![ALCIATUS, Andreas (1492-1550). Emblemata. Lyons: Gulielmo Roviglio, 1550. [Bound with:] Les emblemes. French version by Barthélemy Aneau. Lyons: Macé Bonhomme for Guillaume Rouillé, 1549.](https://www.christies.com/img/LotImages/2014/CKS/2014_CKS_01584_0050_001(alciatus_andreas_emblemata_lyons_gulielmo_roviglio_1550_bound_with_les_d5814227020452).jpg?w=1)
![ALCIATUS, Andreas (1492-1550). Emblemata. Lyons: Gulielmo Roviglio, 1550. [Bound with:] Les emblemes. French version by Barthélemy Aneau. Lyons: Macé Bonhomme for Guillaume Rouillé, 1549.](https://www.christies.com/img/LotImages/2014/CKS/2014_CKS_01584_0050_000(alciatus_andreas_emblemata_lyons_gulielmo_roviglio_1550_bound_with_les_d5814227015245).jpg?w=1)
Details
ALCIATUS, Andreas (1492-1550). Emblemata. Lyons: Gulielmo Roviglio, 1550. [Bound with:] Les emblemes. French version by Barthélemy Aneau. Lyons: Macé Bonhomme for Guillaume Rouillé, 1549.
2 editions in one volume, 8° (189 x 120mm). Titles within elaborate woodcut borders, the Latin edition with 211 emblems and devices, the French edition with 201 emblems and 165 woodcut devices attributed to Pierre Eskrich including repeats, nearly all pages with Renaissance borders of varying form. (Occasional soiling.) Contemporary calf, gilt device lettered "MICAEL" on front cover and "BONIU" on back cover, red edges (rebacked and recornered, extremities rubbed). Provenance: Charles Butler of Warren Wood Hatfield (bookplate) -- Nicolai Joseph Foucault (booklplate).
Two editions of Alciatus combined in one volume close to their publication date. Landwehr describes the 1550 Latin edition as 'one of the most complete editions' with plates seemingly 'by various hands'. Brunet regards the cuts in Aneau's edition as the same as those in the 1548 Latin edition, but they are generally accepted as new, having a greatly increased number of devices. Green, describing them as 'clearly worked and well designed,' assigns them to Bernard Salomon. Later research attributes them to Pierre Eskrich who often imitated Salomon but expanded some scenes and added further details. Aneau, who was the translator of More's Utopia and author of his own emblem book, Picta poesis, completely re-arranged the subjects of Alciati's emblems. His translation was dedicated to James Hamilton, earl of Arran, who popularised the emblem book in Scotland. Brunet I, 148 & 149; Green 44 & 39 (numbering the devices as 161); Landwehr Romanic, 49 and 42.
2 editions in one volume, 8° (189 x 120mm). Titles within elaborate woodcut borders, the Latin edition with 211 emblems and devices, the French edition with 201 emblems and 165 woodcut devices attributed to Pierre Eskrich including repeats, nearly all pages with Renaissance borders of varying form. (Occasional soiling.) Contemporary calf, gilt device lettered "MICAEL" on front cover and "BONIU" on back cover, red edges (rebacked and recornered, extremities rubbed). Provenance: Charles Butler of Warren Wood Hatfield (bookplate) -- Nicolai Joseph Foucault (booklplate).
Two editions of Alciatus combined in one volume close to their publication date. Landwehr describes the 1550 Latin edition as 'one of the most complete editions' with plates seemingly 'by various hands'. Brunet regards the cuts in Aneau's edition as the same as those in the 1548 Latin edition, but they are generally accepted as new, having a greatly increased number of devices. Green, describing them as 'clearly worked and well designed,' assigns them to Bernard Salomon. Later research attributes them to Pierre Eskrich who often imitated Salomon but expanded some scenes and added further details. Aneau, who was the translator of More's Utopia and author of his own emblem book, Picta poesis, completely re-arranged the subjects of Alciati's emblems. His translation was dedicated to James Hamilton, earl of Arran, who popularised the emblem book in Scotland. Brunet I, 148 & 149; Green 44 & 39 (numbering the devices as 161); Landwehr Romanic, 49 and 42.
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