1635 books for « r p francesco »Edit

‎CHRONIQUES ARABES des CROISADES. Textes recueillis et présentés par Francesco Gabrieli. Traduits de l'italien par Viviane Pâques.‎

‎ 2001 Paris, Actes Sud, Sindbad, 2001, in 8° broché, 405 pages ; couvetrure illustrée. ‎

‎ ...................... Photos sur demande ..........................‎

‎Liban. Photographies et texte de Pietro Francesco Mele.‎

‎ Beyrouth, Conseil National du Toursime au Liban, sans date, in 4° relié pleine toile de léditeur, 80 pages ; illustrations en noir et en couleurs. ‎

‎ ...................... Photos sur demande ..........................‎

‎Scelta delle novelle morali di Francesco Soave fatta dal cittadino Ignazio Boccoli. Edizione accuratissima.‎

‎ Parigi, Locard, 1801, in 12 relié demi percaline bleue, dos lisse (reliure fin XIXe), XII-189 pages. ‎

‎Texte en italien. ...................... Photos sur demande ..........................‎

‎Le Socialisme Catholique. Traduit de l'italien.‎

‎ 1894 Paris, Librairie Guillaumin, 1894, in 8 broché, X-410 pages ; couverture légèrement fanée. ‎

‎ ...................... Photos sur demande ..........................‎

‎Usi e Costumi di Napoli e Contorni Descritti e Dipinti [Us et Coutumes de Naples et ses environs décrits et peints]. ‎

‎ 1853 Napoli, Stabilimento Typografico di Gaetano Nobile, 1853-1858 (en pages de titre) - 1857-1866 (en couvertures), 2 vol. grand in-8° (260 x 175 mm) reliés pleine percaline havane éditeur, auteur, titre et tomaisons dorés au dos, titre doré au centre des plats supérieurs, grand fleuron à froid au centre des plats inférieurs, couvertures imprimées en lithographie conservées, de XIX pp. (faux-titre, titre et « Cenno su Napoli ») de 324 pp. , 50 planches ; 340 pp. (faux-titre et titre inclus) - 50 planches. Cartonnages usagés (dos recollés, coiffes élimées, taches deau au plat supérieur du T.I et au plat inférieur du T.II), intérieur en très bon état. ‎

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‎Edition originale de cet ouvrage rare (les couvertures conservées sont en 2e édition mais le corps de louvrage fait bien partie du tirage original), complet de ses 100 planches aquarellées à lépoque.Passionné par la vie quotidienne de la ville, Francesco de Bourcard (1821-1886), napolitain d'origine suisse, se consacre pendant une vingtaine d'années, de 1847à 1866, à la rédaction de l'ouvrage qui allait le rendre célèbre. La première édition du premier volume est publiée en 1853, la seconde en 1858. L'uvre dépeint et raconte les coutumes locales de l'époque, les personnages typiques du peuple et un large éventail de fêtes populaires et religieuses. Les textes sont accompagnés de cent gravures, signées par le dessinateur et le graveur, qui illustrent sous forme graphique les sujets décrits dans les chapitres (Wikipédia). Outre les articles de Bourcard, on trouvera des textes signés de Giueseppe Regaldi, Carlo Tito Dalbono, Francesco Mastriani, Emmanuele Rocco, Emanuele Bidéra, Achile de Lauzières et Enrico Cossovich.Les planches sont gravées par F. di Bartolo, Saro Cucinotta, Giovanni Fusaro, Carlo Martorana, Francesco Pisante, daprès les dessins de Francesco Salverio Altamura, Teodoro Duclère, Teodoro Ghezzi, Carlo Martorana, Pasquale Mattei, Nicola Palizzi, etc. Des marins et pêcheurs aux petits musiciens de rue, en passant par la pêche du soir, la conteuse, la lavandière, le vendeur de vieux trucs - Des lazzaroni et porteurs aux pauvres de l'hospice de S. Gennaro, en passant par lhuitrier, la vendeuse de poulpes, le commissaire-priseur de vins, le pizzaiolo, le gitan, le cortège de funérailles. Signature autographe de lauteur à lencre noire au verso des pages de titre des 2 vol. comme il se doit.En létat des cartonnages. Réf. biblio. : Colas, I-144-145. *******************************English translation :Complete with 100 color plates.Francesco de BOURCARD - Usi e Costumi di Napoli e Contorni Descritti e Dipinti [Uses and Customs of Naples and its Surroundings Described and Painted]. Napoli, Stabilimento Typografico di Gaetano Nobile, 1853-1858 (title pages) - 1857-1866 (covers), 2 vol. large in-8° (260 x 175 mm) bound in full publisher's tan percaline, author, title and tomaisons gilded on spine, gilded title in center of upper boards, large cold fleuron in center of lower boards, lithographed covers preserved, of XIX pp. (false-title, title and Cenno su Napoli) of 324 pp. 50 plates ; 340 pp. (including false-title and title) - 50 plates. Worn paper boards (spine rebacked, headpieces worn, water stains on top cover of T.I. and bottom cover of T.II.), interior in very good condition.First edition of this rare work (the preserved covers are in the 2nd edition, but the body of the book is part of the original edition), complete with its 100 watercolor plates.Fascinated by the city's daily life, Francesco de Bourcard (1821-1886), a Neapolitan of Swiss origin, devoted some twenty years, from 1847 to 1866, to writing the work that was to make him famous. The first edition of the first volume was published in 1853, the second in 1858. The work depicts and recounts the local customs of the time, typical folk characters and a wide range of popular and religious festivals. The texts are accompanied by one hundred engravings, signed by the designer and the engraver, which illustrate in graphic form the subjects described in the chapters (Wikipedia). In addition to Bourcard's articles, there are texts by Giueseppe Regaldi, Carlo Tito Dalbono, Francesco Mastriani, Emmanuele Rocco, Emanuele Bidéra, Achile de Lauzières and Enrico Cossovich.The plates are engraved by F. di Bartolo, Saro Cucinotta, Giovanni Fusaro, Carlo Martorana, Francesco Pisante, after drawings by Francesco Salverio Altamura, Teodoro Duclère, Teodoro Ghezzi, Carlo Martorana, Pasquale Mattei, Nicola Palizzi, etc. From sailors and fishermen to small street musicians, the evening fisherman, the storyteller, the washerwoman, the seller of old things - From lazzaroni and porters to the poor of the S. Gennaro hospice, the oystercatcher, the octopus seller, the wine auctioneer, the pizzaiolo, the gypsy, the funeral procession.Author's autograph signature in black ink on verso of title pages of 2 vols. as appropriate.In the condition of the hardcovers. Bibliographical ref. : Colas, I-144-145. ‎

