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PETRARCA, Francesco (1304-1374). Trionfi e canzoniere. Commentary by Bernardo Lapini da Siena, Franciscus Philelphus, Hieronymus Squarzaficus, revised by Gabriel Bruno and Girolamo Centone. Venice: Bartholomaeus de Zanis, 11 July - 30 August 1497.
Two parts in one volume, super-chancery 2° (311 x 210mm). Collation: aa8 a-q8; A-L8 M10 (aa1 blank, aa2 table, aa6v prologue, aa8v woodcut, a1r Trionfi with commentary surround, q8r first colophon, q8v blank, A1r table to the Canzoniere, A1v prologue, A2r Canzoniere, M9v second colophon, M10 blank). 136; 98 leaves. 62 lines of commentary and headline. Type: 3:106R, 2:80R1, 2:80R2. 6 full-page woodcuts within woodcut architectural border, woodcut white-on-black initials, some initial spaces with guide-letter. (Light spotting, heavier in first two leaves, small wormholes, lower corner of final blank leaf renewed.) Contemporary German half calf over wooden boards, Kyriss shop 160 (unlocalized), leather tooled with eagle, bird, unicorn, dragon and other stamps (Kyriss 160, 2, 3, 4, 5), two brass fore-edge clasps, vellum spine liner from a German 14/15th-century noted liturgical text (rebacked, cracks in boards repaired). Provenance: some contemporary marginal annotations -- Philippe Rücker (inscription on inner front board with motto: Spes mea unica Christis Esperance ne confond point) -- Nicolaus Rücker (inscription on final leaf) -- ?Lishcart -- bibliography of Petrarch editions on front flyleaf written in an 18th-century hand -- Laurence W. Hodson, Compton Hall, Wolverhampton (bookplate).
The full-page woodcuts first appeared in Capcasa's edition of 1492/3, which in turn were close copies of a 1490 edition printed by Petrus da Plasiis. The fine architectural woodcut borders, previously ascribed to the 'Popular Designer', have more recently been attrbuted to the Pico Master, an artist who illuminated printed books and manuscripts for notable, often noble, patrons. The border was first used in the Benalius-Capcasa edition of Dante (3 March, 1491). A LARGE COPY, significantly taller than the British Library copy. HC *12776; BMC V, 433 (IB. 23725); Essling 81; IGI 7559; Sander 5606; Goff P-392.
Two parts in one volume, super-chancery 2° (311 x 210mm). Collation: aa8 a-q8; A-L8 M10 (aa1 blank, aa2 table, aa6v prologue, aa8v woodcut, a1r Trionfi with commentary surround, q8r first colophon, q8v blank, A1r table to the Canzoniere, A1v prologue, A2r Canzoniere, M9v second colophon, M10 blank). 136; 98 leaves. 62 lines of commentary and headline. Type: 3:106R, 2:80R1, 2:80R2. 6 full-page woodcuts within woodcut architectural border, woodcut white-on-black initials, some initial spaces with guide-letter. (Light spotting, heavier in first two leaves, small wormholes, lower corner of final blank leaf renewed.) Contemporary German half calf over wooden boards, Kyriss shop 160 (unlocalized), leather tooled with eagle, bird, unicorn, dragon and other stamps (Kyriss 160, 2, 3, 4, 5), two brass fore-edge clasps, vellum spine liner from a German 14/15th-century noted liturgical text (rebacked, cracks in boards repaired). Provenance: some contemporary marginal annotations -- Philippe Rücker (inscription on inner front board with motto: Spes mea unica Christis Esperance ne confond point) -- Nicolaus Rücker (inscription on final leaf) -- ?Lishcart -- bibliography of Petrarch editions on front flyleaf written in an 18th-century hand -- Laurence W. Hodson, Compton Hall, Wolverhampton (bookplate).
The full-page woodcuts first appeared in Capcasa's edition of 1492/3, which in turn were close copies of a 1490 edition printed by Petrus da Plasiis. The fine architectural woodcut borders, previously ascribed to the 'Popular Designer', have more recently been attrbuted to the Pico Master, an artist who illuminated printed books and manuscripts for notable, often noble, patrons. The border was first used in the Benalius-Capcasa edition of Dante (3 March, 1491). A LARGE COPY, significantly taller than the British Library copy. HC *12776; BMC V, 433 (IB. 23725); Essling 81; IGI 7559; Sander 5606; Goff P-392.
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