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![4to (193 x 136 mm.). [i blank], [112], [1 blank] leaves. PRINTED IN RED AND BLACK, MUSIC THROUGHOUT, Gothic type for choral text, six 4-line staves per page, floriated white-line woodcut initials (some guide letters), an Ungut and Polonus device (Vindel, Escudos fig. 20). 16th century blind stamped brown calf over wooden boards (repaired), panels alike with medallion and vine roll borders, acorns and daisies in the center around an oval half-figure saint (front) and cross of Calatrava (rear), crowned lion repeated on the spine, two brass catches, one clasp, yellow edges.First Edition of the First Spanish Book with Printed Music of which a complete copy survives. THIS IS A TREASURE TROVE OF MEDIEVAL POPULAR MUSIC. The binding’s overall decor and the Cross of Calatrava on the rear panel (used by the Spanish knightly order since 1158) suggest German craftsmen working on the Iberian peninsula. A few initials and a little music in 18th century ms. In good condition (five lower inner margins soiled and anciently guarded, loss of a few letters). Colophon has “CCCC” in lieu of “cccc”.HC 13380; BMC X: 39; Haebler, Bib. ibérica 557 “raro”; Haebler, Gesch. des span. Frühdruckes 383-4 & reprod.; Kurz, Handbuch der iberischen Bilddrucke des XV. Jahrh. 305; Lyell, Early Book Illustration in Spain 66 & figg. 49-50; Meyer-Baer, Liturgical Music Incunabula 233; Krummel & Sadie, Music Printing and Publishing 26; MGG 7: 441.](/mckittrick/images/items/80x160/6329.jpg "4to (193 x 136 mm.). [i blank], [112], [1 blank] leaves. PRINTED IN RED AND BLACK, MUSIC THROUGHOUT, Gothic type for choral text, six 4-line staves per page, floriated white-line woodcut initials (some guide letters), an Ungut and Polonus device (Vindel, Escudos fig. 20). 16th century blind stamped brown calf over wooden boards (repaired), panels alike with medallion and vine roll borders, acorns and daisies in the center around an oval half-figure saint (front) and cross of Calatrava (rear), crowned lion repeated on the spine, two brass catches, one clasp, yellow edges.First Edition of the First Spanish Book with Printed Music of which a complete copy survives. THIS IS A TREASURE TROVE OF MEDIEVAL POPULAR MUSIC. The binding’s overall decor and the Cross of Calatrava on the rear panel (used by the Spanish knightly order since 1158) suggest German craftsmen working on the Iberian peninsula. A few initials and a little music in 18th century ms. In good condition (five lower inner margins soiled and anciently guarded, loss of a few letters). Colophon has “CCCC” in lieu of “cccc”.HC 13380; BMC X: 39; Haebler, Bib. ibérica 557 “raro”; Haebler, Gesch. des span. Frühdruckes 383-4 & reprod.; Kurz, Handbuch der iberischen Bilddrucke des XV. Jahrh. 305; Lyell, Early Book Illustration in Spain 66 & figg. 49-50; Meyer-Baer, Liturgical Music Incunabula 233; Krummel & Sadie, Music Printing and Publishing 26; MGG 7: 441.")
Processional, Dominican Order.
Seville, Meinhard Ungut & Stanislaus Polonus 3 April 1494.
Price: $40,000.00
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![4to (195 x 137 mm.). [36] leaves. Gothic type, 32-33 lines per page, full-page woodblock of an angel before a church greeting St. Francis, twenty-one large white-line and smaller Lombardic woodcut initials. Superb decorative printed book covers with unshaded Venetian woodblocks on the first recto and final verso. On the first recto the full-page cut shows John the Baptist and St. Peter in a desert landscape supporting four circles formed of intertwined foliage. The large central circle bears the Christogram and the three smaller (with letterpress legends) represent the Holy Trinity. On the final verso St. John the Evangelist with his eagle and St. Francis stand before a church, again supporting four foliage circles, the largest with maria and the others with her virtues (these legends xylographic). Bound in gilt ruled crushed green morocco (Wallis & Lloyd), spine and title gilt, all edges gilt. The Monte’s “handsome woodcuts [are] placed on the first and last page…so as to form an ornamental cover” (BMC). “Examples of early paper bindings with woodcuts are rare indeed, and they are of considerable interest…[for] binding…and for the history of wood engraving” (E.P. Goldschmidt). Paul Needham notes that pictorial printed woodcut wrappers “were meant to function…as eye-catching advertisements for the books they covered, precisely as book jackets do today”. IN THE PRESENT CASE, THE COVERS ARE INTEGRAL TO THE TEXT BLOCK, FORGING A CLOSE IDENTITY BETWEEN THE BOOK’S EXTERIOR ICONOGRAPHY AND ITS CONTENT. A good copy (washed and pressed). We have traced one complete example at auction in the last half century (1977, to Breslauer).ISTC im00847000; Goff M-487 (2 exx.); BMC V: xxxi-xxxii and 378; Essling 728 and see 306 n. 1 “Les deux grands bois…forment une couverture illustrée”; Sander 4879; Jackson, “Printed Wrappers of the 15th to the 18th Centuries” in Harvard Lib. Bull. 6 (1952) pp. 313-21 p. 314, 318 and 321 “integrated wrapper”; see Needham’s Twelve Centuries of Bookbinding 117-9 and Goldschmidt’s Gothic & Renaissance Bookbindings 36.](/mckittrick/images/items/80x160/7736.jpg "4to (195 x 137 mm.). [36] leaves. Gothic type, 32-33 lines per page, full-page woodblock of an angel before a church greeting St. Francis, twenty-one large white-line and smaller Lombardic woodcut initials. Superb decorative printed book covers with unshaded Venetian woodblocks on the first recto and final verso. On the first recto the full-page cut shows John the Baptist and St. Peter in a desert landscape supporting four circles formed of intertwined foliage. The large central circle bears the Christogram and the three smaller (with letterpress legends) represent the Holy Trinity. On the final verso St. John the Evangelist with his eagle and St. Francis stand before a church, again supporting four foliage circles, the largest with maria and the others with her virtues (these legends xylographic). Bound in gilt ruled crushed green morocco (Wallis & Lloyd), spine and title gilt, all edges gilt. The Monte’s “handsome woodcuts [are] placed on the first and last page…so as to form an ornamental cover” (BMC). “Examples of early paper bindings with woodcuts are rare indeed, and they are of considerable interest…[for] binding…and for the history of wood engraving” (E.P. Goldschmidt). Paul Needham notes that pictorial printed woodcut wrappers “were meant to function…as eye-catching advertisements for the books they covered, precisely as book jackets do today”. IN THE PRESENT CASE, THE COVERS ARE INTEGRAL TO THE TEXT BLOCK, FORGING A CLOSE IDENTITY BETWEEN THE BOOK’S EXTERIOR ICONOGRAPHY AND ITS CONTENT. A good copy (washed and pressed). We have traced one complete example at auction in the last half century (1977, to Breslauer).ISTC im00847000; Goff M-487 (2 exx.); BMC V: xxxi-xxxii and 378; Essling 728 and see 306 n. 1 “Les deux grands bois…forment une couverture illustrée”; Sander 4879; Jackson, “Printed Wrappers of the 15th to the 18th Centuries” in Harvard Lib. Bull. 6 (1952) pp. 313-21 p. 314, 318 and 321 “integrated wrapper”; see Needham’s Twelve Centuries of Bookbinding 117-9 and Goldschmidt’s Gothic & Renaissance Bookbindings 36.")
