’s ‘El gran duque de Moscovia’ (1619), revealed the Habsburg’s interest in the politics of Poland, led by the expansionist Władisław III, seen as a potential ally for curbing the Turkish and Russian pressure over Asian commercial routes (‘De Moscovia a Rusia’, 80). A scarce and important document.

No copies recorded in the US.

Wilkinson, Iberian Books, 56282; USTC 5011221; Moreno Garbayo, Madrid, 1311; Каталог коллекции Russica, 760. Not in Palau. J.M. Usunáriz, ‘Muscovy in the Golden Age in Spain’, Hipogrifo 1 (2018), 141-60; M.V. López-Cordón Cortezo, ‘De Moscovia a Russia’, Satabi 55 (2005), 77-98.

L2862

BAUHIN, Gaspard.

ILLUSTRATED ANATOMY – CZECH PROVENANCE

Theatrum anatomicum.

[Frankfurt am Main], heirs of T. de Bry & Matthäus Becker, 1605.

£4,500

FIRST EDITION. 8vo. pp. (xvi) 1314 [i.e. 1308] (iv), (viii) 198 (ii), (xlvi), plates included. Engraved architectural t-p with female figures of anatomy and medicine (?), author’s engraved portrait to verso (small hole and repaired worm trail), engraved arms of the Landgraviate of Hesse-Darmstadt to verso of first, 131 handsome full-page engravings of dissected bodies, organs and limbs, decorated initials and ornaments. Uniform light age browning, ink splash to lower inner corner of second part touching couple of plates, single small worm hole to last few ll. A very good copy in contemporary vellum, traces of ties, yapp edges, triple blind ruled, lettered spine, institutional arms 1613 with Latin motto, monogram ‘SRD’ and ‘1619’ all gilt to upper cover, C19 bookplate on front pastedown, casemark ‘BBB 1’ and C18 arms of Ignaz Dominik S.R.I., Count Chorinsky and Baron Ledske to fly.

A very good copy, in fresh impression, of the first edition of this beautifully illustrated manual of anatomy—here probably a prize copy. ‘The merit of Bauhin’s work consists…in the compiling and revising of subject-matter already known. He did this in a scholarly fashion and with expert knowledge, and was thus able to produce a work that was both welcome and useful to his time’ (Choulant, ‘Hist. and bib. of anat. ill.’, 229). Gaspard Bauhin (1560-1624) was a Swiss botanist, whose work influenced Linnaeus, and a surgeon, a pupil of the renowned Girolamo Mercuriale at Padua. He was later professor of both at Basel. ‘Theatrum’ had a practical purpose, hence the fundamental importance of the illustrations—all reduced copies of plates from major anatomical works by Vesalius, Eustachius and others—marking with letters the limb or organ sections described. When, in ‘L’Homme’, Descartes discussed the seat of imagination, he identified the dedicated brain gland simply as ‘H’ referring to one of Bauhin’s plates, taking for granted the reader’s knowledge of that major work (Bitbol-Hespériès, ‘Cartesian physiology’, 358). Like all anatomical manuals, ‘Theatrum’ provided an encyclopaedic, fully illustrated head-to-heel dissection of the human body. The four books cum tabulae discussed the brain, heart, ears, blood vessels, nerves, bones, muscles, ligaments and reproductive organs. The thorough index and the appendix (published independently in 1600 but integral here) were indispensable for quick consultation. An influential, beautifully illustrated anatomical manual.

Ignaz Dominik S.R.I. (1729-92), Count of Chorinsky and Baron of Ledske, was a major Czech bibliophile and renowned collector. His library, which long remained in the family seat at Velké Hoštice, was sold in the course of three auctions in 1930. Passionate about art and architecture, he also owned a few medical books; the anatomical illustrations in this copy must have elicited his art historical interest.

BL STC Ger. C17 B375; Wellcome I, 724; Graesse I, 313; Heirs of Hippocrates 246; Choulant, p. 229. A. Bitbol-Hespériès, ‘Cartesian Physiology’, in Descartes’ Natural Philosophy, ed. S. Gaukroger et al. (London, 2000), 349-82; L. Slavíček, ‘Ignác Dominik hrabě Chorynský z Ledské jako sběratel obrazů a knih’, Opuscula Historiae Artium 64 (2015), 158-205.

L3124

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PARASACCHI, Domenico.

FOUNTAINS IN C17 ROME

Raccolta delle principali fontane dell’inclita città di Roma.

Rome, G.B. de Rossi, 1647 [after 1651?].

