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Camerota, Il compasso di Fabrizio Mordente. Per una storia del compasso di proporzione , Firenze , pp. II, London-New-York , pp.
Text on fols. C5r-F4v in two columns, 44 lines. Type: G title , R text. Elaborate full-page woodcut on fol.
A2r, depicting the fortune-telling method contained within the book, with short explications. Five full-page woodcuts on fols. A5r-B6v woodcut diagrams showing the different combination of throws of the dice, and one small vignette at the centre. B7r-C4v, depicting the spheres within a frame with floral motifs and putti.
Nine-to six-line woodcut animated initials. Nineteenth-century quarter-calf, boards covered with marbled paper. Early inked title on the tail-edge faded. Minor scratches at the covers, corners slightly worn. A very good copy, the lower margin of some leaves uncut. Minor stain on title and in the margin of some leaves; repair to A2r affecting the woodcut border; the outer margin of fols.
B10 and B11 slightly short; fols. C1 and C2 lightly trimmed at the time of rebinding. Bound between the front pastedown and the front flyleaf is a cutting from an English sale catalogue describing this copy.
Borgo Dei Vigneti, Agrigento
Provenance: Jonathan Peckover of Wisbech ; ex-libris on the pastedown ; by descent to his sister Algerina Peckover of Sibalds House, Wisbech ; ex-libris on the pastedown; her sale, Sotheby's London, 12 December ; purchased in by the Florentine bookseller Tammaro De Marinis ; see T. The only known copy of this Bolognese incunable edition of the first fortune-telling game ever printed, extensively illustrated as are all books of this kind. The work was composed by the Perugian poet Lorenzo Gualtieri usually known as Lorenzo Spirito; see no.
The first printed edition soon followed, published in Perugia in , and is known in a single copy held at the Ulm Stadtbibliothek. Only three other fifteenth-century editions are recorded, these having appeared in Vicenza, Brescia, and Milan. Thus the inquirer anxious to know if he will be cured of a disease is referred first to King Pharaoh, and from Pharaoh to the sign of the Ostrich.
He then throws his 3 dice, and let us say turns up three 'aces' eg ones. On this he is referred to the sphere of the Leopard and the River Po. Dyson Perrins , no.
This undated edition of the Libro della Ventura — not recorded in ISTC — can be positively attributed to the Bolognese printer Caligola Bazalieri, who was active in the city from to , and who focused his production on popular texts in Italian vernacular. Caligola employed the same roman font for his edition of the Regula of St. Jerome, which appeared in Bologna on 28 March see GW , whereas the title on the opening leaf is set in the type G used by him Caligola for the Lucidario printed on 15 April see BMC vi, The printing of this book can likewise be dated to the last years of the fifteenth century.
A2r-A4r, and implying that the block cutter Pietro Ciza had been responsible for the remaining illustrations as well. The name of Ciza also known as Cisa, or Chiesa is also found in a Bologna Calendario of and in the famous Viazo da Vanesia al sancto Jherusalem The same blocks were re-used, mostly in reduced size, in the Libro della Ventura printed in Bologna in by Justiniano de Rubeira, whose unique and incomplete copy is in the Biblioteca Marciana. Sander ; T. Woodcut decorated initials. In its original limp vellum binding, covers decorated with ink drawings by Cesare Vecellio : the upper cover depicts the church of Santa Maria della Rotonda in Ravenna, the lower one a part of the city ramparts.
Traces of two pairs of ties on the fore-edge. Smooth spine decorated in ink with stylised acanthus leaves; painted edges, on the fore-edge a view of the city, and the inscription 'RAVENA'. Very good copy, lightly stained and spotted, more prominently on the leaves of quires M and T; pale waterstain at the blank outer margin of the first leaves. Historia di Ravenna. In Ravenna, A splendid copy of the second edition of this rare work on the history of Ravenna, owned by the well-known bibliophile from Belluno, Odorico Pillone In , Pillone famously commissioned the painter Cesare Vecellio ; see nos.
Vecellio, a cousin and pupil of Titian who worked in his atelier until his death, thus decorated the fore-edges of the majority of Pillone's library, depicting characters and landscapes relating to the subject of each book. Vecellio is also famously the author of Habiti antichi et moderni , the well-known illustrated history of clothing, in which he mentions the library and other collections of the Pillone family, as well as their exquisite hospitality in their Villa.
