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Zingarella che indovina. Come piamente si può contemplare quando la Beatissima Vergine con Gesù

Zingarella che indovina. Come piamente si può contemplare quando la Beatissima Vergine con Gesù, e S. Giuseppe se ne andavano fuggitivi in Egitto; loro incontrò, ed alloggiò

Fra Pietro da Palermo?]. 15 cm; 8 pages. Woodcut illustration on title page. Title within decorated border. Untrimmed. Unbound. Preserved in custom portfolio with cutout to display title page. Red ribbon tie. Owner’s inscription in margin of title page, possibly that of Michele Tafuri, Neapolitan literary scholar and collector of manuscripts who flourished in the first half of the 19th century. Reference: S. Salmone-Marino, "Le storie popolari in poesia siciliana messe a stampa." in Archivio per lo studio delle tradizioni popolari, (1897) p 112 f.; "La Fuga in Egitto: variazioni sul tema e divinazione" on the Gypsypedia web site; Domenica Borriello, "Stampatori del sacro a Napoli tra Ottocento e Novecento," Etnoantropologia, V:2 (2017). Popular ballad in Italian verse in which Mary, Joseph, and the baby Jesus encounter a poor fortune-teller who, in spite of her poverty, hosts the family and tends to its needs during the flight into Egypt. The fortune-teller recognizes the baby as divine, and after praising him and his parents, and in exchange for salvation, she foretells the Passion. The Italian text is a contemporary translation of a chapbook with no date in Sicilian dialect, ("Zingaredda Induvina") attributed to one Fra Pietro da Palermo. Surviving copies of any edition are extremely unusual. A few 19th-century copies are extant (an 1880 printing is even scanned online). As far as we know, this is earliest dated copy and the exemplar for all later printings. The figure of the "Gypsy" (Rom) fortune teller who succors the family during the flight into Egypt is a local Neapolitan addition to the events accounted in the Gospels. Even today, the figure of the fortune-teller appears in Neapolitan and Southern Italian creches ("presepe") and Christmas plays, where she is represented as holding a nail, or sometimes a basket of nails, because she foretells the Passion in the canzonetta offered here.

A bibliographical, antiquarian and picturesque tour in France and Germany.

Dibdin, Thomas Frognall; George Robert Lewis. 3 volumes, royal octavo (26 cm); I: xvi, [2], 16, [6], xxvi, [6], 462, lxxx (including extra engraved title, and Lewis’s "Series of Groups"); II: [4], 556; III: [4], 622, lxii, and 83 plates (1 in color, 3 in sepia, and 5 double page), 64 india paper prints mounted in text. Extra illustrated with 52 plates by George Lewis printed on india paper and mounted, illustrating "the manners and characters of the inhabitants of France and Germany," according to the extra engraved title page. Lacks half titles. Dedication page in volume 1 engraved with crest of the Roxburghe Club, rather than with portrait of Dibdin. Bound in green straight-grain morocco ruled in gilt with corner ornaments in gilt, and armorial crest stamped on all boards. All edges gilt. All three volumes with mid-nineteenth-century armorial bookplate of Robert Walters, along with engraved pictorial bookplate dated 1919 of Leroy Crummer MD (1872-1934), and of the American artist Robert Bruce Moyer (1913-1969). Volume II with the additional bookplate of Myrtle A. Crummer. All three volumes rebacked, hinges reinforced with linen tape; joints strengthened with application of Japanese paper; edges and extremities renovated. Frequent offsetting of plates; most plates clean although some have toned to various degrees. Occasional scattered foxing. Condition generally good to very good. References: Jackson, 48; Windle and Pippin A38a; Windle and Pippin A44 ("A Series of Groups.") Extra-illustrated edition includes George Lewis’s "A series of groups, illustrating the physiognomy, manners, and character of the people of France and Germany," with separate title page, pagination, and extra engraved title page inserted after the dedication page.

Battaglia di Bradamante, dove s’intende come un Saracino essendo innamorato in lei venne in Francia, e combattendo con la detta Bradamante fu da lei valorosamente ammazzato.