[Venice, Bernardinus Benalius before June 1493].
Price: $35,000.00
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![4to (189 x 128 mm). [xiv], [292], [2]p. Bâtarde type, double column, NINETY-SEVEN TEXT WOODCUTS, title in red & black within four-block architectural woodcut border of feasting scenes, grotesqueries, etc. Janot’s first device on final verso (Renouard 476). 19th century crushed brown morocco (Pratt), gilt panelled frames with gilt outer corner fleurons, spine & title gilt, board edges & turn-ins gilt, all edges gilt.The most important 15th century work written in French, the founding of the modern French short story and the first significant advance in French narrative technique since the 12th century. Composed as after dinner entertainment for King Louis XII, these tales employ love triangles, intense sensuality, shameless mockery and explicit eroticism. THE WOODBLOCKS SHOW HUNTING PARTIES, COUNTING HOUSES, LOVE-MAKING, SERENADES, FARMERS PLOWING, JOUSTS, MARINERS RETURNING HOME…. Of the dozen or so editions to 1540 are all undated and all of the utmost rarity (e.g., NUC lists only two). This copy was first described in The Huth Library (II: 281). It sold for £30 (Sale IV (1912) 1406) to Quaritch for Rahir, who offered it that year for FF 1500- (Bull. mensuel 15 (N.S.) 427 — for comparison he had the 1531 Alciati at FF 250-). It remains THE ONLY COPY KNOWN OF THIS EDITION, many margins untrimmed; Huth’s gilt blue morocco ex libris and Jean Hersent’s engraved bookplate on the front pastedown.Moreau V: 65 (this ex.); Dubois, Les cent nouvelles nouvelles & la tradition de la nouvelle en France au Moyen âge.](/mckittrick/images/items/80x160/4314.jpg "4to (189 x 128 mm). [xiv], [292], [2]p. Bâtarde type, double column, NINETY-SEVEN TEXT WOODCUTS, title in red & black within four-block architectural woodcut border of feasting scenes, grotesqueries, etc. Janot’s first device on final verso (Renouard 476). 19th century crushed brown morocco (Pratt), gilt panelled frames with gilt outer corner fleurons, spine & title gilt, board edges & turn-ins gilt, all edges gilt.The most important 15th century work written in French, the founding of the modern French short story and the first significant advance in French narrative technique since the 12th century. Composed as after dinner entertainment for King Louis XII, these tales employ love triangles, intense sensuality, shameless mockery and explicit eroticism. THE WOODBLOCKS SHOW HUNTING PARTIES, COUNTING HOUSES, LOVE-MAKING, SERENADES, FARMERS PLOWING, JOUSTS, MARINERS RETURNING HOME…. Of the dozen or so editions to 1540 are all undated and all of the utmost rarity (e.g., NUC lists only two). This copy was first described in The Huth Library (II: 281). It sold for £30 (Sale IV (1912) 1406) to Quaritch for Rahir, who offered it that year for FF 1500- (Bull. mensuel 15 (N.S.) 427 — for comparison he had the 1531 Alciati at FF 250-). It remains THE ONLY COPY KNOWN OF THIS EDITION, many margins untrimmed; Huth’s gilt blue morocco ex libris and Jean Hersent’s engraved bookplate on the front pastedown.Moreau V: 65 (this ex.); Dubois, Les cent nouvelles nouvelles & la tradition de la nouvelle en France au Moyen âge.")
Paris, A. Lotrian & D. Janot c. 1536.