£8,500

Large folio. Engraved t-p and 44 superb etchings of Roman fountains, all mounted (with wide margins) on thick laid paper and bound in an album. Very minor marginal foxing, occasional marginal toning or traces of glue to corners, repaired tears to upper margin and upper outer corner of pl. 40. An excellent copy in mid-C19 half blue calf over marbled boards, gilt-lettered spine, joints little scuffed, C19 autograph of P. de Morey, bookplate of de Morey library and rubber stamp of Anna Laetitia Countess Pecci-Blunt to front pastedown, modern bookplates of J.B. and M. Bury loose.

Excellent collection of etchings, in fresh impression, from this famous series depicting fountains in the city of Rome and surrounding locations. This is the second, enlarged edition, 44 plates instead of 20, printed on one side only. Although the t-p is dated 1647, the second edition was not released before 1651, as suggested by the etched date on the plate of the Obelisco Pamphilio (Berlin Cat. (3601) and (3602)). In 1618, Domenico Parasacchi (fl. first half of the C17) published, in collaboration with Giovanni Maggi, a set of plates entitled ‘Fontane diverse’ depicting major Roman fountains. This collection was the basis for Giovanni Battista de Rossi’s first edition of ‘Raccolta delle principale fontane’ of 1637. Giovanni Battista (1601-78) belonged to a family of printers and engravers operating, in open competition, between the workshops of Piazza Navona (his own) and via della Pace, run by his cousin Domenico. In 1645, Domenico reprinted the Parasacchi-Maggi plates as ‘Nuova raccolta di fontane’, including also fountains in Tivoli and Frascati, in competition with Giovanni Battista’s ‘Raccolta’. Between two and six years later, the latter published this edition, enlarged with 24 additional plates designed by Girolamo Felice and engraved by Pietro Moggi. In the second half of the C17 self-concluded series of ‘vedute’, which could however be easily enlarged, became increasingly popular among collectors. Their ‘exhaustive’ nature, pleasing to scholars and visitors, was also steered by the collecting activity of noble families and the agenda of the Catholic Church, as well as changing tastes concerning modern versus ancient buildings (Grelle, ‘Indice’, 43-44). The fountains portrayed were mostly built between the late C16 and early C17—a period of intense urban changes undertaken under papal sponsorship. The fountains reflected a sophisticated taste ranging from the geometrical, classical simplicity of the late C16 to the C17 baroque taste for grotesques, ‘rustic’ and theatrical architectures. In addition to those in main Roman squares (e.g., Piazza del Popolo and Piazza Barberini), the plates illustrate one of the oldest of the Renaissance—Trastevere—as well as others at the Belvedere, Frascati, Tivoli and at villas of the nobility (e.g., the Aldobrandini). The gallery of images turns the reader into a walking tourist. The plates include two famous fountains with ‘talking statues’—the Babuino and the Fachino, where, despite the recurring intervention of the authorities, the politically dissatisfied left critical or satirical messages against the Pope or government. A handsome collection and tribute to the architectural transformations of Renaissance Rome.    

Anna Laetitia (1885-1997), Countess Pecci-Blunt, was a major collector of books and paintings, and a renowned patron of the arts in post-war Rome.

BL STC It. C17, p. 657; Berlin Cat. (3602) (44 plates). Not in Fowler. Indice delle stampe de’ Rossi, ed. A. Grelle Iusco (Rome, 1996).

L3096g

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ATTAVANTI, Paolus, Florentinus.

C15 BINDING, THE FIRST AUTHOR’S PORTRAIT IN PRINT

Breviarium totius iuris canonici.

Memmingen, Albrecht Kunne, 1486.

£10,500

Folio. ff. (v) 2-129 (*4 a10 b-n8 o10 p8 q5), lacking q6 blank. Gothic letter, double column, ms. initials in red, rubrication throughout, attractive contemporary woodcut portrait of author in his library to recto of first fol. Scattered worm holes, light water stain towards gutter of first few gatherings, minor marginal spotting, red ink marks from initials in a few places, lower outer blank corner of fol. 89 torn, recto of first and verso of last a bit soiled, second leaf strengthened at gutter. A very good, large copy in contemporary south German calf, rebacked with overlaid original spine, lacking centre- and cornerpieces, traces of one clasp and chain holder, blind-stamped to a triple blind ruled cross-hatched design with fleurons and lozenges framing double-headed eagles and four-tailed creatures, raised bands, vellum label with title and casemark heightened in red to upper cover, also (rubbed) to spine, a bit wormed and worn. Early circular armorial paper bookplate (‘Bib: Nor’) of City of Nuremberg Library, with small abrasion, to blank section of portrait leaf.

The woodcut image of Paolo Attavanti in his library on the first fol., bearing the acronym ‘M[agister] P[aulus] F[lorentinus] o[rdinis] S[ancti] S[piritus]’ is the first author portrait ever to appear in a printed book. It first appeared in the 1479 edition of this text, published by Leonardus Pachel and Ulrich Scinzenzeler. ‘The head of the Magister with the expressive neckline in his austere plainness is reminiscent of the simplicity of [the Lombard painters] Foppas and Zenales…the character of Lombard art is clearly visible in the design’ (Kristeller, ‘Die Lombardische Graphik der Renaissance’, 28).