Remondini, Giovanni Antonio, printer]. 16mo (14 cm); [32] pages. Title page within typographic border. Four woodcut vignettes, including one on title page. In later marbled cloth wrapper. Pages evenly toned. Giovanni Antonio Remondin (as he was then known) rented his first press in Bassano del Grappa in 1657, and among the earliest editions printed there were small chivalric romances such as this one. They sold like hotcakes. (The Venetian Republic limited the publication of new and "important" material to the city of Venice, while provincial printers were limited to municipal announcements, religious texts, and popular literature.) Remondin printed them in large numbers on cheap paper and sold them in sheets, ready to be folded and cut by the vendor. The romance offered here, in 127 eight-line stanzas, describes how the great female warrior Bradamante competes triumphantly in a joust against a Saracen (with the peers of Charlemagne in the audience) using her magical lance that will unseat any rider. By 1670, Remondin Italianized his Venetian name to Remondini, the name by which he is known to posterity, and began gunning for a bigger market. By 1711, the year of his death, left his family a vast network of businesses consisting of popular prints, religious books, decorated paper, wallpaper for export, a wool mill, a dye factory, and a thread plant. Disposable as they were, early examples of Remondini’s popular romances rarely survive. This one is noted in the Bibliothèque National in Paris, but no other libraries report holding it, not even in Italy. Not in Melzi. Not in the Plimpton Collection at Wellesley.

Viaggio da Venetia al S. Sepolcro, et al Monte Sinai col disegno delle città, castelli, ville chiese, monasterij, isole, porti e fiumi, che sin là si ritrovano.

Fra Noè". Octavo (15 cm); 192 pages. Title page printed in red and black, with image of three crosses (two black flanking one red that incorporates the Franciscan motto, "Humanity, Patience, Obedience, Poverty"). 156 woodcut illustrations in text, including 5 double-page views. In polychrome woodblock printed decorated paper over boards with leather backstrip and label titled in gilt, probably early 18th century. Joints recently reinforced with Japanese paper; board edges worn. Stock quite toned, and in places mottled; marginal worm holes in title page; early owner’s inscription on title page; bottom edge of A2 torn, affecting a few letters; occasional marginal nicks. Reference: Mario Infelise, "La Tipografia" in "Remondini: Un editore del settecento," p. 309, #19, and illustrations. Off-island printers in the Venetian Republic were restricted to doing municipal jobs (edicts, bulletins, legal matter), to publishing texts for scholastic and religious use, and to reissuing popular literature such as chivalric romances. These were always printed on cheap paper. For this Voyage from Venice to the Holy Sepulcher and Mount Sinai, Remondini substituted 15th-century travel literature (first published at Bologna in 1500) for the chivalric romance, and enriched the text with scores of fascinating woodblock illustrations (easy to read and easy on the eyes for broad public appeal). The book was a great success, frequently reprinted. Editions published before 1670 bear the publisher’s name in its original Venetian form, Remondin. The copy offered here bears the Italianized name Remondini, dating it after 1670, but before 1686 (when dated editions began to appear). (A penciled note on the title dates the edition to 1675.) The decorated paper on the boards could be contemporary, but in that case it would have been acquired from Venice or elsewhere. Remondini did not manufacture decorated woodblock paper until the early 1700s. In all, a strikingly illustrated travelogue of the journey from Venice to Jerusalem, and beyond.

La Teseide.