Price: $35,000.00
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![4to. [iix], [340]p. Bâtarde type (81), 39 long lines per page, historiated & floriated white-line metalcut initials from several series, ONE FULL-PAGE & THIRTEEN TEXT WOODCUTS, TITLE IN RED & BLACK WITH A BATTLE SCENE. CONTEMPORARY PARISIAN BLIND TOOLED CALF over paper boards (worn, some loss), panels alike with rule frames around a portrait & acanthus leaf roll (Gid pl. 93 TMf1, Parisian ateliers), central rectangle open, evidence of four deerskin ties, in a calf backed folding box. Only Copy Known. Lorenzo de’Medici’s mother, Lucrezia Tornabuoni, commissioned this satiric chivalric romance as dinner entertainment. The present French translation/adaptation remains anonymous. Its two earlier printings also survive as unica (1519, 1522). MORGANTE DIRECTLY INFLUENCED RABELAIS, CERVANTES, GOETHE AND BYRON. A contemporary German owner covered the front and rear blank leaves with receipts in four languages for candles, papermaking, glass cutting, counterfeiting, peeling fruit…. A fine unrestored copy.Bechtel, Gothiques M-511; Moreau IV: 780; König, “Margutte-Cingar-Lázaro-Guzmán. Zur Genealogie d. pícaro u. d. novela picaresca” in Romant. Jb. 32 (1981) 291; Palma, “Of Courtesans, Knights, Cooks and Writers: Food in the Renaissance” in MLN 119 (2004) 37-51; see Brunet IV: 974.](/mckittrick/images/items/80x160/6950.jpg "4to. [iix], [340]p. Bâtarde type (81), 39 long lines per page, historiated & floriated white-line metalcut initials from several series, ONE FULL-PAGE & THIRTEEN TEXT WOODCUTS, TITLE IN RED & BLACK WITH A BATTLE SCENE. CONTEMPORARY PARISIAN BLIND TOOLED CALF over paper boards (worn, some loss), panels alike with rule frames around a portrait & acanthus leaf roll (Gid pl. 93 TMf1, Parisian ateliers), central rectangle open, evidence of four deerskin ties, in a calf backed folding box. Only Copy Known. Lorenzo de’Medici’s mother, Lucrezia Tornabuoni, commissioned this satiric chivalric romance as dinner entertainment. The present French translation/adaptation remains anonymous. Its two earlier printings also survive as unica (1519, 1522). MORGANTE DIRECTLY INFLUENCED RABELAIS, CERVANTES, GOETHE AND BYRON. A contemporary German owner covered the front and rear blank leaves with receipts in four languages for candles, papermaking, glass cutting, counterfeiting, peeling fruit…. A fine unrestored copy.Bechtel, Gothiques M-511; Moreau IV: 780; König, “Margutte-Cingar-Lázaro-Guzmán. Zur Genealogie d. pícaro u. d. novela picaresca” in Romant. Jb. 32 (1981) 291; Palma, “Of Courtesans, Knights, Cooks and Writers: Food in the Renaissance” in MLN 119 (2004) 37-51; see Brunet IV: 974.")
Pulci, Luigi. 1432-1484.
Paris, D. Janot & A. Lotrian c. 1533.
Price: $32,000.00
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![8vo. [xvi], [543]p. TWENTY NEARLY FULL-PAGE WOODCUTS OF THEATRICAL SCENES, EACH SPECIFIC TO ITS PLAY’S ACTION, a Grüninger title device. 19th century gilt dark green morocco with the arms of Mexican bibliophile José Gómez de la Cortina, marqués de Morante in the center and his cipher in the corners, gilt spine title. The First Illustrated Edition of the Comedies. The classical models for Renaissance comedy were Plautus and Terence. “The bawds and pimps that thronged the English comic stage during the sixteenth and seventeenth centuries certainly owe more to Plautus than to Terence” (Herrick). We have located five other copies (New York, London, Munich, Gotha, Zurich) and none at auction since 1950. In nice condition (a few neat repairs, two blank margins slightly defective), some early marginalia and some lines cancelled in ms. Bookplates of Gómez de la Cortina and Ambroise-Firmin Didot, stamp of a German noble on the title.Didot, Vente (1884) 356 “extrêmement rare”; Schmidt, Hist. litt. de l’Alsace II: 141-2 and no. 237 “jolies gravures”; Benzing, Bib. strasbourgeoise 1492 (BL, Zurich); Hardin, “Encountering Plautus in the Renaissance” in Ren. Quarterly 60 (2007) 789-818; Schweiger II: 760; Schmidt, Grüninger 88 (Zurich); Ritter, Cat. des livres du XVIe siècle ne figurant pas à la Bib. Nat. et Univ. de Strasbourg 2940 (Zurich); BM STC 703; VD 16 P 3379 (BSB; VD 16 online adds Gotha); Brunet IV: 707 (Heber ex.); Herrick, Comic Theory in the Sixteenth Century 173.](/mckittrick/images/items/80x160/7568.jpg "8vo. [xvi], [543]p. TWENTY NEARLY FULL-PAGE WOODCUTS OF THEATRICAL SCENES, EACH SPECIFIC TO ITS PLAY’S ACTION, a Grüninger title device. 19th century gilt dark green morocco with the arms of Mexican bibliophile José Gómez de la Cortina, marqués de Morante in the center and his cipher in the corners, gilt spine title. The First Illustrated Edition of the Comedies. The classical models for Renaissance comedy were Plautus and Terence. “The bawds and pimps that thronged the English comic stage during the sixteenth and seventeenth centuries certainly owe more to Plautus than to Terence” (Herrick). We have located five other copies (New York, London, Munich, Gotha, Zurich) and none at auction since 1950. In nice condition (a few neat repairs, two blank margins slightly defective), some early marginalia and some lines cancelled in ms. Bookplates of Gómez de la Cortina and Ambroise-Firmin Didot, stamp of a German noble on the title.Didot, Vente (1884) 356 “extrêmement rare”; Schmidt, Hist. litt. de l’Alsace II: 141-2 and no. 237 “jolies gravures”; Benzing, Bib. strasbourgeoise 1492 (BL, Zurich); Hardin, “Encountering Plautus in the Renaissance” in Ren. Quarterly 60 (2007) 789-818; Schweiger II: 760; Schmidt, Grüninger 88 (Zurich); Ritter, Cat. des livres du XVIe siècle ne figurant pas à la Bib. Nat. et Univ. de Strasbourg 2940 (Zurich); BM STC 703; VD 16 P 3379 (BSB; VD 16 online adds Gotha); Brunet IV: 707 (Heber ex.); Herrick, Comic Theory in the Sixteenth Century 173.")
Plautus. fl. c. 200
Strassburg, J. Grüninger 1508.
