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PETRARCA, Francesco (1304-1374). Hlff, Trost und Rath in allem anligen... Zwei Trostbcher, von Artznei und Rath beyde im gten und widerwertigen Glck. Translated by Stephanus Vigilius. Frankfurt: Heirs of Christian Egenolff, 1559.
2o (311 x 200 mm). Gothic type. Title printed in red and black with large woodcut of the wheel of fortune, 258 woodcuts in the text, all by Hans Weiditz, a few nearly full-page. Preface in verse by Sebastian Brant. (Some soiling, foxing, and marginal dampstaining, first few leaves softened and creased at edges, a few leaves browned as usual.) Contemporary German blind-stamped pigskin over wooden boards, sides panelled with ornamental roll and biblical roll dated 1548, upper cover with blind-stamped owner's name and date "I. Nicklaus Lonbach, 1570," two original brass fore-edge catches (lacking clasps, the volume originally contained one or more other texts, removed at an early date and the lower cover reattached, upper cover rubbed and spotted, old repair to lower cover). Provenance: I. Nicklaus Lonbach (binding stamp and 1570 inscription on verso of last leaf).
Fourth(?) edition in German, third edition of this translation, second Egenolff edition, of Petrarch's De remediis utriusque fortunae, a sort of moral encylopedia that enjoyed great popularity in the German-speaking parts of Europe, where--like all of Petrarch's Latin works--it first appeared in print [Strassburg: Heinrich Eggestein, ca. 1473-1475]. The important series of Weiditz's expressive woodcuts was originally commissioned over a decade earlier by the Augsburg printers Grimm and Wirsung, who also commissioned from Weiditz a series of cuts destined for a German translation of Cicero, but publication was repeatedly delayed and the two series were purchased "very dearly" (cf. Muther 886) by Heinrich Steiner, whose Cicero appeared in 1531, followed by the Petrarch the following year (33 of the Petrarch cuts first appeared in the Cicero). Sebastian Brant is thought to have supplied several drawings and general direction for both the Petrarch and Cicero series. Attributed by Muther to Hans Burgkmair, these woodcuts of the long-unidentified "Petrarcameister" were shown by Campbell Dodgson to be the work of the talented artist whose realistic illustrations of plants for Otto Brunfels' herbal (1530) revolutionized the standards of botanical illustration. After being used by Steiner for a second edition of Cicero, Weiditz's Petrarch blocks were acquired by the prolific Egenolff, who used them in at least 4 editions. They subsequently passed from one Frankfurt printer to another, appearing in several further editions up to 1620. All the printers through whose hands they passed repeatedly poached woodcuts from the Petrarch series to illustrate unrelated texts, so that by their centenary the blocks must have been quite worn out. A few cuts in the present edition already show signs of chipping or breaks. BM/STC p. 686; Dodgson, Early Flemish and German Woodcuts II, 157:7; cf. Muther 886-887.
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Fourth(?) edition in German, third edition of this translation, second Egenolff edition, of Petrarch's De remediis utriusque fortunae, a sort of moral encylopedia that enjoyed great popularity in the German-speaking parts of Europe, where--like all of Petrarch's Latin works--it first appeared in print [Strassburg: Heinrich Eggestein, ca. 1473-1475]. The important series of Weiditz's expressive woodcuts was originally commissioned over a decade earlier by the Augsburg printers Grimm and Wirsung, who also commissioned from Weiditz a series of cuts destined for a German translation of Cicero, but publication was repeatedly delayed and the two series were purchased "very dearly" (cf. Muther 886) by Heinrich Steiner, whose Cicero appeared in 1531, followed by the Petrarch the following year (33 of the Petrarch cuts first appeared in the Cicero). Sebastian Brant is thought to have supplied several drawings and general direction for both the Petrarch and Cicero series. Attributed by Muther to Hans Burgkmair, these woodcuts of the long-unidentified "Petrarcameister" were shown by Campbell Dodgson to be the work of the talented artist whose realistic illustrations of plants for Otto Brunfels' herbal (1530) revolutionized the standards of botanical illustration. After being used by Steiner for a second edition of Cicero, Weiditz's Petrarch blocks were acquired by the prolific Egenolff, who used them in at least 4 editions. They subsequently passed from one Frankfurt printer to another, appearing in several further editions up to 1620. All the printers through whose hands they passed repeatedly poached woodcuts from the Petrarch series to illustrate unrelated texts, so that by their centenary the blocks must have been quite worn out. A few cuts in the present edition already show signs of chipping or breaks. BM/STC p. 686; Dodgson, Early Flemish and German Woodcuts II, 157:7; cf. Muther 886-887.