The present example represents one of only twenty one volumes that Vecellio adorned with drawings on the covers, and one of the very few with both decorated vellum covers and painted fore-edges: the rich imagery features views of a fairy-tale Ravenna with Santa Maria della Rotunda and a fortification artfully drawn in a Mannerist style. In , a Pillone descendant sold the entire collection to English bibliophile Thomas Brooke for 20, lire. The collection, united until then, was thus dispersed.
perla olandese italian edition Manual
Collation: [1 8 , 2 10 , 3 14 ]. Text in one column, 37 lines. Type: R, 50G for a few words and the letters in the plates. Title-page printed in red and black, within three-sided woodcut border consisting of symmetrical floral and foliate designs, in this copy lavishly illuminated on gold ground. The shield included in the lower panel of the border filled in with a small coat of arms, a standing lion painted in blue; the same coat of arms in larger size and painted on silver ground in the lower margin, within laurel wreath and flanked by two cornucopias. On the same leaf the large initial 'A' printed in red.
Fourteen large illuminated initials with acanthus leaves on gold ground. The twenty-four-page Calendar with initials, names of the saints and figures printed in red. Sixty woodcuts depicting the various stages of lunar and solar eclipses fols.
39. Hieronymus, Sophronius Eusebius (347-420)
Four hand-coloured instruments printed on two double sheets glued together: the ' instrvmentvm horarvm inaeqvalivm ' fol. Late seventeenth-century calf, over pasteboards.
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Covers within blind-tooled border. Spine with five small raised bands, with title 'kal ' lettered in gilt. A handsome, wide-margined copy. Minor loss at the outer blank corners of the first leaf and at upper outer corner of the opening border; very tiny holes at the margins of first fifteen leaves, partially affecting the opening border and text, decreasing towards the second half of the volume; the gold illumination showing through slightly on the verso.
Traces of red wax seals on four leaves, including the verso of the first plate; some fingermarks. Early inked foliation in the upper margin. A few contemporary marginalia. Provenance: Blue lion coat of arms, on the recto of the first leaf, possibly relating to the Sforza family; the Alsatian mining entrepreneur Edouard de Turckheim ; his rich library was kept at the Turckheim castle in Dachstein, in the Lower Rhine region. An extraordinary illuminated copy of the Calendar by Regiomontanus, first issued in Latin in from the Augsburg press of Erhard Ratdolt, who moved to Venice in Redgrave — a 'marvellous improvement' upon the Kalendarium printed by Regiomontanus himself in Nuremberg in This Venetian publication is rightly famous for bearing the earliest known example of an ornamental title-page in the history of printing: even if in verse, it gives date, place and the names of the printers responsible for the publication:.
Further, this Venetian Calendar is the first Italian book to feature extensive use of woodcut initials.
Regiomontanus was one of the first to realize the impact printing would have in disseminating scientific knowledge and in he established his own private press in Nuremberg for the production of the Calendar and other mathematical and astronomical works. In Venice, Ratdolt replicated Regiomontanus' pioneering results and simultaneously produced a Latin and an Italian edition of the Calendar for the years , a veritable instrument-book for calculating moon phases, eclipses, and other astronomical events.
The publication included charts for daylight hours and seasonal locations of the sun in the sky, phases of the moon, and conversions of planetary hours to equal hours, an essay on the true date of Easter, and a table indicating its incidence for each year up to The border framing the title-page is designed in the purest Renaissance style. As Goldsmith states, the floral and foliate motifs recall the ornaments carved in relief by Lombardi in the marble pilasters of the Venetian church Santa Maria dei Miracoli.
Translation of "with a Pearl Earring" in Italian
In the copy presented here, the border is illuminated. In , probably after this Latin edition, the Calendar was also issued in Italian by Ratdolt. The Italian edition omits the disquisition on the true date of Easter and table of its incidence from to , and thus has thirty leaves instead of thirty-two. Both editions have the same border pieces, and the first ornamental frame bestowed on a title-page. While the Latin Calendarium is not so rare among public libraries, it is scarcely seen on the market and a copy in this condition is unique.
It is extremely unusual to find a scientific book — or, better still, an instrument-book — with illuminations of such high quality, clearly executed for a very distinguished patron: as suggested by the blue lion coat of arms, the as-yet-unidentified original owner of this copy may well have been a member of the Sforza family.