‎Masculinities in Early Medieval Europe. Tradition and Innovation, 450?1050‎

‎, Brepols, 2023 Paperback, 306 pages, Size:156 x 234 mm, Illustrations:10 b/w, 5 tables b/w., Language(s):English, Italian. ISBN 9782503607351.‎

‎Summary This volume brings together a collection of essays that delve into the shifts in ideas, roles, and practices of masculinities and male attitudes during the transition from late Antiquity to the early Middle Ages. This period was marked by significant changes, including the collapse of Roman political authority in the West, the fragmentation of imperial universalism in polities, and the rise of Christianity, which all challenged the gender roles inherited from Antiquity. Within this historical context, the book explores the evolution of men's privileges, responsibilities, and burdens through eleven case studies focusing on different categories of men and manly behaviour. The volume brings to life husbands and fathers, kings and workers, clerics and warriors from both the East and the West, as revealed through contemporary textual and material sources and preserved in the physical remains of male bodies and actions. In doing so, this volume will bring to the fore new perspectives on masculinities and gender history. TABLE OF CONTENTS Cristina La Rocca, Introduzione I. QUESTIONI DI FAMIGLIA/ FAMILY MATTERS Michael E. Stewart, Marriage, Power, and Manly Romanitas in the Age of Justinian Annamaria Pazienza, When the Groom Relocates: Men's Change of Residence after Marriage in Lombard Italy Andreas Fischer, Fathers and Sons: Roles, Laws and Expectations in Late Antiquity and the Early Middle Ages II. PARLIAMO DI GUERRIERI/ LET US TALK ABOUT WARRIORS Danuta Shanzer, Power, Violence, Pity, and Courage: Through Clerical Eyes in the Early Middle Ages Francesco Borri, Savage Dreams: Militant Masculinity between Antiquity and the Middle Ages Leonardo Sernagiotto, The Importance of Being Lothar: the Power, Violence, Courage and Impiety of a Carolingian Emperor III. CORPI DI CHIERICI, CADAVERI DI CHIERICI / CLERICAL BODIES, CLERICAL CORPSES Rachel Stone, On Criminal Priests: Illicit Desires and Clerical Masculinity Francesco Veronese, Men Moving Men's Bodies: Hagiographical Masculinities in Carolingian Times IV. QUEL CHE RESTA DELLA MASCOLINIT / WHAT IS LEFT OF MASCULINITIES Bonnie Effros, St Martial, Disciple of Christ: Apostolic Conversion Stories and the Crisis of Modernity in Nineteenth-Century France Flavia De Rubeis, La firma dell'uomo: uso della scrittura e consapevolezza di s Giovanna Bianchi & Serena Viva, Archaeology and Anthropology of a Group of laboratores from a Royal Center in Early Medieval Tuscia Francesco Borri & Francesco Veronese, Conclusioni‎

‎Mola e il suo tempo. Pittura di figura a Roma dalla collezione Koelliker‎

‎Petrucci, Francesco (ed): Mola e il suo tempo. Pittura di figura a Roma dalla collezione Koelliker. Exhibition: Arricia, Palazzo Chigi, 2005. 256pp with 74 colour plates and 91 monochrome illustrations. Wrappers, 28x24cms. Exhibition of works by Pier Francesco Mola in the collection of the Luigi Koelliker, Milan. Highlights the artistic mood around Rome during Mola's time. Text in Italian.‎

‎Exhibition of works by Pier Francesco Mola in the collection of the Luigi Koelliker, Milan. Highlights the artistic mood around Rome during Mola's time. Text in Italian‎

‎De Rerum Praenotatione libri novem. Pro veritate religionis/ contra superstittiosas vanitates editi. [Opera aurea & bracteata / Liber imaginatinis]. + Hymni Heroici tres. Ad sanctissimam trinitatem, ad Christum, et ad Virginem Mariam, una cum commenta... - [A MONUMENT OF RENAISSANCE SCEPTICISM]‎

‎Strassburg, Knobloch, 1506-7 + 1511 4to. Bound in one very nice full mottled calf binding from ab. 1800, with five raised bands to richly gilt spine. A bit of wear to extremities. Occasional browning, but all in all very nice and clean. 289 ff (without the white blanks) + (4), xcvi, (7), (4, -index & errata).‎

