Ariosto, Ludovico. Orlando furioso di M. Ludovico Ariosto nouissimamente alla sua integrita ridotto & ornato di varie figure. Con alcune stanze del s. Aluigi Gonzaga in lode del medesimo. Aggiuntovi per ciascun canto alcune allegorie, et nel fine una breve espositione et tavola di tutto quello, che nell’ opera si contiene et nel fine vna breve espositione. Venice: Gabriele Giolito de Ferrari, 1546 [with second part]
Lodovico Dolce. L’Espositione di tutti i vocaboli, et luoghi difficili, che nel Libro si trouano; Con una brieue Dimostratione di molte comparationi & sentenze dell’Ariosto in diuersi auttori imitate. Venice: Gabriele Giolito de Ferrari, 1546
Antoine Perrenot de Granvelle (1517–1586) studied at Padua, Pavia, and Louvain, and through the influence of his father, an influential advisor to the Emperor Charles V, was appointed Bishop of Arras at the age of twenty-one. In his episcopal capacity, he attended several diets of the Empire, proved his abilities in a succession of diplomatic assignments, and in 1550 succeeded his father as secretary of state. At an unknown date, Granvelle began to patronize the Venetian bookseller and printer Gabriele Giolito (their earliest surviving communication is dated 1 October 1547; see Nuovo & Coppens, I Giolito e la stampa: nell’Italia del XVI secolo [Geneva 2005], pp. 279-305, for transcripts of nineteen letters). In 1547, Giolito (probably with assistance) gathered some 300 volumes—Aldine press books, vernacular Italian books from his and other presses, and Greek manuscripts—and dispatched them in four crates to Granvelle in Augsburg.
The great majority of the books in these shipments were bound by the largest producer of fine bindings in Venice, known as the “Fugger Binder” on account of his work for Johann Jakob Fugger. He was working closely with Giolito, binding more of Giolito’s books than those from any other press, and his good materials, techniques, and attractive designs won him ducal commissions, and a reputation that extended far beyond Venice. The Fugger Binder bound the Aldines in the 1547 shipments in skins of varied colors, the Greek manuscripts exclusively in red, and all the books in Italian in olive-green morocco tooled in silver.
On this and other volumes in the 1547 shipments, a band was painted (in blue, or purple) across the gilt fore-edges to form a rectangular label, and the title written thereon in gold letters. This innovation, an attempt to replicate the appearance of classical libraries, has been credited to Paolo Manuzio, who in 1541–1542 distributed presentation copies of his classical publications with such horizontal fore-edge titles. Granvelle received one of Manuzio’s presentation copies via Diego Hurtado de Mendoza, probably in early 1543, when he was contemplating the creation of a large library. After a hiatus of three or four years, Granvelle adopted the practice, conceiving a library in which the books are shelved vertically, with the fore-edge outward. (Please see Brooker, “Paolo Manutio’s Use of Fore-Edge Titles for Presentation Copies (1540–1541): Part I [Part II],” in The Book Collector 46 [1997], pp. 27–68, 193–209, as well as Brooker, ed., Index of Best Authors by Subject Classification compiled in 1547 by Antoine Morillon for Antoine Perrenot de Granvelle including a Selection of Greek Manuscripts in the Library of Diego Hurtado de Mendoza, n.p., 2014, pp. 13-17). Subsequently, perhaps in Besançon, Granvelle’s woodcut armorial stamp (lettered “Durate”, a motto taken from the Aeneid, I, 207) was added on a blank page in each volume; it appears here on the verso of the title-page.
Ariosto’s epic evidently appealed to Granvelle, as he owned at least four other copies: Giolito’s edition of 1536 (Besançon, Bibliothèque Municipale, 242338; Waille, op. cit., 1368b), the Aldine edition of 1545 (Austin, University of Texas, Uzielli 255), Giolito’s edition of 1553 (Besançon, BM 242375; Waille 1183), and an unidentified edition (Waille 1599). Granvelle’s ownership of second copy of the same 1546 edition (Vienna, Österreichische Nationalbibliothek, *35.P.46 ALT), likewise bound by the Fugger Binder in green goatskin (Piquard/Brooker Type B binding), is unconfirmed (cf. Tammaro De Marinis, La Legatura artistica in Italia, Florence, 1960, no. 2342).
