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R I C H A R D C. R A M E R
Special List 532
The Renaissance
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R I C H A R D C . R A M E R
Old and Rare Books
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November 25, 2024
Special List 532
The Renaissance
Items marked with an asterisk (*)
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Special List 532
The Renaissance
1. [ANNINGER, Anne]. The Renaissance in France: Illustrated Books
from the Department of Printing and Graphic Arts. Cambridge: Houghton
Library, Harvard University, 1995. Large 8°, original spiral-bound brown
wrappers, gilt. As new. 25, (1) pp., with black-and-white illustrations.
ISBN: none.
$10.00
FIRST and ONLY EDITION. Catalogue of an exhibition at the Houghton Library,
February 24-April 7, 1995. Anninger’s 19-page overview of book printing in France during
the sixteenth century is followed by a checklist of works in the exhibition.
Dispatches from Parnassus Poking Fun at Spain
2. BOCCALINI, Troiano. Pietra del paragone politico. Tratta dal Monte
Parnaso doue si toccano i gouerni delle maggiori monarchie del Vniverso.
Cormopoli [sic, i.e., Venice?]: Ambros Teler, 1615. 4°, nineteenth-century
Italian quarter vellum over marbled boards, smooth spine gilt with red
and brown leather labels, gilt letter and tooling (rubbed, light wear).
Text in italic type. Clean and crisp. In fine condition. Owner’s neat
inked monogram on title and p. 138. Faded blue-bordered paper tag
near head of spine (with illegible ink manuscript shelf mark). 138 pp.,
(1 blank l.).
$1,250.00
FIRST EDITION (?) of this collection of 29 satirical political sketches, all of which
poke fun at Spain with polished, venomous wit. Boccalini had begun to compose these
sketches in the late sixteenth century, employing as his literary conceit the device of
sending dispatches from Apollo’s court on Parnassus. By the time of his move to Venice
in 1612, Boccalini had composed many such sketches, 200 of which he published in the
two-part Ragguagli di Parnaso (Venice, 1612-1613). The 29 sketches included in the Pietra
were presumably withheld as being too politically dangerous to publish. Boccalini’s
death in 1613 removed that obstacle, but it was still felt necessary to publish the Pietra
with a fictitious imprint. Immediately and immensely successful, the work was reprinted
frequently throughout the seventeenth century. The Ragguagli proved nearly as popular,
appearing in numerous seventeenth-century editions with a supplementary third vol-
ume of 50 additional ragguagli by Girolamo Briani. Perhaps to assert its authenticity, p.
3 of this edition of the Pietra bears the caption title: De’i Ragguagli di Parnaso, parte terza.
This is one of at least five editions bearing the imprint “Cosmopoli, 1615.” The British
Library owns three such editions, all with “Cosmopoli” misprinted “Cormopoli”: one of
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138 pp. printed by “Ambros Teler” (as here), one of 38 leaves printed by “Giorgio Teler,”
and one of 32 leaves also printed by “Giorgio Teler.” Two other editions with the imprint
Cosmopoli, Zorzi Teler, 1615—one of (111) pp. and the other of (102) pp.—are listed in
NUC. Antonio Belloni’s Le prime edizioni della Pietra del paragone (Padua, 1899)—which
we have not been able to consult—notes (per Robert H. Williams) no fewer than six edi-
tions or issues: five with the Cormopoli imprint, and one with the Cosmopoli imprint.
Nearly all of the many later seventeenth-century editions also bear a Cosmopoli imprint,
which is clearly fictitious. Palau suggests Amsterdam as the place of publication, perhaps
taking his cue from Brunet, who notes several editions published there by the Elzevi-
ers. The British Library’s Catalogue of Seventeenth Century Italian Books, under the expert
editorship of Dennis E. Rhodes, assigns its three 1615 editions to Venice, and most of the
later editions to Amsterdam. The printer(s), however, has not been identified: Ambros,
Giorgio, and Zorzi Teler are fictitious names, the first also used on the title-page of the
first Elzevier edition (1640).