‎Scarce first edition of Giovanni Francesco Pico's seminal ""Opera"", issued by Pico himself, in which some of his most important works appear for the first time, e.g. ""De Rerum Praenotatione"", ""De fide ordine"" and the ""Staurostichon"" as well as his translation of Justin the Martyr's ""Admonitio"", here bound with the highly important second edition of the ""Hymni heroici tres"". The present publication occupies a central place in the development of Renaissance thought. Through the ""Opera"" of Pico, skepticism came to play a dominant role in the development of early modern thought. ""Telesio, Bruno, Galileo, and others also employed the same arguments which Pico had brought to the consciousness of Renaissance Europe. Gianfrancesco Pico's skeptical techniques did not die with him, but lived on to produce a tangible, recognizable influence on the intellectual ambience of early modern Europe."" (Schmitt, p. 7). This seminal ""Opera"", published 13 years before the publication of Pico's magnum opus (""Examen Vanitatis"") and 26 years before his death, is of the utmost importance to the development of Pico's thought and to the development of Renaissance thought in general - ""a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philosophy of the Italian Renaissance"" (Schmitt, p. (VII)). The many important works in the present publication are known under the joint title ""Opera aurea & bracteata"" or ""Liber imaginationis"". The publication is made up of 9 parts, all of which were also intended for separate sale (and which all have separate paginations). The works included are: ""De rerum praenotatione etc."", ""De fide et ordine credenda"", ""De morte Christi & propria cogitanda libri tres"", ""De studio divinae & humanae philosophiae, libri duo"", ""De imaginatione"", ""Vita Io. Pici patrui. Eiusdem de uno & ente/ defensio & alia quaepiam"", ""Epistolarum libri quattuor "", the translation of Justini's "" Admonitio "" - together with ""Saurostichon/de mysterijs Germaniae Heroico carmine"" and ""Expositio tex. decreti de con. dis.ii. Hilarii"", and then follows "" Ad lectorum "" - 6 of the works here are FIRST PRINTINGS. The second edition of the ""Hymni heroici"" is of the utmost scarcity. It originally appeared in 1507, but only the second edition also contains Pico's famous poem ""Staurosticon"".This magnificent collection of works by ""the first modern sceptic"" and ""the only serious student of Sextus before the middle of the sixteenth century"" (Copenhaver & Schmitt) constitutes a milestone in Renaissance thought. The seminal work ""De rerum praenotatione"", which appears here for the first time, is among the most important that Pico wrote. It constitutes a fierce attack upon superstition, and a defense of the true religious truths - theories that underpin ALL of his later thought and are of fundamental importance to his later works, including the ""Examen"". ""This is a lengthy work (second in length only to the ""Examen Vanitatis"" among Pico's works) against pretended modes of prophesy. It is of the same genre as Giovanni Pico's work against astrology and is dedicated to the author's cousin and protector, Alberto Pio. It was first printed in the ""opera"" of 1506-07… There is no substantial portion of the work extant in manuscript."" (Schmitt, p. 192). The ""de fide et ordine"", which also appears here for the first time, is likewise one of Pico's significant works, although not as philosophical as the previous work. ""This is a work of medium length, principally theological, but of some philosophical importance. It was dedicated to Pope Julius II in the first printed edition of 1506-07"" (Schmitt, pp. 193-94).The ""Staurostichon"" is Pico's most famous poem, dedicated to Emperor Maximilian. In spite of the few pages it takes up, it has been the subject of much debate and interpretation throughout the centuries. Apparently ""[t]he extant manuscript seems to have been made after the first printed edition [i.e. the present]."" (Schmitt, p. 196).Pico's translation of the ""Admonitio"" (which is no longer attributed to Justin the Martyr) is of great importance. ""The first printing of the translation, which is dedicated to Zanobi Acciaiuoli, was in the ""opera"" of 1506-07. It was often reprinted, remaining a standard translation for most of the sixteenth century."" (Schmitt, p. 200). The four books of Pico's letters are also printed here for the first time. ""In the three editions of the ""Opera"" are printed four books of letters. These were prepared for the edition of 1506-07 and were reprinted with few additions in the later editions. Consequently, it seems that the bulk of Pico's personal letters written after 1505 have not come down to us."" (Schmitt, p. 200). Giovanni Francesco [Gianfranceso] Pico della Mirandola (1470-1533), not to be confused with his uncle Giovanni Pico della Mirandola (1463-1494) was a highly important Renaissance thinker and philosopher, who was strongly influenced by the Neoplatonic tradition, but even more so by the preaching of Girolamo Savonarola, whose thought he defended throughout his life. Just like his uncle, Gianfrancesco Pico devoted his life to philosophy, but being a follower of Savonarola and having a Christian mission, he made it subject to the Bible. He even depreciated the authority of the philosophers, above all of Aristotle. ""At the very beginning of the 16th century, Gian Francesco Pico, the nephew of Pico della Mirandola, had predicted the final failure of all attempts at reconciliation of the different philosophical movements. Gian Francesco Pico was a thinker of very considerable stature and a follower of Savonarola. There was a touch of tragedy about his personality. For his life was suspended, as it were, between the scaffold of Savonarola and incessant family feuds - in the course of one of which he was finally killed. No wonder that he borrowed from the scepticism of Sextus Empiricus in order to destroy philosophy to make more room for religion."" (Garin, p. 133). Gianfr. Pico, a learned scholar and apt reader of classical texts, was the first Renaissance thinker that we know to have seriously studied and used the works of Sextus Empiricus, which were not printed until the 1560'ies, causing a revolution in Renaissance thinking. ""The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later."" (Copenhaver & Schmitt, pp. 240-41). ""No significant use of Pyrrhonian ideas prior to the printing of Sextus' ""Hypotyposes"" has turned up, except for that of Gianfrancesco Pico della Mirandola [...] His writings may seem isolated from the main development of modern skepticism that began with the publication of the Latin translations and modernized formulation of ancient scepticism offered by Michel de Montaigne. However, they represent a most curious use of skepticism that reappears in the early seventeenth century with Joseph Mede and John Dury and the followers of Jacob Boehme and in the early eighteenth century in the writings of the Chevalier Ramsay, the first patron of David Hume, to fortify or justify prophetic knowledge."" (Popkin, p. 20). Gianfr. Pico develops his sceptical arguments to their fullest extent in his ""Examen"" (1520), which is considered his main work. However, the foundation of all these ideas are laid in his earlier works, all the significant of which are present here, in his seminal ""Opera""-collection. Together, they constitute the earliest printed testimonies to the use of scepticism and a premonition of the role that scepticism came to play in Renaissance thought, primarily after the first printings of Sextus in the 1560'ies. ""The revival of ancient philosophy was particularly dramatic in the case of scepticism. This critical and anti-dogmatic way of thinking was quite important in Antiquity, but in the Middle Ages its influence faded [...] when the works of Sextus and Diogenes were recovered and read alongside texts as familiar as Cicero's ""Academia"", a new energy stirred in philosophy"" by Montaigne's time, scepticism was powerful enough to become a major force in the Renaissance heritage prepared for Descartes and his successors."" (Copenhaver & Schmitt, pp. 17-18).""Throughout the early modern period, from Ficino and Pico to Newton and Leibniz, such convictions supported a pattern of historiography that could never have emerged without the humanists, even though it did not preserve their fame for modern times. Other myths of classicism and Christianity outlived the fable of ancient theology because they conflicted less flagrantly with the findings of historyThe purpose of the ancient theology was to sanctify learning by connecting it with a still more ancient source of gentile wisdom that reinforces sacred revelation. Rather than baptize the heathens as Ficino or the older Pico wished, some early modern critics damned them, and one of the most aggressive thinkers of this school was the younger Pico. He saw an impassable gulf between Christian and pagan belief where his uncle had tried to build bridges."" (Copenhaver & Schmitt, p. 337). Schmitt Appendix Section I: nrs. 4, 13, 14, 26, 50"51 Section II: nr.11See:Charles B. Schmitt: Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle. 1967.Copenhaver & Schmitt: Renaissance Philosophy. 1992.Eugenio Garin: Italian Humanism. Philosophy and Civic Life in the Renaissance. Translated by Peter Munz. 1965.Richard H. Popkin: The History of Scepticism. From Savonarola to Bayle. 2003.‎

‎LE INGENIOSE SORTI composte per Francesco Marcolini da Forli. Intitulate Giardino di Pensieri, Novamente Ristampate, e in Novo et Bellissimo Ordine Riformate.‎

‎ 1550 Venise, Francesco Marcolini, juillet 1550. Petit in-folio (225 X 322) demi-vélin ivoire, plats de papier dominoté, auteur, titre, lieu d'édition et date calligraphiés au dos en rouge et noir (reliure XVIIIe) ; A-Z4, Aa-Cc4 : 104 feuillets. A partir des figures des philosophes (page 64) il est donné un même numéro pour deux pages. Nombreuses restaurations aux premiers feuillets, l'encadrement architectural du portrait de l'auteur est masqué par un feuillet de doublure, marges du feuillet 43/44 rognées.‎