Price: $24,000.00
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![12mo. [xxiix], [320], [2]p. Nearly full-page woodcut portrait of the author, title in four-block white-line metalcut borders of rabbits, cornucopias & foliage. Contemporary Wittenberg gilt tooled calf by Severin Rötter with sunken panels and painted vellum insets (insets 90 x 54/51 mm.; minor restoration, endleaves renewed). On both panels the vellum inset is framed by a foliage roll. The front vellum sheet bears a blind stamped hand painted half-figure portrait of August of Saxony with Rötter’s initials, the date 1579 and three lines of text all painted in gold ink (Haebler I: 387,VII). The initials H*A*P*S are above the inset and the date 1579 below it. The rear vellum sheet bears the blind stamped hand painted arms of Duke August (Haebler I: 388,XVIII), stars and cherubs above and below. The spine compartments have a bloom and foliage roll slightly run over onto panels; edges gilt and gauffered with lilies enclosed in half circles and frames painted in red, green, brown and black. To decorate a binding in this way, the central portion of each pressed paper board is partly removed, the whole covered with thoroughly dampened leather, which is stamped into each panel’s recess. The die-sunk relief printed vellum leaf is then fixed in the hollow, colored and the gold applied. First Complete Edition of these 281 verse biographies, dedicated to Emperor Rudolph and enlarged by a third over its predecessor. The fresh poems address his prominent courtiers and humanists. Only a handful of copies survive. In excellent condition, fourteen-line ms. verse on Charles VI on the rear flyleaves.VD 16 ZV 13136; Schmidt, Bucheinbände a. d. 14.-19. Jahrh. 22 and Taf. XLIII Abb. 64 and Taf. XLIV Abb. 66; Davenport, Cameo Bookstamps XIII-XIV.](/mckittrick/images/items/80x160/7676.jpg "12mo. [xxiix], [320], [2]p. Nearly full-page woodcut portrait of the author, title in four-block white-line metalcut borders of rabbits, cornucopias & foliage. Contemporary Wittenberg gilt tooled calf by Severin Rötter with sunken panels and painted vellum insets (insets 90 x 54/51 mm.; minor restoration, endleaves renewed). On both panels the vellum inset is framed by a foliage roll. The front vellum sheet bears a blind stamped hand painted half-figure portrait of August of Saxony with Rötter’s initials, the date 1579 and three lines of text all painted in gold ink (Haebler I: 387,VII). The initials H*A*P*S are above the inset and the date 1579 below it. The rear vellum sheet bears the blind stamped hand painted arms of Duke August (Haebler I: 388,XVIII), stars and cherubs above and below. The spine compartments have a bloom and foliage roll slightly run over onto panels; edges gilt and gauffered with lilies enclosed in half circles and frames painted in red, green, brown and black. To decorate a binding in this way, the central portion of each pressed paper board is partly removed, the whole covered with thoroughly dampened leather, which is stamped into each panel’s recess. The die-sunk relief printed vellum leaf is then fixed in the hollow, colored and the gold applied. First Complete Edition of these 281 verse biographies, dedicated to Emperor Rudolph and enlarged by a third over its predecessor. The fresh poems address his prominent courtiers and humanists. Only a handful of copies survive. In excellent condition, fourteen-line ms. verse on Charles VI on the rear flyleaves.VD 16 ZV 13136; Schmidt, Bucheinbände a. d. 14.-19. Jahrh. 22 and Taf. XLIII Abb. 64 and Taf. XLIV Abb. 66; Davenport, Cameo Bookstamps XIII-XIV.")
Reusner, Nicolaus. 1545-1602.
Augsburg, M. Manger 1578.
Price: $22,000.00
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![Small 8vo (134 mm.). [8]p. Gothic type (?86), title woodcut of two knights kneeling before a lady (56 x 55 mm), a larger block of God with Angels & Virtues (74 x 67 mm.) on final verso. GILT CITRON MOROCCO (Bauzonnet) with narrow decorative outer borders, corner fleurons include an acorn, central medallion of partly pointillé tools around a rose, spine & red morocco label gilt, turn-ins & all edges gilt. A LATE MEDIEVAL VERSE GUIDE FOR SERVANTS ON MANNERS, FOOD, DRINK and the vicissitudes of life: Seruans doiuent auoir cecy En eulx Cest que chascun se sache Tout premier oreilles de vache Groing de porc dos dasne aussi…We are, i.a., URGED TO SCOFF THE GOOD BITS OFF THE MASTER’S PLATE AND CAUTIONED AGAINST CARDS, DICE AND THEFT. Four Renaissance editions of the text are known — all are undated with no established priority. None is in NUC, OCLC, BM STC, Rothschild or Adams. The poem shares much with the 15th century Régime pour tous serviteurs (see Montandon, Bib. des traités de savoir-vivre I: 25-6). Gilt leather bookplates of Alphonse Audenet and Charles Nodier.Nodier, Description 319 “Magnifique exemplaire”; Brunet II: 781 (this ex.); see Kelso, Doctrine for the Lady of the Renaissance 287.](/mckittrick/images/items/80x160/6672.jpg "Small 8vo (134 mm.). [8]p. Gothic type (?86), title woodcut of two knights kneeling before a lady (56 x 55 mm), a larger block of God with Angels & Virtues (74 x 67 mm.) on final verso. GILT CITRON MOROCCO (Bauzonnet) with narrow decorative outer borders, corner fleurons include an acorn, central medallion of partly pointillé tools around a rose, spine & red morocco label gilt, turn-ins & all edges gilt. A LATE MEDIEVAL VERSE GUIDE FOR SERVANTS ON MANNERS, FOOD, DRINK and the vicissitudes of life: Seruans doiuent auoir cecy En eulx Cest que chascun se sache Tout premier oreilles de vache Groing de porc dos dasne aussi…We are, i.a., URGED TO SCOFF THE GOOD BITS OFF THE MASTER’S PLATE AND CAUTIONED AGAINST CARDS, DICE AND THEFT. Four Renaissance editions of the text are known — all are undated with no established priority. None is in NUC, OCLC, BM STC, Rothschild or Adams. The poem shares much with the 15th century Régime pour tous serviteurs (see Montandon, Bib. des traités de savoir-vivre I: 25-6). Gilt leather bookplates of Alphonse Audenet and Charles Nodier.Nodier, Description 319 “Magnifique exemplaire”; Brunet II: 781 (this ex.); see Kelso, Doctrine for the Lady of the Renaissance 287.")