The illustrations in this edition of Orlando Furioso are printed from woodblocks protected by a privilege obtained by Giolito from the Venetian Senate in 1541, and first used in 1542. The original dedication by the publisher to Henri de Valois, dauphin of France, who had married Catherine de’ Medici in 1533, is reprinted.
2 parts in on volume, 8vo (227 x 151 mm). Italic and roman types, 40 lines, usually in double columns, plus headline. collation: A–Z8 AA–KK8; *8 **8 ***8 ****6: 294 leaves. Elaborate historiated woodcut title border incorporating Giolito’s phoenix device, section-title for second part with woodcut imprint frame and woodcut medallion portrait of Ariosto on verso, 46 woodcuts (one at the head of each canto), historiated woodcut initials, woodcut variant of Giolito’s phoenix device on ****6v. (Title-page trimmed at head and very slightly frayed at foot.)
binding: Contemporary Venetian olive-green goatskin (233 x 155 mm) by the Fugger Binder for Antoine Perrenot de Granvelle (Piquard’s Type A), covers showing blind impressions from the planning of the design, covers richly silvered, multiple rectangular borders formed by silvered and blind fillets, frame containing repeated knotwork tool, bud and leaves at outer mid-points, large arabesque corner pieces, undulating lozenge containing cartouche of curved foliate tools, apple at sides and fleuron at head and tail of cartouche, apple as finials to lozenge, traces of 4 pairs of blue and white alternating ties, spine with 3 full and 4 half bands, edges silvered, blue title label painted across fore-edges between remnants of ties, title lettered in gold. (Extremities rubbed, small stain or burn on rear cover, silver oxidized.)
provenance: Antoine Perrenot de Granvelle (armorial ink-stamp on verso of title-page) — posthumous “Inventaire du mobilier, de la bibliothèque et de la galerie du Palais Granvelle à Besançon, 1607,” f. 60v: “Ariosto / 12 gros” (Besançon, Bibliothèque municipale, Ms 1627, ff.38-80; Marie-Claire Waille, no. 1284) — Charles-François-de la Baume-Saint-Amour (1632–ca. 1707) — unidentified sixteenth/seventeenth-century owner(s), shelf numbers “125” (?) and “519” at head of title-page — possibly Jean-Baptiste Boisot (1638–1694), abbé de Saint-Vincent de Besançon (title trimmed at head; to remove ownership inscription “J.B. Boisot”?) — Jean-Antoine de Tinseau (1697–1782), Bishop of Belley (1745–1751), then of Nevers (1751–1782) — Antoine Pierre Thérèse Philibert de Tinseau (1780–1857; Delbergue-Cormont & Adolphe Labitte, Catalogue des livres composant l’ancienne bibliothèque du château de Saint-Ylie (dans le Jura) fondée par Jean-Antoine de T***, évêque de Belley et de Nevers, Paris, 3–25 November 1869, lot 2006), purchased by — Antoine-Laurent Potier, Paris (FF 1400) — Edmund Denie (1882–1944) — Georges Moorthamers, Antwerp (Sotheby’s London, 6–7 February 1951, lot 31) purchased by — Maggs Bros., London (£36) — Pierre Berès, Paris (Catalogue 93, [2004], item 10, €60,000). acquisition: Purchased from Pierre Berès through Robin Halwas, 2015.