‎UN GRAND LIVRE SUR LA DIVINATION ET LE DÉCHIFFREMENT DE L'AVENIR. Seconde édition, aussi rare que la première parue en 1540. Frontispice de Joseph Forta, portrait de l'auteur au verso, 50 GRAVURES représentant les cartes à jouer, les chances, les Vertus et les Vices et 50 autres figurant les philosophes, dont sept répétées, le tout gravé sur bois ; avec des explications en vers par Lodovico Dolce. Célèbre traité d'interrogation, voire de maîtrise du hasard au moyen de cartes à jouer. Francesco MARCOLINI (ca 1500-1559), avant tout imprimeur, exerça pendant environ un quart de siècle, de 1535 à 1559, avec une longue interruption en 1546 lorsqu'il se rendit à Chypre comme cavalier du Podestat. Philipp Hoefer écrit à propos de Marcolini : « Imprimeur italien… qui n’est guère connu que comme rédacteur d'un ouvrage curieux et fort recherché des bibliophiles : Le Sorti ». L'ADMIRABLE ICONOGRAPHIE du livre, due à Giuseppe PORTA, élève de Francesco Salviati, occupe la moitié des pages, où l'on voit de nombreux personnages dans les situations les plus diverses et singulières, exprimant toutes les nuances de l'espoir et du désespoir humain face aux lois du destin. Toutes les pages du livre sont, par ailleurs, illustrées de près de deux cent combinaisons de cartes, accompagnées d'explication en vers par Lodovico Dolce. La grande figure du titre montre un groupe débattant dans le "giardino di pensieri". Les figures du premier plan disposent d'un jeu de cartes et du livre même de Marcolini, tandis que d'autres interrogent un astrolabe. La composition du titre dérive d’un dessin de Francesco Salviati, gravé par Marco Dente. Cervolini ("Marcolini", page 20) tout comme Mauroner ("Incisione di Tiziano", 42) rejettent l'attribution du portrait à Salviati et l'attribuent au Titien. (« Les "Sorti" de Marcolini sont un des plus beaux livres de gravures sur bois italiens. », CAILLET, III, 7113 - HARVARD, 280, reproduit des illustrations de l'ouvrage sur quatre pages – BERÈS, "80 ans de passion, 3ème vente", n°242, exemplaire de l’édition de 1540 – SANDER, 4231 – BRUNET, III, 1407-1408, Suppl.I, 941). MODESTE EXEMPLAIRE de cet ouvrage rare, qui a probablement dû être très compulsé et manipulé, mais qui a néanmoins réussi à traverser les siècles pour arriver jusqu'à nous, complet et aisément consultable. GOOD COPY. PICTURES AND MORE DETAILS ON REQUEST. ‎

‎Il Carnevale Italiano Mascherato que si Veggono in Figura Varie Inventione di capritii. « Le premier véritable répertoire rassemblant les costumes qu’on rencontrait au carnaval de Venise ».‎

‎Très rare et splendide suite de gravures dédiée aux costumes typiques du carnaval de Venise. S.l.n.d. [1642]. Album in-folio de 1 frontispice et 22 gravures sur bois (sur 23, manque la planche appelée « Bragato ») montées sur des feuilles de papier vergé dans des fenêtres. Les gravures mesurent 145 x 95 mm. Reliure du XXe siècle en cartonnage de papier marbré. 304 x 207 mm.‎

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‎Très rare et splendide suite de gravures dédiée aux costumes typiques du carnaval de Venise. Colas 317 et Lipperheide, 3168 (23 planches). Manque à Cicognara, Ruggieri et Vinet. Porter des masques extravagants était une tradition du carnaval de Venise, et visait en quelque sorte à créer une certaine égalité entre les classes sociales. Ces déguisements pouvaient correspondre à des personnages tels que l’homme sauvage ou le démon, ou à des caricatures de gens ordinaires : paysans, maîtres, poètes ou musiciens. Francesco Bertelli était un écrivain, éditeur et typographe installé à Padoue dans la première moitié du XVIIe siècle. « Il contribua à exporter l’idée de Venise comme une ville des plaisirs, regorgeant de courtisanes et de caractères de la commedia dell’arte. Dans le volume de plusieurs dizaines de gravures qu’il publia en 1642 et dont nous conservons des versions différentes, ‘Il Carnevale Italiano Mascherato…’, il a fait la somme des masques variés qui participaient habituellement au carnaval de Venise. C’est le premier véritable répertoire rassemblant les costumes qu’on y rencontrait. Douze planches proviennent du recueil de son père Pietro (Diversarum nationum habitus) paru en 1591 sur les costumes de diverses nations, d’autres s’inspirent des livres de costumes de Ferdinando Bertelli en 1563, de Cesare Vecellio en 1590 et de Giacomo Franco en 1610. Les personnages représentés, parfois seuls, souvent en couples ou en trio, constituent les types de masques auxquels on se réfère en général quand on cherche à imaginer comment on se déguisait au milieu du XVIIe siècle. Marquées par l’esprit des collections de costumes et accompagnées dans certaines versions de deux lignes de commentaires, les gravures de Francesco Bertelli montrent des personnages en pied qui semblent souvent se donner en spectacle. Nulle part n’y figure encore la bautta même si parfois semble s’ébaucher un ‘volto’. Des planches de Bertelli ont à leur tour été insérées dans certains volumes de l’Itinéraire d’Italie d’Andrea et Frans Schott, connu aussi sous le nom de Francesco Scoto, qui fut utilisé par les pèlerins et par de nombreux voyageurs au fil de ses multiples rééditions de 1600 à 1761. C’est dire combien elles constituent un creuset de la diffusion des images du carnaval auprès d’un large public. On possède des recueils de gravures de comédiens italiens du XVIe siècle, mais peu d’autres représentations gravées et a fortiori peintes du carnaval de Venise au XVIIe siècle. » (G. Bertrand, Histoire du carnaval de Venise). Précieux exemplaire de cet illustré d’une grande rareté consacré aux costumes du carnaval de Venise au XVIIe siècle. Very rare: only 3 copies have appeared at auction in at least 30 years, most recently at Christie's New York, 12th June 2009. Plate counts vary from copy to copy, from 23 in the Colas and Lipperheide copies to the Correr Museum copy in Venice, which appears to be the most complete with 28 plates. Voir l’article de Lina Padoan Urban ("Il Carnavale Veniziano, nelle Maschere incise da Francesco Bertelli," in Il Polifilo, Milano, 1986) qui tente de determiner la composition de cette suite et ses différents tirages.‎