![Small 8vo. [8]p. Bâtarde type (84), 29 lines per page, lombardic initial. Crushed red Jansenist morocco (Chambolle-Duru), gilt lettered spine title, wide gilt turn-ins, all edges gilt. “Édition originale rarissime” (Pichon). Explicit verse celebration of the seigneur’s sexual sampling of the young virgins on staff (clearly girls 16 and younger). The poem leaves virtually nothing to the imagination. Probably composed in the late 15th or early 16th century, it achieved enormous popularity in a succession of necessarily anonymous editions to the 1820s. Apart from that offered here, the earliest printing of which I have located a physical example is c. 1710. In fine condition, from the libraries of the comte de Lignerolles (Cat. (1894) 1518), baron Pichon (Cat. (1897) 794) and Édouard Moura (Beaux livres (1923) 238 “vers 1520”), Nordmann bookplate.Brunet V: 307 & Suppl. II: 639 (this ex.) “Édit. originale…pièce introuvable”; see Pia, Les livres de l’enfer: bib.…des ouvrages érotiques 1328.](/mckittrick/images/items/80x160/7131.jpg "Small 8vo. [8]p. Bâtarde type (84), 29 lines per page, lombardic initial. Crushed red Jansenist morocco (Chambolle-Duru), gilt lettered spine title, wide gilt turn-ins, all edges gilt. “Édition originale rarissime” (Pichon). Explicit verse celebration of the seigneur’s sexual sampling of the young virgins on staff (clearly girls 16 and younger). The poem leaves virtually nothing to the imagination. Probably composed in the late 15th or early 16th century, it achieved enormous popularity in a succession of necessarily anonymous editions to the 1820s. Apart from that offered here, the earliest printing of which I have located a physical example is c. 1710. In fine condition, from the libraries of the comte de Lignerolles (Cat. (1894) 1518), baron Pichon (Cat. (1897) 794) and Édouard Moura (Beaux livres (1923) 238 “vers 1520”), Nordmann bookplate.Brunet V: 307 & Suppl. II: 639 (this ex.) “Édit. originale…pièce introuvable”; see Pia, Les livres de l’enfer: bib.…des ouvrages érotiques 1328.")
France, s.n. c. 1540.
Price: $16,000.00
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Diodorus Siculus. fl. 21 B.C.
Lyon, Sébastien Gryphe 1552.
Price: $15,000.00
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![Three parts in one vol. 8vo. [xxiv], 408p. & [xii], 411, [4]p. & [iix], [151]p. Greek, Roman & italic type, main title in red & black. Contemporary gilt ruled red morocco, panels ruled, the arms of Jacques Auguste de Thou and his second wife in the center (Olivier 216,8), ruled spine with diagonal bands at the crown and base and de Thou’s cipher in six compartments (variant of Olivier 216,9), lettered title, his gilt taon above (not in Olivier), all edges gilt. First Heinsius Edition and the second appearance in Greek (first 1557). The title bears a five-line ms. presentation from Heinsius to de Thou. In fine condition, Soubise ms. shelf mark on the front cover 2.O.29, unidentified red and gold cipher bookticket, red morocco bookplate of Henri Bonasse.Hoffmann II: 585; Simoni, Books from the Low Countries M64.](/mckittrick/images/items/80x160/7614.jpg "Three parts in one vol. 8vo. [xxiv], 408p. & [xii], 411, [4]p. & [iix], [151]p. Greek, Roman & italic type, main title in red & black. Contemporary gilt ruled red morocco, panels ruled, the arms of Jacques Auguste de Thou and his second wife in the center (Olivier 216,8), ruled spine with diagonal bands at the crown and base and de Thou’s cipher in six compartments (variant of Olivier 216,9), lettered title, his gilt taon above (not in Olivier), all edges gilt. First Heinsius Edition and the second appearance in Greek (first 1557). The title bears a five-line ms. presentation from Heinsius to de Thou. In fine condition, Soubise ms. shelf mark on the front cover 2.O.29, unidentified red and gold cipher bookticket, red morocco bookplate of Henri Bonasse.Hoffmann II: 585; Simoni, Books from the Low Countries M64.")
Maximus Tyrius. fl. 180-192.
Leiden, J. Paets 1607.
Price: $12,000.00
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![Folio (370 mm.). Engraved frontis., engraved title, [iv], 1457 [r. 1474]p. and two folding tables. Contemporary gilt and painted brown calf (minor wear). The overall corner and center design has five double-rule strapwork compartments, corner compartments with flowers and foliage painted silver. The central compartment and the remainder of the field have volutes, daisies, small sprays and dots. The spine compartments have narrow geometric and drawer handle roll borders, center foliage and blooms painted silver; marbled pastedowns, edges gilt and gauffered.First Edition of this synopsis of Imperial law. Fresh, on thick paper, contemporary ms. inscription Ex Bibliotheca Dni. Comitis a Petrà (Oudenbourg). A nice copy.Stintzing-Landsberg, Gesch. d. deut. Rechtswissensch. III(2): 165.](/mckittrick/images/items/80x160/6286.jpeg "Folio (370 mm.). Engraved frontis., engraved title, [iv], 1457 [r. 1474]p. and two folding tables. Contemporary gilt and painted brown calf (minor wear). The overall corner and center design has five double-rule strapwork compartments, corner compartments with flowers and foliage painted silver. The central compartment and the remainder of the field have volutes, daisies, small sprays and dots. The spine compartments have narrow geometric and drawer handle roll borders, center foliage and blooms painted silver; marbled pastedowns, edges gilt and gauffered.First Edition of this synopsis of Imperial law. Fresh, on thick paper, contemporary ms. inscription Ex Bibliotheca Dni. Comitis a Petrà (Oudenbourg). A nice copy.Stintzing-Landsberg, Gesch. d. deut. Rechtswissensch. III(2): 165.")
Andler, Franz Friedrich, Freiherr von. 1632-1703.
Regensburg, L.C. Lochner 1675.
Price: $11,000.00
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Augustinus Moravus. 1467-1513.
Venice, [Paul Fridenperger or Bernardinus Benalius] 24 March 1493.
