PETRARCA, Francesco (1304-1374). Trionfi, Sonetti e canzoni . Commentaries by Gabriele Bruno and Girolamo Centone. Venice: Petrus de Piasiis, Cremonensis, Dictus Veronensis, 10 May 1491-1 April 1492.
PETRARCA, Francesco (1304-1374). Trionfi, Sonetti e canzoni . Commentaries by Gabriele Bruno and Girolamo Centone. Venice: Petrus de Piasiis, Cremonensis, Dictus Veronensis, 10 May 1491-1 April 1492. 2 parts in one, 2 o (300 x 205 mm). 134 leaves (of 136, lacking first and final blanks). Pt. I with 61 lines of commentary flanking the text, and headline. Types 6:109R (text) and 7:80R (commentary, headlines). Six full-page woodcuts at the beginning of each trionfo, the first partially colored. (Some intermittent pale spotting, some occasional pale dampstaining.) 19th-century? bone panels on each side with highly ornamental carved ivory borders displaying winged putti playing on flutes, ox-head and dolphin designs and floriate ornamentation; the two central carved panels (each 235 x 150 mm) depict scenes from the Trionfi , each of differing subject but incorporating charioteers, part of the original gilt highlighting preserved; the two panels have been remounted on a modern Dutch vellum binding, restored in 1942 by H. van Rijmenam, stamped and signed by him on the rear flyleaf. Provenance : sold Parke Bernet, 30 November 1948, lot 408. The woodcuts are the same as those used in Petrus de Piasiis's 1490 edition: "The six woodcuts illustrating the Trionfi in this edition [1490] are adapted with only slight modifications from a set of fine Florentine engravings on copper, the British Museum examples of which were originally inserted in a copy of the Petrarch of 1488. Women are walking instead of dancing. In the Triumph of love, Chastity holds a palm in her right hand instead of the left; the car of Death proceeds from right to left instead of from left to rightl that of Fame has received some trifling ornaments... But all the essential features of the engravings are reproduced, and the cutter has even copied to some extent the engraver's method of shading..." (Dyson Perrins Italian 50, 1490 de Piassis edition). The large bone panels illustrating scenes from Petrarca's Trionfi are most unusual. The present edition, along with the 1490 de Piassis edition, is very rare, with no copies appearing in American Book Prices Current in the last 30 years. BMC V:270; Essling 77; Goff P-387; HCR 12771; Pr 4483; Sander 5601.
PETRARCA, Francesco (1304-1374). Trionfi, Sonetti e canzoni . Commentaries by Gabriele Bruno and Girolamo Centone. Venice: Petrus de Piasiis, Cremonensis, Dictus Veronensis, 10 May 1491-1 April 1492.
PETRARCA, Francesco (1304-1374). Trionfi, Sonetti e canzoni . Commentaries by Gabriele Bruno and Girolamo Centone. Venice: Petrus de Piasiis, Cremonensis, Dictus Veronensis, 10 May 1491-1 April 1492. 2 parts in one, 2 o (300 x 205 mm). 134 leaves (of 136, lacking first and final blanks). Pt. I with 61 lines of commentary flanking the text, and headline. Types 6:109R (text) and 7:80R (commentary, headlines). Six full-page woodcuts at the beginning of each trionfo, the first partially colored. (Some intermittent pale spotting, some occasional pale dampstaining.) 19th-century? bone panels on each side with highly ornamental carved ivory borders displaying winged putti playing on flutes, ox-head and dolphin designs and floriate ornamentation; the two central carved panels (each 235 x 150 mm) depict scenes from the Trionfi , each of differing subject but incorporating charioteers, part of the original gilt highlighting preserved; the two panels have been remounted on a modern Dutch vellum binding, restored in 1942 by H. van Rijmenam, stamped and signed by him on the rear flyleaf. Provenance : sold Parke Bernet, 30 November 1948, lot 408. The woodcuts are the same as those used in Petrus de Piasiis's 1490 edition: "The six woodcuts illustrating the Trionfi in this edition [1490] are adapted with only slight modifications from a set of fine Florentine engravings on copper, the British Museum examples of which were originally inserted in a copy of the Petrarch of 1488. Women are walking instead of dancing. In the Triumph of love, Chastity holds a palm in her right hand instead of the left; the car of Death proceeds from right to left instead of from left to rightl that of Fame has received some trifling ornaments... But all the essential features of the engravings are reproduced, and the cutter has even copied to some extent the engraver's method of shading..." (Dyson Perrins Italian 50, 1490 de Piassis edition). The large bone panels illustrating scenes from Petrarca's Trionfi are most unusual. The present edition, along with the 1490 de Piassis edition, is very rare, with no copies appearing in American Book Prices Current in the last 30 years. BMC V:270; Essling 77; Goff P-387; HCR 12771; Pr 4483; Sander 5601.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