‎Collis Paradisi Amoenitas, sev sacri conventus Assisiensis historiae libri II. Opus posthumum patris magistri Francisci Mariae Angeli a Rivotorto Ord. Min. S. Francisci Conventualium. In lucem editum Opera, & studio fratris Francisci Antonii Felicis Carosi de Monte Leone Provinciae Sancti Francisci eiusdem Ordinis Sacerdotis. Sanctissimo D. N. Clementi XI. Pont. Opt. Max. Edition originale du premier livre imprimé à Montefiascone, qui comporte la première histoire complète de la basilique Saint-François d’Assise.‎

‎Le grand livre illustré sur la cité d’Assise. Montefalisco (Montefiascone), Typographia Seminarii, 1704. In-4, (10) pp. dont 1 frontispice gravé, 104 pp., 78, (2), 16, 12 planches dont 11 dépliantes et 1 à pleine page. Plein veau brun, dentelle dorée encadrant les plats, dos lisse richement orné, doublures et gardes de papier polychrome, tranches rouges. Reliure du XVIIIe siècle. 283 x 190 mm.‎

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‎Première édition du premier livre imprimé à Montefiascone. Graesse, Trésor de livres rares et précieux, 127; Platner p. 50. Pas dans Lozzi. «Rare.» (Catalogue de la bibliothèque de S.E.D. Paolo Borgese). « Livre curieux, notamment pour les gravures dont il est orné» (Catalogue des livres provenant de la bibliothèque de l’Abbé Sébastien Donati). “’They say that the body of St. Francis is buried there in a place which they show, but the truth is that no one knows the exact spot, not even those in the monastery, except the Pope, one cardinal, and a brother of the monastery, to whom the Pope confides the secret.’ Thus the Spanish pilgrim Pero Tafur summarized his visit to the tomb of St. Francis at Assisi in the spring of 1436… In the sixteenth century, widespread belief in a lost tomb below the Church crystalized around the concept of a third, hidden church. Giorgio Vasari, in the 1550 edition of his famous ‘Lives’, discussed the Basilica of S. Francesco in terms of a tripartite structure: ‘Maestro Iacopo Tedesco designed a beautiful church and convent, built according to the model of three orders: one to act as a crypt, the others as two churches’. In the early years of the seventeenth century, a pilgrim’s pamphlet printed in Assisi graphically captured these beliefs in a series of engravings, while a groundplan and view of the ‘third church’ were included in the first comprehensive history of the Basilica, Francesco Maria Angeli’s ‘Collis Paradisi’, published posthumously in 1704”. (“The tomb of St. Francis in history, legend and art”) L’illustration superbe comporte 1 frontispice gravé orné des armoiries du pape et 12 gravures sur cuivre par Francesco de Providonis dont 11 dépliantes et 1 à pleine page. Bel exemplaire conservé dans sa reliure de l’époque de cet important ouvrage illustré sur l'histoire et l'art de la ville d'Assise et des lieux franciscains. ‎

‎I Longobardi a Venezia. Scritti per Stefano Gasparri‎

‎, Brepols, 2020 Paperback, 483 pages, Size:156 x 234 mm, Illustrations:14 b/w, 4 tables b/w., 4 maps b/w, Languages: Italian, English, French. ISBN 9782503586625.‎

‎Summary Gli scritti di Stefano Gasparri hanno contribuito in modo fondamentale allo sviluppo della medievistica in Italia ed Europa. La sua capacit di leggere le fonti con uno sguardo sempre nuovo e attento, ci ha offerto originali interpretazioni degli intricati secoli medievali. Argomenti di rilevanza internazionale, come la storia sociale, culturale e politica italiana ed europea, le origini di Venezia o le molteplici identit etniche delle gentes altomedievali, sono sempre stati affrontati con fresca criticit e avvalendosi di discipline, quali la paleografia, l'epigrafia o l'archeologia. TABLE OF CONTENTS Irene Barbariera, Francesco Borri & Annamaria Pazienza, I Longobardi a Venezia. Viaggio in un Medioevo mai concluso I: I Longobardi, il regno e l'Italia Cristina La Rocca, Teodorico, nonno post romano Irene Barbariera, Sexy Scars and Striking Wisdom. The Construction of Masculinity in Gothic Italy Francesco Borri, Re Clefi (572-74) Aldo A. Settia, L'insula Sancti Iuliani. Un presunto ducato longobardo Lidia Capo, Dimensione letteraria e ragioni storiografiche. Il caso dell'Historia Langobardorum Vasco La Salvia, The Smiths in Early Medieval Italy. From Social Identity to Craftsmen Specialisation Annamaria Pazienza, Mobilit interna. Lavoratori e donne in movimento nel Regno longobardo Jean-Marie Martin, Gahagium. Le mot, les r alit s et les institutions (VIIe-VIIIe si cle) Flavia de Rubeis, Un diacono, un codice, una storia. La Historia langobardorum a Montecassino alla fine dell'VIII secolo Giuseppe Albertoni, Un desiderio imperiale. Eginardo, Carlo Magno e l'elefante Abul Abbas R gine Le Jan, M moire et politique. Les rois d'Italie dans les libri memoriales de Salzbourg, Saint-Gall, Pf fers et Reichenau (fin VIIIe-d but IXe si cle) Francesco Veronese, Un franco (anzi, due) in Brianza: Gli ultimi anni di Ugo di Tours e sua moglie Ava (834-39) Maddalena Betti, Papa Giovanni VIII e l'aristocrazia romana. La fuga dei "Tarquini", aprile 876 Marco Stoffella, In vico Gussilingus. Comunit locali, ufficiali pubblici minori e amministrazione della giustizia nella Verona carolingia Fran ois Bougard, T moigner en justice Plaisance aux IXe-Xe si cles. Autour d'un breve in dit Tiziana Lazzari, Bertha, amatissima. L'azione politica della figlia di Berengario I, Badessa di S. Sisto e di S. Salvatore di Brescia, nel regno italico del secolo X Igor Santos Salazar, Judicial records as History. The case of the Regnum Italiae in Tenth and Eleventh Centuries II: Venezia, l'Adriatico e il Mediterraneo Salvatore Liccardo, Prelati sunt tituli gentium nomina continentes. A proposito del larterculus etnico del trionfo di Aureliano (HA, 33-34) Salvatore Cosentino, Bankers as Patrons in Late Antiquity Pablo C. D az, Honorio I y la Iglesia hispana del siglo VII Thomas S. Brown, 680 (?) and All That. A Problematic Turning Point in the History of Early Medieval Italy I aki Mart n Viso, El reino y las sociedades locales en la Hispania visigoda Yuri A. Marano, Le sete del patriarca Fortunato Sauro Gelichi, Il vescovo Stefano e Comacchio nel IX secolo Veronica West-Harling, The Doges and the Church of Venice. An Unusual Early Medieval Relationship III: Milites, citt , e l'Europa tardomedievale Anna Rapetti, Comunit benedettine nello spazio del Veneto medievale Sandro Carocci, Lo strano caso di Villamagna. Archeologia e fonti scritte della signoria e delle societ rurali (X-XIV secolo) Laurent Feller, L' criture de l'histoire du Mont-Cassin au XIIe si cle. Chroniques et documentation pragmatique Fran ois Menant, Choix politiques et volution sociale des lites communales italiennes. Quelques tudes de cas sur Cr mone Alfio Cortonesi, Terre e paesaggi lungo la via Francigena nel tardo medioevo. Dalla Val d'Arbia verso la Val d'Orcia IV: Fonti, metodi e nuovi indirizzi di ricerca Alessia Rovelli, Note per una storia anche monetaria dell'Italia nella prima et Longobarda Vito Lor , Rischi e limiti della comparazione. Documenti d'archivio e Italie longobarde nell'VIII secolo Antonella Ghignoli, Parole di vescovi, diplomi di sovrani. Ancora sul testo di D Ko. II. 208 Marco Pozza, La Documentazione vescovile veneziana dei secoli XI-XII. Caratteristiche e sviluppi Nicoletta Giov Marchioli, La maiuscola gotica epigrafica nell'Italia settentrionale. Il caso di Padova Gianmaria Varanini, Le "pergamene maffeiane" della Biblioteca Capitolare di Verona trascritte o regestate da Carlo Cipolla nel 1879 Chris Wickham, Conclusion Tabula gratulatoria‎

