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TEXT IN LATIN by A RENAISSANCE ILLUMINATED VELLUM MANUSCRIPT PSALTER, WITH TWO LARGE HISTORIATED INITIALS

2 to 7 days for delivery

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$26,000.00

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Seller: Phillip J. Pirages Fine Books and Medieval Manuscripts

Title: TEXT IN LATIN
Author: A RENAISSANCE ILLUMINATED VELLUM MANUSCRIPT PSALTER, WITH TWO LARGE HISTORIATED INITIALS
Seller: Phillip J. Pirages Fine Books and Medieval Manuscripts (United States)
Description: Italy (Florence), completed in 1536. 155 x 96 mm. (6 1/8 x 3 3/4"). Single column, 17 lines, in a rounded gothic hand. 225 leaves (first leaf and last three leaves blank). One signature bound upside-down, the calendar bound at end, but COMPLETE. With modern foliation in pencil ([i], 225 leaves, f. 222 omitted in numbering). Attractive 19th century red straight-grain morocco, covers with lacy gilt border, raised bands, compartments with floral a scrolling tools with small stars and bezants, green morocco label with gilt lettering, gilt floral turn-ins, all edges gilt and gauffered. In a fine modern pebble-grained red morocco folding box by A. Lobstein, gilt lettering on spine, lined with velvet. Rubrics in red, numerous one-line initials and paragraph marks in red or blue, many two-line gilt initials on ground of two colors (red, blue, green, or purple) with small gold embellishments, three-line "KL" initials for each calendar month in gilt, TWO LARGE HISTORIATED INITIALS, the first measuring approximately 11 lines (65 mm.) and featuring King David in prayer, the initial painted blue and embellished with green and pink acanthus on gold ground, surrounded on two sides by bars of gilt lettering on blue and pink ground, inner margin decorated with colorful floral motifs decorated with gilt bezants, the second initial measuring six lines (35 mm.) and featuring the Holy Trinity, the initial painted pink with colorful acanthus on gilt ground, and with a similar floral border in the outer margin and extending over the initial along the top. See: Alexander, "The Painted Page," nos. 1, 3 & 4; and Salmi, "Italian Miniatures," frontispiece and pp. 52-53. Text rather faded in places (though sense always recoverable), isolated insignificant rubbing or chipping to the gilt, a handful of trivial stains and instances of soiling or foxing, but a nevertheless lovely manuscript--very clean and fresh, with wide margins, and the historiated initials especially well preserved. (Just the slightest signs of use to the lustrous binding.). This is a fine example of Florentine manuscript production from the early 16th century, with a beautiful, rounded gothic script, sparkling initials, and historiation that suggests a link to some of the most important miniaturists of the period. The decoration is composed of rich jewel tones, and includes a half-page initial opening "Beatus vir," depicting King David in prayer, and a smaller "D" opening Psalm 109 ("Dixit Dominus Domino meo: a sede adextris meis"), depicting the Holy Trinity. Each initial is embellished by a lovely partial border of floral motifs and many gilt bezants in a typical Florentine style. The large "Beatus vir" initial is particularly well done, with excellent molding and shading, and careful attention to even the smallest hair on David's beard. Into a relatively small space the artist manages to fit an entire outdoor scene complete with foreground, middle ground, and background, including rolling hills, a river, and a distinctive rock formation that adds dimension, scale, and a sense of realism to the painting. Although whoever had the box made for this work attributed the manuscript to Giovanni Boccardi, known as Boccardino il Vecchio (1460-1529), the figures and border decoration are stylistically closer to the work of two other contemporary workshops: that of Attavante degli Attavanti (1452-1525), and brothers Gherardo (1445-97) and Monte (1448-1532) di Giovanni del Fora. Of Attavante, Salmi notes that he was "At one time, the most celebrated miniaturist of the Renaissance," and Alexander says that he "was one of the most successful entrepreneurs in the Florentine book trade in obtaining commissions from patrons outside Florence." He counted European royalty among his patrons, and executed celebrated manuscripts for Mattias Corvinus, King of Hungary, and Manuel I, King of Portugal, as well as high ranking members of the church, including Pope Leo X. Among the many hands employed by Attavante were those of Gherardo and Monte di Giovanni del Fora, which explains the closely related styles of the two workshops. Salmi notes that "As expert miniaturists, Gherardo and Monte composed magnificent interiors, evoking historical events, and landscapes of great depth and drama, abounding in descriptive details and precious minutiae worthy of the Books of Hours of Flemish and French Masters." In addition to stylistic similarities, we have been able to find two other examples of miniatures with compositions that are very close to the "Beatus vir" initial in the present work, both of which are attributed to Gherardo and Monte Giovanni del Fora or their workshop. These are: an "S" initial in a Choirbook at the Museo dell'Opera di S. Maria del Fiore (we found a black & white reproduction only); and a full-page miniature in the Biblioteca Medicea Laurenziana (MS Plut. 15.17). Like our opening initial, these miniatures both depict King David kneeling in prayer, dressed in similarly draped and shaped garments (in the miniature with color reproductions available, the garments are identically colored red and blue), with an unusual lobed harp on the ground, and a rocky outcropping in the background. Most notably, in the latter miniature as well as our initial, this rock formation includes a natural archway that has formed over a river. If we are to believe the final rubricated lines, indicating that the manuscript was completed on 25 October 1536, then the historiated initials were probably painted by an artist who was, at the very least, quite familiar with the work of the aforementioned miniaturists, if not directly employed by one of their workshops. The most likely workshop would be that of Monte Giovanni del Fora, who died in 1532--four years before this work was supposedly completed. It is perhaps even conceivable that the production of the Psalter took long enough that the initials might have been executed during Monte's lifetime. It is unfortunate that three lines in the colophon have been erased, as they may have provided additional information about the making of this manuscript. Whatever the case may be, this is a lovely object with tasteful decoration that clearly echoes the work of some of Florence's finest workshops. Italian prayer books such as this are increasingly difficult to come by, and the present item, being complete and in excellent condition, would be a fine addition to any private or institutional collection..