Price: $9,500.00
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![12mo. [iix], 255, [1]p. CONTEMPORARY RED MOROCCO, gilt triple rule outer border, GILT ARMS OF THE DEDICATEE ÉLISABETH-CHARLOTTE DE BAVIÈRE DUCHESSE D’ORLÉANS sister-in-law to Louis XIV (Olivier 2564, 1 variant), gilt spine with her large lily in five compartments & lettered spine title in sixth, board edges gilt, edges gilt over marbling.FIRST EDITION: AMONG THE FIRST HISTORICAL WORKS WRITTEN BY A WOMAN BASED ON PRIMARY SOURCE MATERIAL. Using papers of contemporary military and political figures inherited in maternal archives, the author constructs the biography of Antonio, styled Prior of Crato and King of Portugal (1531-95), the bastard son of the Jewess Violante Gomez and Luis duke of Beja (younger son of King Emanuel). In 1578 on the death of King Sebastian at the battle of Alcazar-Kebir, Antonio too was taken prisoner. But he escaped Morocco, occupied Lisbon, claimed the Portuguese throne and stood as the only legitimate opposition to Philip V of Spain. In August 1580 Spanish forces drove Antonio to France, the Portuguese crown jewels in hand. HE PROMISED CATHERINE DE’ MEDICI BRAZIL IN EXCHANGE FOR HER SUPPORT. Instead she purchased some royal gems. This cash financed a ragtag fleet that suffered defeat in 1582. He next turned to England and in 1589 sailed thence to rally his people in revolt. Again he failed, dying in poverty at Paris six years later. This copy belonged to the dedicatee Élisabeth of Bavaria, called Madame, the second wife of Philippe d’Orléans (brother of Louis XIV): their issue ascended to the throne in 1830 (Louis Philippe). Her library passed, with few exceptions, into the Bibliothèque Nationale. In fine condition.Cioranescu 61297; see Pearson’s Les femmes bibliophiles…Royal and Distinguished Ladies 20 & Guigard I: 109; not in Alden.](/mckittrick/images/items/80x160/6534.jpg "12mo. [iix], 255, [1]p. CONTEMPORARY RED MOROCCO, gilt triple rule outer border, GILT ARMS OF THE DEDICATEE ÉLISABETH-CHARLOTTE DE BAVIÈRE DUCHESSE D’ORLÉANS sister-in-law to Louis XIV (Olivier 2564, 1 variant), gilt spine with her large lily in five compartments & lettered spine title in sixth, board edges gilt, edges gilt over marbling.FIRST EDITION: AMONG THE FIRST HISTORICAL WORKS WRITTEN BY A WOMAN BASED ON PRIMARY SOURCE MATERIAL. Using papers of contemporary military and political figures inherited in maternal archives, the author constructs the biography of Antonio, styled Prior of Crato and King of Portugal (1531-95), the bastard son of the Jewess Violante Gomez and Luis duke of Beja (younger son of King Emanuel). In 1578 on the death of King Sebastian at the battle of Alcazar-Kebir, Antonio too was taken prisoner. But he escaped Morocco, occupied Lisbon, claimed the Portuguese throne and stood as the only legitimate opposition to Philip V of Spain. In August 1580 Spanish forces drove Antonio to France, the Portuguese crown jewels in hand. HE PROMISED CATHERINE DE’ MEDICI BRAZIL IN EXCHANGE FOR HER SUPPORT. Instead she purchased some royal gems. This cash financed a ragtag fleet that suffered defeat in 1582. He next turned to England and in 1589 sailed thence to rally his people in revolt. Again he failed, dying in poverty at Paris six years later. This copy belonged to the dedicatee Élisabeth of Bavaria, called Madame, the second wife of Philippe d’Orléans (brother of Louis XIV): their issue ascended to the throne in 1830 (Louis Philippe). Her library passed, with few exceptions, into the Bibliothèque Nationale. In fine condition.Cioranescu 61297; see Pearson’s Les femmes bibliophiles…Royal and Distinguished Ladies 20 & Guigard I: 109; not in Alden.")
Sainctonge, Louise-Geneviève (Gillot) de. 1650-1718.
Paris, J. Guignard 1696.
Price: $9,500.00
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![Folio. [ii], port., [xiix], 695p. PRINTED MUSIC THROUGHOUT, some tables, full-page etched full-figure portrait of the Virgin Mary with her symbols (C. de Beer after P. Perret). Early limp vellum (worn, wrinkled), remnants of four pigskin ties, ms. spine title.Only Edition: “das wichtigste erhaltene kirchenmusikalische theoretische Werk im spanischen Raum des 17. Jh.” (MGG). The “‘four arts’ — plainchant (including notation, modes and repertory), ‘organ chant’ (mensural notation, time and proportions), counterpoint (intervals, consonance and dissonance, and rules for part-writing) and composition (harmonic formulae, polyphonic modality and compositional styles) — are closely studied in accordance with Renaissance and Baroque theory. It is an erudite book…but it is also a practical work with numerous music examples, many of them interesting pieces by Lorente himself…of exceptional value…as a theoretical and practical reference book” (New Grove(2)). It is Spain’s “sole large-scale publishing effort in music theory in the 17th century” (Howell). A COMPLETE COPY, browned as always, a few short tears with no loss; 19th century ms. inscription on front flyleaf Oy 27 de Nov.e hablamos de Varias Cosas de España de Madrid y de Sev.a.Palau 142328 (imperf.); Meyer & Hirsch, Kat. d. Musikbibliothek I: 327 (imperf.); Goldsmith, Spanish L266 (2 exx. both imperf.); Gregory & Sonneck, Cat. of Early Books on Music 157 (imperf.); Penney, Printed Books 1468-1700 in The Hispanic Society 318 (imperf.); Salvá y Mallen, Cat. de la bib. 2524 (imperf.); Heredia, Cat. de la bib. 4714 (imperf.); RISM Écrits I: 516; New Grove(2) 15: 182; MGG Personentl. 