‎RACCOLTA DELLE POESIE.‎

‎ Masi, Londra (ma Livorno), 1781. In-24 gr., mz. pelle coeva, ricchi fregi e tit. oro su tassello al dorso, pp. (6),XXIX,276, con ritratto dell'A. eseguito da Gio. Lapi e bel frontespizio allegorico racchiuso da cornice, inc. su rame. La raccolta è preceduta dalla Vita di Francesco Redi scritta da Salvino Salvini. Seguono: "Bacco in Toscana. Arianna Inferma. Sonetti. Poesie". In aggiunta alla raccolta: Lettere del signor Francesco Redi appartenenti a cose di Lingua, ed al Dizionario della Crusca. Cfr. Gamba,831 - Prandi "Bibliografia delle Opere di Francesco Redi", p. 20, n. 105. Lieviss. alone marginale sulle prime 10 carte, altrimenti ben conservato.‎

‎De l’utilité de la fièvre. ( Tirage unique à 350 exemplaires signés et numérotés par Marie Mallard et Francesco Rapazzini ).‎

‎ Editions Zanpano 2011. In-8 reliure éditeur 32 pages au format 16,8 x 23,7 cm. Belle couverture illustrée. Nouvelles fantastiques de Francesco Rapazzini avec de superbes illustrations de Marie Mallard. Postface de Danielle Gasquet. Tirage unique à 350 exemplaires signés et numérotés par Marie Mallard et Francesco Rapazzini ( n° 224 ). Rare édition originale totalement épuisée en état proche du neuf.‎

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‎ Site Internet : Http://librairie-victor-sevilla.fr.Vente exclusivement par correspondance. Le libraire ne reçoit, exceptionnellement que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.Forfait de port pour un livre 7 €, sauf si épaisseur supérieure à 3 cm ou valeur supérieure ou égale à 100 €, dans ce cas expédition obligatoire au tarif Colissimo en vigueur. A partir de 2 livres envoi en colissimo obligatoire. Port à la charge de l'acheteur pour le reste du monde.Les Chèques ne sont plus acceptés.Pour destinations extra-planétaire s'adresser à la NASA.Membre du Syndicat Lusitanien Amateurs Morues‎

‎Spes Italiae. Il regno di Pipino, i Carolingi e l'Italia (781-810)‎

‎, Brepols, 2023 Paperback, 434 pages, Size:156 x 234 mm, Illustrations:4 col., 1 maps b/w, Language(s):Italian, French, English. ISBN 9782503599465.‎

‎Summary Il regno di Pipino, figlio di Carlo Magno, stato a lungo trascurato dalla ricerca storica, nonstante la sua importanza per l'Italia, le regioni transalpine e il mondo carolingio nel suo insieme. I contributi qui raccolti, esito di due convegni tenutisi a Trento e a Vienna, mettono in luce con approcci diversi e innovativi i molteplici aspetti della cultura del suo regno, la sua azione politica e militare e la rappresentazione che ne diedero i contemporanei. Questo volume, pertanto, offre un sguardo inedito su Pipino; nuove prospettive di ricerca su un sovrano dimenticato. TABLE OF CONTENTS Illustrazioni Abbreviazioni Giuseppe Albertoni e Francesco Borri, Introduzione: Pipino, un sovrano dimenticato La nascita del Regnum Italiae e l'alba di una nuova era Fran ois Bougard, De Charlemage P pin. L'affermissement du r gime carolingien en Italie (780-782) Stefano Gasparri, The Dawn of Carolingian Italy. Central Government and Local Powers Alfons Zettler, ber die Verbindungen K nig Pippins von Italien mit Verona Bernhard Zeller, Waldo von St. Gallen/ Reichenau als baiolus atque praecipuus operator in Italien L'Italia, i regna, le frontiere Walter Pohl, Pippin and the Avars Peter ?tih Pippin, Istrien und die Welt stlich von Italien Giulia Zornetta, Sempre ero liber, credo, tuente Deo. Pippin, Grimoald III, and Lombard Southern Italy Annamaria Pazienza & Francesco Veronese, Pipino e la questione veneziana. Immagine e rappresentazione di un sovrano carolingio Marco Stoffella, Pipino e la Divisio regnorum del 6 febbraio 806 Carl I. Hammer, Dilectissimus Filius Noster Pippinus Rex Longobardorum. Bavaria, Alemannia and the Divisio Regnorum of 806 Igor Santos Salazar, Visti dagli altri. I primi Carolingi nella frammentazione ispanica (770-820) Raccontare la grandezza: re Pipino nelle testimonianze contemporanee Herwig Wolfram, Pippin von Italien (781-810) und St. Benedikt in Mals Fran ois Bougard, Two Portraits of Pippin Cinzia Grifoni, Un giovane promettente. La rappresentazione alcuiniana di Pipino d'Italia nella Disputatio Pippini cum Albino (con traduzione italiana del testo) Giuseppe Albertoni, A proposito di Pipino re guerriero. I poemi, le lettere Francesco Borri, Lumen in tenebris: storiografia e identit nell'Italia di Pipino Christopher Heath, Spes Bardorum: The Dimensions of Identity in the Historia Langobardorum of Paul the Deacon Rachel Stone, Paulinus of Aquileia, Pippin of Italy and the Virtuous Nobleman Clemens Gantner, The Silence of the Popes. Why King Pippin of Italy was Hardly ever Mentioned in the Papal Writings of the Time Rutger Kramer, To Heir is Human. Louis the Pious, Charles the Younger and Pippin of Italy in Ermold the Black's Carmen in Honorem Hludowici Cristina La Rocca, Conclusioni: Pipino, identit , narrazioni e contesti di una biografia‎