Regolamento della Pia Casa di Lavoro di Firenze by POVERTY — HOMELESSNESS — FLORENCE

3 to 7 days for delivery

Standard Shipping: $15.00

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$950.00

( US$)

Seller: Musinsky Rare Books, Inc.

Title: Regolamento della Pia Casa di Lavoro di Firenze
Author: POVERTY — HOMELESSNESS — FLORENCE
Seller: Musinsky Rare Books, Inc. (United States)
Description: Florence: presso Niccolò Carli, 1818. 8vo (193 x 125 mm). 45, [3 bl.]; 37, [1 bl.] pp. Letterpress tables. The second part is an Appendix, separately paginated, with half-title, and approbation at end dated 1818. (A few small spots to title and last few pages.) Modern half linen and marbled boards, original rear wrapper bound in.*** Only Edition of the rules for the main Florentine workhouse for the destitute, mainly children, established by Napoleon in 1812, to honor the birth of his son the King of Rome, on the site of two former monasteries in the Florentine suburb of Montedomini. The architect Giuseppe del Rosso combined the two monastic edifices, creating one main building in a neoclassical style, and a complex of six smaller buildings for workshops, etc. The Pia Casa di Montedomini, as it came to be known, was not only a poorhouse, but was a center for poor relief generally. The various categories of candidates for aid are set forth in the introduction: children or adults who were taken in by Montedomini or by other “pious establishments” in the city as permanent residents (known as Reclusi); those who were given work during the day and who returned to their families at the end of the day; those who were given work to carry out at home; and those few who were granted financial help. The Reclusi were divided by age: children under 3 went to the Spedale degli Innocenti, those aged 3 to 10 and 10 to 15 to two different orphanages, and those who were disabled or too old to work to another hospice (Spedale di Bonifazio). Thus families were broken up: this is acknowledged in the text. Blank sample forms are provided for the admission of each category. Most of the rules are devoted to the main Reclusi, aged 15 and up. The first chapter outlines admissions procedures; chapters 2 and 3 describe their general living conditions and daily routines, and the following chapters address details of work, food, clothing, and bedding, all paid for through the inhabitants’ labor. Not surprisingly, given the Napoleonic inspiration, the Reclusi were organized in quasi-military “brigades,” divided by sex and type of work. The brigades were led by the most compliant and hard-working individuals, male “Caporali” and female “Maestre,” who wore differently colored uniforms from the others. Every moment of the day was strictly regimented, and other than eating and sleeping there was no time for anything other than work, except for two hours of recreation on the occasional special feast day, when only selected individuals were allowed to leave the Casa, in strictly controlled groups. The daily life of these children and young adults, who were imprisoned “for their own good,” is hard to fathom for a modern reader: they rose at 6 or 6:30, prayed, worked until noon, finally were allowed to eat, and then went back to work until 11 or 11:30 pm. Most of the work seems to have involved sewing or needlework; some worked for tailors or other textile workers. Dinner was followed by prayers, and bedtime silence was imposed at 1 am. Meals were spartan: the rations of each ingredient are prescribed down to the ounce. Lunch was 2 ounces of soup, 10 ounces of bread, and 6 ounces of meat or a comparable quantity of vegetables. Dinner was bread and vegetables. One suspects that many barely survived in these conditions. Other chapters and the Appendix are devoted to the administration of the Casa, accounting and record-keeping, work assignments and payment, and relations with extra-institutional employers. I locate no copies in American libraries. R. Uccelli, Contributo alla Bibliografia della ToscanaC (1922), 2575.

Letter from the Secretary of the Treasury, transmitting Report upon the Mineral Resources of the States and Territories West of the Rocky Mountains

7 to 14 days for delivery

Standard Shipping: $5.00

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$200.00

( US$)

Seller: Dawson's Book Shop

Title: Letter from the Secretary of the Treasury, transmitting Report upon the Mineral Resources of the States and Territories West of the Rocky Mountains
Seller: Dawson's Book Shop (United States)
Condition: Good, foxing throughout
Description: Government Printing Office, Washington, 1867. Good, foxing throughout. 8 3/4 x 5 3/4 inches, 64 pages, black cloth, general soiling, light rubbing to extremeties, Tables throughout.

To our cousins in the Guard / Don't let this happen... to you! [handbill distributed by activists to National Guardsmen]

4 to 14 days for delivery

Standard Shipping: $7.50

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$75.00

( EU VAT US$0)

Seller: Bolerium Books Inc., ABAA/ILAB

Title: To our cousins in the Guard / Don't let this happen... to you! [handbill distributed by activists to National Guardsmen]
Seller: Bolerium Books Inc., ABAA/ILAB (United States)
Description: Berkeley, 1969. 8.5x11 inch handbill, horizontal crease, toning and foxing. The reverse has a cartoon showing a normal boy transformed into a vicious boar by the "Pigification machine." The text addresses National Guardsmen patrolling Berkeley in the days after the violent confrontations at People's Park. "You are under orders to occupy this community against your will. You know that the people you face are not your enemies... You probably joined the National Guard because you were decent enough not to want to kill innocent people in Vietnam... Now you're being called upon to perform the dirtiest work a soldier can do: fight his own countrymen!" Asks guardsmen to organize themselves against the brass, and barring that, "drag your ass...

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