Boccalini (1556-1613) was born in Loreto and educated at Padua. It is said that his
lifelong enmity against Spain was rooted in his forebears’ loss of afÒuence and expul-
sion from Carpi following its conquest by Charles V in 1525. After settling in Rome,
an advantageous marriage brought Boccalini the patronage of Pope Gregory XIII and
a series of secular ofÏces, for none of which he was temperamentally suited. He found
more success as a teacher and intellectual, eventually moving to Venice in 1612 where
his political opinions could be vented more freely.
❊ Palau 31180: calling for 76 pp. and giving Amsterdam as place of publication.
Brunet I, 1019: without collation. BL, Seventeenth-Century Italian, I, 118 (giving Venice as
place of publication). HSA p. 68: also suggesting Amsterdam as place of publication.
Robert H. Williams, Boccalini in Spain pp. 1-9. Not in Salvá. Not in Heredia, which lists
a later edition. NUC: ICN, MiU.
*3. CARVALHO, Joaquim de. Estudos sobre a cultura portuguesa do século
XVI. 2 volumes. Coimbra: Por Ordem da Universidade, 1947-1948.
Acta Universitatis Conimbrigensis. 8°, contemporary half sheep over
marbled boards (wear to corners, joints), spines gilt with raised bands
in five compartments (very worn), gilt lettering in second and fourth
compartments, decorated endleaves, top edges rouged. Internally very
good. Overall in good condition, if just barely due to the binding wear.
Binding is still sturdy, if not very pretty. (2 ll.), 297 pp., (1 l.); (1 l.), 351
pp., (1 l.). Bibliographical notes.
2 volumes. $125.00
FIRST and ONLY EDITION of this important, well annotated work.
4. COCCIA, Carlo, composer; Felice Romani, librettist. Catharina de
Guise. Melodrama em dois actos. Para se representar no Real Theatro de S.
Carlos. Lisbon: Typographia Lisbonese, 1837. 8°, original decorated
wrappers (printed on used as waste paper). Small woodcut vignette on
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title page. Typographical headpieces on pp. 6-7, 54-5. Overall in very
good condition. 95 pp.
$75.00
First and only [?] edition in Portuguese of this 2-act melodrama, with a cast list and
with facing pages in Italian and Portuguese. The story, set in Paris in 1578, is based on
Henry III and His Courts by Alexandre Dumas. Its premiere in 1833 at La Scala in Milan
was a triumphant success—one of Coccia’s best-received works. A revised version
debuted in 1836.
Carlo Coccia (1782-1873) composed Caterina di Guisa in 1833. Felice Romani (1788-
1865) wrote libretti for Bellini, Donizetti, and Verdi.
❊ Gonçalves Rodrigues, A tradução em Portugal 4805. Not in Catálogo de libretos da
Biblioteca da Ajuda. OCLC: 311467527 (Wurttembergische Landesbibliothek); 1041810534
(Internet resource [with the same decorated wrappers]; the Brigham Young University
copy digitized). Porbase locates three copies, all at the Biblioteca Nacional de Portugal;
the Catharina de Guize, Lisbon 1839, is a different work (a baile tragico in 5 acts, by Luiz
Montani). Not located in Jisc. KVK (51 databases searched) locates, in addition to the
copies cited by Porbase, copies at the Biblioteca Palatina-Parma, Biblioteca della Fon-
dazione Giorgio Cini-Venezia and the Wurttembergische Landesbibliothek. The Italian
Opac also cites a work with the title Catharina de Guise. Melodrama em musica de Carlos
Coccia para se representar no real theatro de S. Joao da Cidade do Porto. Programma recopilado
por J.N. Gandra, Porto: Imprensa de Gandra e Filhos, 1838, at Biblioteca del Conservatorio
di musica “Giuseppe Verdi”-Milano and Biblioteca Palatina-Parma, with 15 pp.