‎Pianta delle fabriche esistenti nella Villa Adriana. Piranèse conservé dans ses reliures romaines de l’époque.‎

‎Précieuse réunion de quatre ouvrages importants sur l’architecture classique et l’histoire de l’art, tous somptueusement reliés de manière uniforme en veau orné de l’époque. Piranesi, Francesco. Pianta delle fabriche esistenti nella Villa Adriana. (Rome, 1781). - Et: [Monumenti degli Scipioni pubblicati dal cavaliere Francesco Piranesi. Rome: 1785.] [And:] - Peintures de la Sala Borgia, au Vatican. Paris: Piranesi & Leblanc, Rome: Piroli, An II-1803. [Bound with:] - Peintures de la Villa Lante a Rome. Paris: Piranesi & Leblanc, Rome: Piroli, Xn II-1803. Hamilton, G. Schola Italica Picturae … incisae cura et impensis Gavin Hamilton. Rome, 1773. 4 volumes in-folio, veau brun, décor doré, grand losange central brun avec des fleurs stylisées, des têtes d'anges et de lions et une couronne évoquant la couronne papale, large bande en encadrement, de teinte plus sombre, ornée de feuillages et de dessins floraux, de motifs d'urne et de têtes de lions aux angles, dos à nerfs ornés de motifs dorés refaits, tranches dorées. Riche reliure romaine de l'époque. 533 x 360 mm / 530 x 395 mm / 552 x 400 mm / 632 x 460 mm.‎

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‎[video width="1684" height="1080" mp4="https://www.camillesourget.com/wp-content/uploads/2024/07/PIRANESE.mp4"][/video] Précieuse réunion de quatre ouvrages importants sur l’architecture classique et l’histoire de l’art, tous somptueusement reliés de manière uniforme en veau orné de l’époque. L’ensemble comporte trois ouvrages de Francesco Piranèse (1756-1810) et un ouvrage de Gavin Hamilton (1723-1798). L’illustration consiste en 1 plan sur 6 feuilles, 6 gravures, 12 gravures sur 6 feuilles et 16 gravures sur 8 feuilles pour les ouvrages de Piranèse, et 1 titre gravé et 39 planches par Cunego et Volpato pour l’ouvrage de Hamilton. ‎

‎Nicola Francesco Haym, Thesauri Britannici, 1763, Vienna‎

‎In Latin. Short description: Nicola Francesco Haym. Thesauri Britannici, seu Museum Numarium, quo continentur numi Graeci et Latini, omnis metalli et formae, necdum editi ab autore ipso coelati. Vindobon?, Vienna, 1763-1765. Richly illustrated full-leather edition by Nicola Francesco Jaim (1678 - 1729) - Italian opera librettist, composer, theater manager and numismatist. He is best known for his adaptations for the adaptation of texts in the libretto for the London operas by George Friedrich Handel and Giovanni Bononcini. He was also a bibliographer and author of the book Biblioteca Italiana, o sia Notizia de 'Libri Rari nella lingua Italiana - a bibliography of Italian books from the beginning of printing until 1715, compiled in 1726. He published his book on numismatics in 1719-20 - Del tesoro britannico parte prima is the first work on ancient Greek and Roman coins in the British Museum collection to be printed in London in Italian. Thesauri Britannici, seu, Museum numarium quo continentur numi Graeci et Latini, omnis metalli et formae, necdum editi, ab autore ipso caelati is the rarest copy that presents a collection of more than 500 engravings of ancient coins on 296 pages. The edition also contains indexes and prefaces. The 1763 edition is the first publication of the book in Latin. Please feel free to contact us for a detailed description of the copies available. SKUMS000905 kn_nat‎

‎GIANNI FRANCESCO in Pavia 1795, 81 x 137 mm, 115 & 103 pp., Poesie di francesco Gianni & Versi estemporanei di Francesco Gianni raccolti da alcuni suoi amici, (tomi 1 & 2), reliure demi-cuir, intérieur frais, angles frottés par ailleurs bel exemplaire Bien rare‎

‎La Messalina.‎

‎Venise, Giacomo Sarzina, 1633. In-12 (145 x 92 mm), 91 pp. Veau fauve marbré, filet d'encadrement à froid sur les plats, dos lisse orné à la grotesque, pièce de titre en maroquin rouge, filet doré sur les coupes, tranches rouges, fente au mors supérieur, une coiffe abimée (reliure du XVIIIe siècle).‎

‎Seconde et meilleure édition, en partie originale. Cette seconde édition fut augmentée par l'auteur et enrichie de notes dans les marges. C'est la première édition séparée de ce texte qui parut pour la première fois en 1627 dans un recueil de plusieurs pièces. Cet ouvrage est l'initiateur en Italie du roman historiqueau XVIIe siècle. “La Messaline de l'écrivain et médecin véronais Francesco Pona (1595-1655), membre de l'illustre Académie libertine des Incogniti, est un bref roman historique, le premier du genre en Italie, à une époque qui voit la naissance du roman moderne. Nourri des Annales de Tacite et des Satires de Juvénal, ce récit décrit la déchéance d'une impératrice érotomane, en mêlant des éléments propres au genre historique (personnages dont l'existence est avérée dans l'Histoire, narrateur omniscient, respect de l'ordre chronologique des événements) et une analyse de type pathologique visant à faire de l'impératrice débauchée à la fois un contre-exemplum moral et un modèle de tératologie quasi clinique. L'œuvre est également remarquable par son style, qui tranche avec celui des romans contemporains : sec, souvent lapidaire, avec un lexique technique qui rappelle la formation de médecin de l'écrivain. Le récit fait ainsi alterner développements biographiques, énoncés moralisateurs et observations médicales, élevant in fine le personnage de Messaline au rang de figure mythique.” (Jean-François Lattarico). Savant italien du XVIIesiècle, Francesco Pona fut à la fois médecin et poète mariniste, homme de sciences et philosophe. Il écrivit des traités scientifiques, une histoire de la poésie et plusieurs pièces de théâtre. Il fut membre de plusieurs académies savantes: l'Accademia dei Gelati de Bologne, sous le pseudonyme de L'Incurvato, l'Accademia dei Filarmonici de Vérone, sous le pseudonyme de L'Insaziabile, l'Accademia degli Incogniti de Venise, sous le pseudonyme de L'Assicurato, l'Accademia degli Invaghiti de Mantoue, sous le pseudonyme de L'Improntato, et enfin l'Accademia Olimpica de Vicence. Exemplaire en veau du XVIIIe siècle au dos décoré à la grotesque. Graesse, Trésor de livres rares et précieux, V, p. 403. Francesco Pona, La Messaline, notes et traduction de Jean-François Lattarico, Saint-Etienne, 2009.‎