references: Edit16 2641; USTC 810636; Bongi, Annali di Gabriel Giolito de’ Ferrari I, p. 126; Agnelli & Ravegnani, Annali delle edizioni ariostee, p. 74; for this and related bindings, see: Piquard, “Les livres du Cardinal de Granvelle à la Bibliothèque de Besançon. Les reliures Italiennes,” in Libri 1 (1951), pp. 301–323 (nb: Piquard’s identification of four binding styles [A, B, C, and alla greca] is followed by Brooker); Brooker, “Identifying Books by Colors,” in Bibliophilies et reliures: mélanges offerts à Michel Wittock (Brussels 2006), pp. 65-107: Appendix 4: Library of Antoine Perrenot de Granvelle. Types of Venetian Bindings, 1547 shipment. Type A, no. 4; Waille, La bibliothèque des Granvelle: inventaire des livres et manuscrits présents au Palais Granvelle en 1607 (Besançon 2017), p. 150, no. 1284 (edition misidentified).
Ariosto, Ludovico. Orlando furioso di M. Ludovico Ariosto nouissimamente alla sua integrita ridotto & ornato di varie figure. Con alcune stanze del s. Aluigi Gonzaga in lode del medesimo. Aggiuntovi per ciascun canto alcune allegorie, et nel fine una breve espositione et tavola di tutto quello, che nell’ opera si contiene et nel fine vna breve espositione. Venice: Gabriele Giolito de Ferrari, 1546 [with second part]
Lodovico Dolce. L’Espositione di tutti i vocaboli, et luoghi difficili, che nel Libro si trouano; Con una brieue Dimostratione di molte comparationi & sentenze dell’Ariosto in diuersi auttori imitate. Venice: Gabriele Giolito de Ferrari, 1546
Antoine Perrenot de Granvelle (1517–1586) studied at Padua, Pavia, and Louvain, and through the influence of his father, an influential advisor to the Emperor Charles V, was appointed Bishop of Arras at the age of twenty-one. In his episcopal capacity, he attended several diets of the Empire, proved his abilities in a succession of diplomatic assignments, and in 1550 succeeded his father as secretary of state. At an unknown date, Granvelle began to patronize the Venetian bookseller and printer Gabriele Giolito (their earliest surviving communication is dated 1 October 1547; see Nuovo & Coppens, I Giolito e la stampa: nell’Italia del XVI secolo [Geneva 2005], pp. 279-305, for transcripts of nineteen letters). In 1547, Giolito (probably with assistance) gathered some 300 volumes—Aldine press books, vernacular Italian books from his and other presses, and Greek manuscripts—and dispatched them in four crates to Granvelle in Augsburg.
The great majority of the books in these shipments were bound by the largest producer of fine bindings in Venice, known as the “Fugger Binder” on account of his work for Johann Jakob Fugger. He was working closely with Giolito, binding more of Giolito’s books than those from any other press, and his good materials, techniques, and attractive designs won him ducal commissions, and a reputation that extended far beyond Venice. The Fugger Binder bound the Aldines in the 1547 shipments in skins of varied colors, the Greek manuscripts exclusively in red, and all the books in Italian in olive-green morocco tooled in silver.
On this and other volumes in the 1547 shipments, a band was painted (in blue, or purple) across the gilt fore-edges to form a rectangular label, and the title written thereon in gold letters. This innovation, an attempt to replicate the appearance of classical libraries, has been credited to Paolo Manuzio, who in 1541–1542 distributed presentation copies of his classical publications with such horizontal fore-edge titles. Granvelle received one of Manuzio’s presentation copies via Diego Hurtado de Mendoza, probably in early 1543, when he was contemplating the creation of a large library. After a hiatus of three or four years, Granvelle adopted the practice, conceiving a library in which the books are shelved vertically, with the fore-edge outward. (Please see Brooker, “Paolo Manutio’s Use of Fore-Edge Titles for Presentation Copies (1540–1541): Part I [Part II],” in The Book Collector 46 [1997], pp. 27–68, 193–209, as well as Brooker, ed., Index of Best Authors by Subject Classification compiled in 1547 by Antoine Morillon for Antoine Perrenot de Granvelle including a Selection of Greek Manuscripts in the Library of Diego Hurtado de Mendoza, n.p., 2014, pp. 13-17). Subsequently, perhaps in Besançon, Granvelle’s woodcut armorial stamp (lettered “Durate”, a motto taken from the Aeneid, I, 207) was added on a blank page in each volume; it appears here on the verso of the title-page.