Bandettini Landucci, Teresa. Quarto (31 cm); 2 volumes. [8], x, 272; 322 pages, and full-page engraved frontispiece of the author (after Angelica Kauffmann, mispelled "Kaufmnan"). Bound in publisher’s pasteboard decorated in tortoise shell patterns ("carta tartarugata"), with printed paper labels on spines. Pages bright, fresh, and untrimmed. Binding somewhat abraded along joints, with some slight separation at tail of volume 1. Remarkably well-preserved set in unsophisticated state. References: Ferri, "Biblioteca Femminile Italiana," p. 34 ("edizione magnifica"); Parenti, "Rarità bibliografiche" (1958) vol 4, p. 80; paper covers: Quilici, Carte decorate, #100. Teresa Bandettini (1763-1837) filled theaters all over Northern Italy doing performances of improvisational poetry, sometimes accompanied by dance, adorned in clothing deemed "Grecian." She worked as a street performer first, gathering crowds, and reciting extemporaneous poetry on any subject that someone would call out, then passing the hat. Self-educated, she became admired for her erudition. (The so-called "improvvisatori" in Italy fascinated the expatriated English Romantics, and were pursued by them.) In addition to her improvised verse, Bandettini composed several structured pieces, including this romance epic in octaves on the adventures of Theseus and the foundation of Athens. While Bandettini’s work has been largely ignored by the curriculum, we understand that she overcame debilitating personal circumstances and oppressive class and gender origins to achieve her celebrity. Angelika Kauffmann painted her portrait. The Duke of Modena (and other wealthy patrons) housed her and supported her literary career. Antoine Saliceti, Napoleon’s chief administrator in Northern Italy, underwrote La Teseide. (He said that he pitied posterity for not being alive to hear her perform.) Bandettini’s name resurfaced in 2002 with the discovery of six lost sonatas dedicated to her by the young Niccolò Paganini.

Il tempio alla divina S. donna Giovanna d’Aragona. fabricato da tutti i più gentili spirti, & in tutte le lingue principali del mondo.

Ruscelli, Giovanni, et alia]. Octavo (16 cm); three parts in one volume: [48] ,388 [but 412], 159, [1 blank], [34] pages. There are two gatherings signed "Z", both paginated 361-368 but with different content. Printer’s device on title page. Scores of historiated woodcut initials (some of them erotic in nature), ornaments. In plain vellum over boards, titled in manuscript on spine. Polychrome pastepaper pastedowns. Speckled edges. Marginal corner of O2 torn away, apparently in manufacture, not affecting text. Reference: BM Italian 593. Remaindered sheets of the original 1555 edition, together with a few re-set signatures, re-released with a new title page. (Not a "second edition.") In the early 1550s, amid a trend among Venetian presses to publish anthologies and collections of poems and letters, Girolamo Ruscelli invited Italy’s A-list of famous poets and public intellectuals to contribute to a gratulatory volume for Giovanna d’Aragona, whose salon in Ischia (bonded around Giovanna and her sister-in-law, Vittoria Colonna) attracted the interest of the Venetian social culture. It took several years, but early in 1555 (some copies even bear the year 1554), Ruscelli released his "Temple" of verse, with a veritable Who’s Who list of contributors (277 in all), including poems in Italian, Spanish, French, Latin, and Greek.At the same time, Gian Pietro Carafa was elevated to Pope Paul IV, a figure we would recognize today as distinctly Trumpian. Paul IV was passionately anti-Spanish, aggressively protective of the religious establishment, and insanely anti-intellectual. He imprisoned his perceived enemies and criminalized their books. He ghettoed the Jews of Rome and publicly incinerated all copies of the Talmud. His hostility toward arts and letters, and in particular toward the Colonna clan, moved him to place Giovanna d’Aragona and her family under house arrest. (They later escaped by night disguised as workers.)The "Tempio" was banned in the Papal States. And even in the rest of Italy, where the ban held no sway, it was a commercial failure, despite of the stellar table of contents. The publisher, Plinio Pietrasanta, had overestimated the press run, and was left with unsold sheets, many of them incomplete. These were acquired ten years later by the bookseller Francesco Rocca, who commissioned a fresh title page, had the missing signatures re-set, and sold the old thing through his shop as if it were a second edition. Comparison between Rocca’s imprint and Pietrasanta’s shows identical type, identical errors, identical ornaments, in short, identical sheets, through most of the block. The second part of the book, in which the non-Italian poems appear, includes a few freshly set signatures among the original sheets (signatures AA, d, f, h, and i).