‎Opere di Francesco Redi... Tomo primo.‎

‎Venezia Per Gio. Gabbriello Ertz 1712 1 vol. relié fort vol. in-8, plein vélin ivoire de l'époque avec le titre manuscrit au dos, 39 + (2) + 204 + (2) + 223 + (1) + 54 pp., en-tête gravé, 2 vignettes dans le texte et 68 planches gravées hors-texte, dont 4 dépliantes, lettrines et culs-de-lampe, index. Ce premier volume (sur trois) - complet en soi - rassemble les oeuvres entomologiques et parasitologiques du médecin, naturaliste et philosophe Francesco Redi (1626-1698), illustrées de gravures d'une grande finesse représentant insectes et parasites : Esperienze intorno alla generazione degl'insetti ; Osservazioni intorno agli animali viventi... ; Osservazioni intorno a' pellicelli del corpo umano... Précédé de sa vie par Abate Salvino Salvini. Déchirures à 1 feuillet et à 2 planches dépliantes, sans manque. Deux petits manques au dos, sinon exemplaire frais dans sa reliure d'époque.‎

‎IL REALISMO‎

‎Società Editrice 'Vita e Pensiero'. 1936. In-8. Broché. Etat du neuf, Tâchée, Dos satisfaisant, Intérieur acceptable. 150 pages. Etiquette de code sur le dos. Tampons et annotations de bibliothèque sur le 1e plat et en page de titre. Tampon d'Hommage en page de garde.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Il superrealismo di Francesco Orestano. Realtà, realismo e superrealismo... Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Lugano e il suo lago da un taccuino di disegni di Carlo e Francesco Edoardo Bossoli. Lugano et son lac / Lugano und sein See / Lugano and its lake.‎

‎Milan, Edizioni Il Polifilio / Banca della Svizzera Italiana, 1988. Grand in-4 de [2]-98-[4] pages, cartonnage bleu, titre au premier plat, étui accordé. ‎

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‎Illustré de dessins légendés à pleine page et en couleurs de Carlo et Francesco Edoardo Bossoli. Edité pour la Banque de la Suisse italienne, en quatre langues: Italien, français, allemand, anglais. Bien belle condition. ‎

‎7 junge K nstler aus Italien - Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola de Maria, Luigi Ontani, Mimmo Paladino, Ernesto Tatafiore. 7 junge K nstler aus Italien. Kunsthalle Basel, 11. Mai bis 22. Juni 1980; Museum Folkwang Essen, 17. Oktober bis 30. November 1980; Stedelijk Museum Amsterdam, 12. Dezember 1980 bis 13. Januar 1981.‎

‎Basel-Essen-Amssterda, , 1980 Original box with 7 small single catalogs in box, complete.‎

‎1st large international group exhibition of the Italian Transavanguardia: Kunsthalle Basel / Museum Folkwang Essen / Stedelijk Museum Amsterdam, 1980-1981. 7 individual catalogs, each designed by the artists themselves (in different sizes) and 1 additional catalog (52 pp.) in original cardboard box (22.5 : 16.2 cm). with illustrated title label. Edition of 900 copies. Catalog Sandro Chia. Paintings and drawings (with 53 illus.), Catalog Francesco Clemente. Adyar, Gennaio 1980. works on paper (with 24 color illus.), Catalog Enzo Cucchi. Eroe delle campagne marchigiane. Paintings and drawings (with 31 illus.), Catalog Nicola De Maria. Musica - Occhi (rooms, 12 double cards in cardboard box), Catalog Luigi Ontani, Catalog Mimmo Paladino. Pictures (with 11 color illustrations of rare early works!), Catalog Ernesto Tatafiore. Historia (Robespierre cycle) The additional catalog contains forewords and biographies of the artists as well as the translations of the texts and titles of the paintings that are found in the catalogs conceived and supervised by the artists themselves. Texts by J.-C.Ammann, Achille Bonito Oliva and Germano Celant. - ‎

‎Inganni della via spirituale‎

‎In Venezia, presso Giuseppe Corona, 1732, in-8, [12]-600 pp, Vélin souple de l'époque, Texte sur deux colonnes. Nouvelle édition (l'originale de de Bologne, Francesco Cattanio, 1632). Francesco Stadiera (1574-1630), né à Bologne entra au noviciat en 1591. Il mourut en soignant les pestiférés. Cachet et étiquette ex-libris du collège romain ; cachet de bibliothèque universitaire à Brno. Petits accrocs sur la page de titre, rousseurs. Étiquette sur le plat supérieur. De Baecker-Sommervogel V, n° 1467. Couverture rigide‎

‎Bon [12]-600 pp.‎

‎STATUTEN FUR DEN OSTERREICHISCH-KAISERLICHER ORDEN DER EISERNEN KRONE / STATUTI PER L'ORDINE IMPERIALE AUSTRIACO DELLA CORONA DI FERRO.‎

‎Per supremo ed espresso ordine di S.M.I.R.A., il Consigliere Aulico, Conte di Mercy. (Milano), (1816). In folio (mm. 429x290), bella legatura in mz. pelle nera coeva, piatti in percallina di colore blu con ricca cornice dorata, tagli dorati, risg. in seta damascata, pp. 16 (testo tedesco); pp. (12) testo italiano; con 5 magnifiche tavole, inc. in rame e disegnate da Philipp von Stubenrauch, che raffigurano vesti dei Cavalieri dell'Ordine, decorazioni, medaglie, fregi. "Edizione originale" di questi statuti, suddivisi in 24 articoli. Tra gli ordini cavallereschi che prendono il nome dalla Corona e ora estinti, si trova l'Ordine della Corona di Ferro, del Regno d'Italia, istituito da Napoleone I nel 1805 per perpetuare il ricordo della sua incoronazione a re d'Italia, ripristinato, con nuovo statuto, per il regno Lombardo-Veneto dall'imperatore Francesco I nel 1816, poi incorporato tra gli ordini cavallereschi austriaci (così Diz. Encicl. Treccani,III, p. 544). Testo in tedesco fiorito; solo qualche fiorit. margin. su quello italiano, fresche e molto ben conservate le tavole.‎