With Author’s Signed and Dated Presentation Inscription
5. CORTESÃO, Armando, and Avelino Teixeira da Mota. Tabvlarum
Geographicarum Lusitanorum: Specimen. Lisbon: [Comissão Executiva
das Comemorações do V Centenario da Morte do Infante D. Henrique],
1960. Large folio (61 x 47 cm.), original crimson quarter cloth, gilt, in
cardboard slipcase (some wear to slipcase). Book in fine condition;
slipcase good; overall very good. Author’s signed and dated four-line
presentation inscription in upper outer corner of recto of front free
endleaf: “Ao caro Michael Teague, com o // testemunho do melhor
amicade // A. Teixeira da Mota // Lisboa, Outubro de 1962”. 65 pp.,
(1 l.), 39 color plates [1 double page].
$900.00
Specimen of a magnificent publication, the Portugaliae Monumenta Cartographica. The
present volume was produced in the same monumental format. Cortesão (1891-1977)
has written extensively on the Portuguese discoveries.
Provenance: Michael Teague, distinguished photographer and art historian, author
of In the Wake of the Portuguese Navigators.
❊ On Avelino Teixeira da Mota, see Dicionário cronológico de autores portugueses V,
93-95. Porbase locates a single copy, at Biblioteca Nacional de Portugal. Jisc locates a copy
each at Cambridge University and National Maritime Museum.
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*6. DIAS, Pedro. A importação de esculturas de Itália nos séculos XV e XVI.
2ª edição, revista e aumentada. Coimbra: Livraria Minerva, 1987. 4°, pub-
lisher’s illustrated boards. As new. 136 pp., (1 l.), profusely illustrated,
some in color. ISBN: none.
$85.00
*7. DIAS, Pedro, Rafael Moreira, Vitor Serrão, et al. Do tardo-gótico ao
maneirismo: Galiza e Portugal. Coordinación: Xosé Carlos Valle Pérez. N.p.:
Fundación Pedro Barrié de la Maza / Fundação Calouste Gulbenkian,
1995. Folio (28.7 x 23 cm.), publisher’s gilt-stamped cloth with dust
jacket. As new. 423 pp., profusely and well illustrated with high-quality
color photographs by Xurxo S. Lobato and Luís Filipe de Oliveira. Text
in Portuguese, Gallego, and Spanish. ISBN: 84-87819-84-2.
$85.00
FIRST and ONLY EDITION.
8. DIAS, Pedro, António Nogueira Gonçalves, Vitor Serrão et al. No
tempo das feitorias: a arte portuguesa na época dos descobrimentos. Volume
II ONLY (of 2). Lisbon: Museu Nacional de Arte Antiga / Secretaria
de Estado da Cultura / Instituto Português de Museus, 1992. Folio (30
x 22.6 cm.), original illustrated wrappers (minor wear). Overall in fine
condition. 369 pp., (1 l.), 1 folding plate; 395, (1) pp., large folding plate;
both volumes profusely illustrated. ISBN: 972-95775-0-1.
Volume II ONLY (of 2).
$20.00
FIRST and ONLY EDITION of this excellent exhibition catalogue. An earlier version
of the exhibition had been held in connection with the Festival Europália 91 Portugal at
the Museum of Fine Arts, Antwerp, 29 September to 29 December 1991. It was recon-
stituted in the Museu Nacional de Arte Antiga, Lisbon, from June to December 1992.
Six introductory essays put the exhibition in its cultural, historical, and artistic context.
Sections of the catalogue deal with the works of art imported to Portugal from Flanders
and the north of Europe, Portugal’s connection with French, English, Italian, Spanish,
African and Oriental art, Flemish art in the Azores and Madeira, Portuguese artists and
workshops, Flemish artists who worked in Portugal, late gothic and renaissance paint-
ing, sculpture in Portugal in the sixteenth century, illumination in Portugal, and gold
and silver work and jewelry in Portugal.
❊ Not located in Watsonline.