11: 460-1; Lopez-Calo, Hist. de la música española III: Siglo XVII 237-48 & passim; Howell, “Symposium on 17th-Century Music Theory: Spain” in Journal of Music Theory 16 (1972) 62-71; León Tello, La teoría española de la música en los siglos XVII y XVIII 15-46; González Valle, “La notación de la música vocal española del siglo XVII” in Festschrift Th. Göllner edd. Edelmann & Schmidt (1995) 177-91.](/mckittrick/images/items/80x160/7236.jpg "Folio. [ii], port., [xiix], 695p. PRINTED MUSIC THROUGHOUT, some tables, full-page etched full-figure portrait of the Virgin Mary with her symbols (C. de Beer after P. Perret). Early limp vellum (worn, wrinkled), remnants of four pigskin ties, ms. spine title.Only Edition: “das wichtigste erhaltene kirchenmusikalische theoretische Werk im spanischen Raum des 17. Jh.” (MGG). The “‘four arts’ — plainchant (including notation, modes and repertory), ‘organ chant’ (mensural notation, time and proportions), counterpoint (intervals, consonance and dissonance, and rules for part-writing) and composition (harmonic formulae, polyphonic modality and compositional styles) — are closely studied in accordance with Renaissance and Baroque theory. It is an erudite book…but it is also a practical work with numerous music examples, many of them interesting pieces by Lorente himself…of exceptional value…as a theoretical and practical reference book” (New Grove(2)). It is Spain’s “sole large-scale publishing effort in music theory in the 17th century” (Howell). A COMPLETE COPY, browned as always, a few short tears with no loss; 19th century ms. inscription on front flyleaf Oy 27 de Nov.e hablamos de Varias Cosas de España de Madrid y de Sev.a.Palau 142328 (imperf.); Meyer & Hirsch, Kat. d. Musikbibliothek I: 327 (imperf.); Goldsmith, Spanish L266 (2 exx. both imperf.); Gregory & Sonneck, Cat. of Early Books on Music 157 (imperf.); Penney, Printed Books 1468-1700 in The Hispanic Society 318 (imperf.); Salvá y Mallen, Cat. de la bib. 2524 (imperf.); Heredia, Cat. de la bib. 4714 (imperf.); RISM Écrits I: 516; New Grove(2) 15: 182; MGG Personentl. 11: 460-1; Lopez-Calo, Hist. de la música española III: Siglo XVII 237-48 & passim; Howell, “Symposium on 17th-Century Music Theory: Spain” in Journal of Music Theory 16 (1972) 62-71; León Tello, La teoría española de la música en los siglos XVII y XVIII 15-46; González Valle, “La notación de la música vocal española del siglo XVII” in Festschrift Th. Göllner edd. Edelmann & Schmidt (1995) 177-91.")
Lorente, Andrés. 1624-1703.
Alcalà de Henares, N. de Xamares 1672 [but 1673].
Price: $8,800.00
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Verdizotti, Giovanni Mario. 1525-160?.
Venice, [D. & G.B.] Guerra 1594.
Price: $8,200.00
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![12mo. [iix], 208p. Woodcut headpieces & woodcut title vignette signed N. Contemporary mottled calf (crown & base neatly restored), spine & red morocco label gilt.FIRST EDITION: THE FIRST PUBLISHED COLLECTION OF RECIPES BY A ROYAL CHEF. The Prince des Dombes was “an amateur cook who often ‘officiated’ at Louis XV’s ‘Petit Soupers’” (Simon). The Count de Charolais and Marie Leczinska also labored in his kitchen: King Stanislas made his own baba au rhum! The prince imaginatively named his dishes — Yeux de veau farcis au gratin, Poulet à l’allure nouvelle en Chauve souris en culotte, Bignets bacchiques, Hachis d’œuf sans malice…. He wryly dedicated the book to himself. In good condition (minor ink spots on two blank margins).Vicaire, Bib. gastr. 233-4; Bitting, Gastron. Bib. 540; Cagle, A Matter of Taste 1081; Brunet II: 439; see Wellcome II: 412 & Simon’s Bib. gastr. 421 & Oberlé’s Bacchus 112 (later edd.).](/mckittrick/images/items/80x160/6086.jpg "12mo. [iix], 208p. Woodcut headpieces & woodcut title vignette signed N. Contemporary mottled calf (crown & base neatly restored), spine & red morocco label gilt.FIRST EDITION: THE FIRST PUBLISHED COLLECTION OF RECIPES BY A ROYAL CHEF. The Prince des Dombes was “an amateur cook who often ‘officiated’ at Louis XV’s ‘Petit Soupers’” (Simon). The Count de Charolais and Marie Leczinska also labored in his kitchen: King Stanislas made his own baba au rhum! The prince imaginatively named his dishes — Yeux de veau farcis au gratin, Poulet à l’allure nouvelle en Chauve souris en culotte, Bignets bacchiques, Hachis d’œuf sans malice…. He wryly dedicated the book to himself. In good condition (minor ink spots on two blank margins).Vicaire, Bib. gastr. 233-4; Bitting, Gastron. Bib. 540; Cagle, A Matter of Taste 1081; Brunet II: 439; see Wellcome II: 412 & Simon’s Bib. gastr. 421 & Oberlé’s Bacchus 112 (later edd.).")
Bourbon, Louis-Auguste de, Prince de Dombes. 1700-1755.
“Amsterdam”, s.n. 1740.