Excellent, well-margined copy of this masterful manual of canon law. Paolo Attavanti (1445-99) was a Florentine preacher, theologian and ‘doctor in utroque iuris’ (canon and civil law). He was a valued member of the humanist circle of Lorenzo de’ Medici, which included the philosopher Marsilio Ficino. A prolific writer of hagiographic and historical works, and a commentary to Dante’s ‘Divine Comedy’. This legal manual for practitioners was designed to make the consultation of canon law ‘easier, speedier and pleasanter’. Canon law was the legal system of the Roman Catholic Church, regulating the rights and duties of individuals, property, crime, trials, etc. The thorough index of the ‘Breviarium’ refers the reader to hundreds of subjects, from purgatory, penance and the images of saints to practical questions like procedures for the election of bishops and the duration of a father’s punishment across generations. Fundamental in canon law was the code of behaviour for religious, including whether they were allowed to bear weapons and their duty to avoid all kinds of theatrical spectacles. Judicial regulations covered all phases of trials and explained, for instance, that no criminal accusations could be accepted from excommunicates, actors, heretics, heathens and Jews. Strict regulations on marriage were crucial as aristocrats and princes often infringed them by marrying a close relative or having illegitimate children. The ‘arbor consanguinitatis’, which occupies an entire page, illustrated the degrees of kinship whereby individuals were too closely related to be granted leave to marry. The annotator of this copy was interested in these issues as he highlighted sections on the illegitimate offspring of priests, bishops and popes.

BMC II, 604; GW M30141; Goff P180; H 7161*; Kristeller, Die Lombardische Graphik der Renaissance, 38 (1479 ed.).

K169

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[FLORENCE.] 

NOT IN THE US –

ANNOTATED BY C17 CUSTOMS OFFICER

Stratto de doganieri et passaggieri del contado et distretto di Fiorenza. (with) Sommario della riforma della dogana di Fiorenza.

Florence, G. Marescotti, 1578 and [1580?].

£5,350

4to. 2 works in 1, 100 unnumbered ff., [*4] Cc2 Bb1, A-Z4, Aa4, 8 unnumbered ll., A4. Roman letter, little Greek. Woodcut Medici arms to both t-ps, decorated initials. Small clean tear to outer margin of t-p, occasional very minor mainly marginal foxing, four gatherings browned (paper not properly dried), ink splash at gutter of first and last few gatherings. A very good copy in C16 quarter goatskin over bevelled wooden boards, raised bands, C17 eps, traces of label to spine, a little loss to leather on upper cover, head and foot a bit rubbed, the odd worm hole, with minor loss to outer edge of upper cover. Extensive annotations by Fortunio de Baroncelli 1610 to ffeps, occasionally elsewhere.

Very scarce works on customs, taxes and duties in C16 Florence. Originally published in 1546 and revised in 1571, the first contains lists of goods of all kinds accompanied by the related customs duties (in ‘lire’, ‘soldi’ and ‘danari’). Each item—from carnations to wood, wrought iron, sugar, chestnuts, hats, the ‘art of wool’ or animal skin—is broken down into customs duties for import or export: e.g., destined to Florence, for exit or entry from and to the territory of Pisa, Florence or Arezzo, or to be carried through the passages of Montecchio and San Miniato. This copy belonged to the customs officer Fortunio, son of Angelo de Baroncelli, who needed to master the sundry regulations. His first ‘office’ was at the customs of Castelfiorentino, a job he took up on 4 August 1610. He added notes concerning the specific custom taxes on animals, caps and furry hats and spun wool; the five customs locations (Santa Croce, Santa Maria in Monte, Montopoli, Castelfanco and Fucecchio); and further notes on sundry types of skin. He also noted the ‘prohibited’ (i.e., untaxable) items, originating in the territory of Florence, which should not be burdened with duties—from leather to oil, wool, silk and straw hats. Straw hats are especially interesting as these were a typical product of the area. The last sections are devoted to the duties of customs officers, items that cannot be taxed, procedures and the individual taxes for each passage in Tuscany. The second work in this sammelband, very similar to but shorter than the first, is a summary of the customs reforms of 1580. A very scarce manual for customs officers and a mine of information on the history of commerce and taxation.

I) Only six copies recorded on WorldCat and OPAC, none in the US.

BM STC It., p. 257; Annali dei Marescotti, 111. Not in Goldsmiths or Kress.

II) Only five copies recorded on WorldCat and OPAC, none in the US.

BM STC It., p. 257. Not in Goldsmiths or Kress.

L3058

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