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PETRARCA, Francesco. Il Petrarcha con l'espositione d'Alessandro Vellutello e con piu utile cose in diversi luoghi di quella novissimamente da lui aggiunte. Venice: Bernardino dei Vitali, 1532.

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PETRARCA, Francesco. Il Petrarcha con l'espositione d'Alessandro Vellutello e con piu utile cose in diversi luoghi di quella novissimamente da lui aggiunte. Venice: Bernardino dei Vitali, 1532.
8° (165 x 103mm). Printed in italics. (Lacking 2 leaves in quire A, preceding the preface, name cut from blank upper margin of title, occasional staining.) Dark brown morocco gilt, the covers with a design of arabesque tools around a centre formed of interlocking ivy leaves, bearing inscriptions lettered in gilt non a caso e virtute (on the upper cover), and quest opere son frali (on the lower), the whole enclosed in a multiple fillet border in gilt and blind, in the corners a fleuron, the spine with three full and four half bands gilt, original liners and endleaves, one with a hat watermark (Briquet 3475: 1535), gilt and gauffered edges, leather-lined blue morocco box by Gruel.

Provenance: Jacques-Charles Brunet (sale, Paris 1868, lot 357); Léon Gruel (reproduced in his Manuel of 1887, page 21, with provenance "Collection de MM Gruel & Engelmann"; Gabriele d'Annunzio (bookplate and inscription "Ex libris Gabrileis Nuncii Porphyrogeniti"; Comte Robert de Montesquiou (friend of Proust and said to be the original of the Comte de Charlus. Presented to him by d'Annunzio 13 December 1910, inscribed "a Roberto di Monteschiü [sic] - in memoria del Giorno sacro alla nostra Fede".

A FINE BOLOGNESE RENAISSANCE BINDING BY THE EBELEBEN MASTER. During a comparatively short period from about 1540 a few outstanding, mainly German, binders working in Bologna, developed an entirely original style, catering for a small group of wealthy students. The best-known of these collectors were Nikolaus von Ebeleben and Damian Pflug, who attended the University of Bologna from 1542, and patronized a bookbinder, perhaps a German named Georgius, who has been designated the 'Ebeleben Master', after the more important of the two students. He used arabesque tools and stamps. However, another binder used almost identical binding tools, so that it is sometimes difficult to distinguish their work from each other. Ilse Schunke named the latter 'Master of the Cabinet Makers' Guild Book'. The present binding has been attributed to the Ebeleben Master on the basis of the slightly different arabesque curved stamp and the corner fleurons peculiar to him, which are not found on any other Bolognese binding. Cf. De Marinis, La legatura artistica in Italia nei secoli XV e XVI, 1960. Vol.II no. 1345, plate 230. The maxims on the covers are typically found on the bindings collected as souvenirs by Bolognese students. In extremely fine condition, with possibly some very minor restoration by Gruel.
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