Price: $7,500.00
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![8vo. [xvi], 623p. Greek & Roman type (facing pages), an Orry title device. MID-17TH CENTURY RICHLY GILT TAN MOROCCO WITH THE ARMS OF GABRIEL DE ROQUETTE BISHOP OF AUTUN — THE MODEL FOR MOLIÈRE’S TARTUFFE. Panels alike with outer border of a thin pointillé roll & double rules around a narrow geometric lily roll, central rectangle with the pointillé roll flanking double rules, fleurons at outer corners, partially pointillé daisies & small volutes & pointillé sprigs in inner corners, lozenge shaped central medallion with sprigs & three different volutes & a foliage spray around Roquette’s arms (see Olivier 2109). Flat spine with single vertical compartment & the same outer border as the panels, Roquette’s cipher at crown & base, volutes & foliage between & a small version of his arms in the middle, flush cut fore-edge, all edges gilt, evidence of pink & green silk ties.First Printing of the Christian Neoplatonist’s letters edited by Fédéric Morel, who added Turnèbe’s Latin translation and Francisco Porta’s notes. The hypocrite! Son of a provincial financier, Gabriel de Roquette (1623-1707) made his fortune in the church through cunning, intrigue, alliance, posing and extreme outward piety, achieving vast material success and the near universal distrust of his contemporaries, who considered him the original for Molière’s nauseating and dangerous Tartuffe. In fine condition (hinges rubbed).Hoffmann III: 465; Brunet V: 614 “assez éstimé”; J.H. Pignot, Un évêque réformateur sous Louis XIV. Gabriel de Roquette…le Tartuffe de Molière.](/mckittrick/images/items/80x160/6134.jpg "8vo. [xvi], 623p. Greek & Roman type (facing pages), an Orry title device. MID-17TH CENTURY RICHLY GILT TAN MOROCCO WITH THE ARMS OF GABRIEL DE ROQUETTE BISHOP OF AUTUN — THE MODEL FOR MOLIÈRE’S TARTUFFE. Panels alike with outer border of a thin pointillé roll & double rules around a narrow geometric lily roll, central rectangle with the pointillé roll flanking double rules, fleurons at outer corners, partially pointillé daisies & small volutes & pointillé sprigs in inner corners, lozenge shaped central medallion with sprigs & three different volutes & a foliage spray around Roquette’s arms (see Olivier 2109). Flat spine with single vertical compartment & the same outer border as the panels, Roquette’s cipher at crown & base, volutes & foliage between & a small version of his arms in the middle, flush cut fore-edge, all edges gilt, evidence of pink & green silk ties.First Printing of the Christian Neoplatonist’s letters edited by Fédéric Morel, who added Turnèbe’s Latin translation and Francisco Porta’s notes. The hypocrite! Son of a provincial financier, Gabriel de Roquette (1623-1707) made his fortune in the church through cunning, intrigue, alliance, posing and extreme outward piety, achieving vast material success and the near universal distrust of his contemporaries, who considered him the original for Molière’s nauseating and dangerous Tartuffe. In fine condition (hinges rubbed).Hoffmann III: 465; Brunet V: 614 “assez éstimé”; J.H. Pignot, Un évêque réformateur sous Louis XIV. Gabriel de Roquette…le Tartuffe de Molière.")
Synesius of Cyrenaeus, Bp. of Ptolemais. c. 370-413.
Paris, M. Orry 1605.
Price: $6,500.00
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![Agenda 12mo (139 x 64 mm.). Double-page engr. frontis., [5-6] 7-462, [22]p. Engraved frontispiece of men, women & children singing & playing instruments (i.a., a pipe organ), title in red & black. Contemporary gilt and painted vellum with a pink outer border and narrow gilt geometric frame. On the front, Faith, draped in a gold headscarf and flowing red dress, holds a chalice. On the rear, Charity, in a green blouse and red dress, cradles a child while another clings to her leg. The flat spine has gilt foliage sprays and daisies, pastedowns of gold, green, orange, red and violet flowered Buntpapier, all edges gilt. Original pastepaper slipcase (worn). This figured binding has a less engaging cousin at the Victoria and Albert Museum, with the burial of Christ and the Resurrection on the panels (Special Collections, Drawer 71). ?Second Edition. In excellent condition (minor defects), large early printed bookticket with initials smvc.](/mckittrick/images/items/80x160/7431.jpg "Agenda 12mo (139 x 64 mm.). Double-page engr. frontis., [5-6] 7-462, [22]p. Engraved frontispiece of men, women & children singing & playing instruments (i.a., a pipe organ), title in red & black. Contemporary gilt and painted vellum with a pink outer border and narrow gilt geometric frame. On the front, Faith, draped in a gold headscarf and flowing red dress, holds a chalice. On the rear, Charity, in a green blouse and red dress, cradles a child while another clings to her leg. The flat spine has gilt foliage sprays and daisies, pastedowns of gold, green, orange, red and violet flowered Buntpapier, all edges gilt. Original pastepaper slipcase (worn). This figured binding has a less engaging cousin at the Victoria and Albert Museum, with the burial of Christ and the Resurrection on the panels (Special Collections, Drawer 71). ?Second Edition. In excellent condition (minor defects), large early printed bookticket with initials smvc.")
Painted Binding.
Nürnberg, J.A. Endter’s Son & Heirs 1722.
Price: $5,400.00
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![4to. 129, [1 blank] leaves. Calculations & tables, SIXTY-ONE WOODCUT DIAGRAMS, title within vertical blocks of grotesques, putto musicians & ornament, horizontal blocks with Archimedes & Euclid. Contemporary stiff vellum wrapper with overlapping edges (soiled, ms. notes in ink dated 1558 & 1559), ms. spine title lettered vertically. Second Edition. With many “examples illustrating the Italian business life of the sixteenth century”, this commercial arithmetic includes a section on mensuration as well as tables for merchants (Smith). In original condition (two bifolia slightly browned).Smith, Rara arithmetica 174 & 177; Cantor, Vorlesungen über Gesch. d. Mathematik II: 481-2; EDIT 16 CNCE 47811.](/mckittrick/images/items/80x160/7739.jpg "4to. 129, [1 blank] leaves. Calculations & tables, SIXTY-ONE WOODCUT DIAGRAMS, title within vertical blocks of grotesques, putto musicians & ornament, horizontal blocks with Archimedes & Euclid. Contemporary stiff vellum wrapper with overlapping edges (soiled, ms. notes in ink dated 1558 & 1559), ms. spine title lettered vertically. Second Edition. With many “examples illustrating the Italian business life of the sixteenth century”, this commercial arithmetic includes a section on mensuration as well as tables for merchants (Smith). In original condition (two bifolia slightly browned).Smith, Rara arithmetica 174 & 177; Cantor, Vorlesungen über Gesch. d. Mathematik II: 481-2; EDIT 16 CNCE 47811.")
Sfortunati, Giovanni. b. c. 1500.
Venice, B. de Bindoni 1544 [colophon: 1545].
Price: $4,500.00
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Lindstedt, Joachim Dietrich. fl. 1720-1723.
Magdeburg, [The Author] 1720.
Price: $4,500.00
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