Ariosto’s epic evidently appealed to Granvelle, as he owned at least four other copies: Giolito’s edition of 1536 (Besançon, Bibliothèque Municipale, 242338; Waille, op. cit., 1368b), the Aldine edition of 1545 (Austin, University of Texas, Uzielli 255), Giolito’s edition of 1553 (Besançon, BM 242375; Waille 1183), and an unidentified edition (Waille 1599). Granvelle’s ownership of second copy of the same 1546 edition (Vienna, Österreichische Nationalbibliothek, *35.P.46 ALT), likewise bound by the Fugger Binder in green goatskin (Piquard/Brooker Type B binding), is unconfirmed (cf. Tammaro De Marinis, La Legatura artistica in Italia, Florence, 1960, no. 2342).
The illustrations in this edition of Orlando Furioso are printed from woodblocks protected by a privilege obtained by Giolito from the Venetian Senate in 1541, and first used in 1542. The original dedication by the publisher to Henri de Valois, dauphin of France, who had married Catherine de’ Medici in 1533, is reprinted.
2 parts in on volume, 8vo (227 x 151 mm). Italic and roman types, 40 lines, usually in double columns, plus headline. collation: A–Z8 AA–KK8; *8 **8 ***8 ****6: 294 leaves. Elaborate historiated woodcut title border incorporating Giolito’s phoenix device, section-title for second part with woodcut imprint frame and woodcut medallion portrait of Ariosto on verso, 46 woodcuts (one at the head of each canto), historiated woodcut initials, woodcut variant of Giolito’s phoenix device on ****6v. (Title-page trimmed at head and very slightly frayed at foot.)
binding: Contemporary Venetian olive-green goatskin (233 x 155 mm) by the Fugger Binder for Antoine Perrenot de Granvelle (Piquard’s Type A), covers showing blind impressions from the planning of the design, covers richly silvered, multiple rectangular borders formed by silvered and blind fillets, frame containing repeated knotwork tool, bud and leaves at outer mid-points, large arabesque corner pieces, undulating lozenge containing cartouche of curved foliate tools, apple at sides and fleuron at head and tail of cartouche, apple as finials to lozenge, traces of 4 pairs of blue and white alternating ties, spine with 3 full and 4 half bands, edges silvered, blue title label painted across fore-edges between remnants of ties, title lettered in gold. (Extremities rubbed, small stain or burn on rear cover, silver oxidized.)
provenance: Antoine Perrenot de Granvelle (armorial ink-stamp on verso of title-page) — posthumous “Inventaire du mobilier, de la bibliothèque et de la galerie du Palais Granvelle à Besançon, 1607,” f. 60v: “Ariosto / 12 gros” (Besançon, Bibliothèque municipale, Ms 1627, ff.38-80; Marie-Claire Waille, no. 1284) — Charles-François-de la Baume-Saint-Amour (1632–ca. 1707) — unidentified sixteenth/seventeenth-century owner(s), shelf numbers “125” (?) and “519” at head of title-page — possibly Jean-Baptiste Boisot (1638–1694), abbé de Saint-Vincent de Besançon (title trimmed at head; to remove ownership inscription “J.B. Boisot”?) — Jean-Antoine de Tinseau (1697–1782), Bishop of Belley (1745–1751), then of Nevers (1751–1782) — Antoine Pierre Thérèse Philibert de Tinseau (1780–1857; Delbergue-Cormont & Adolphe Labitte, Catalogue des livres composant l’ancienne bibliothèque du château de Saint-Ylie (dans le Jura) fondée par Jean-Antoine de T***, évêque de Belley et de Nevers, Paris, 3–25 November 1869, lot 2006), purchased by — Antoine-Laurent Potier, Paris (FF 1400) — Edmund Denie (1882–1944) — Georges Moorthamers, Antwerp (Sotheby’s London, 6–7 February 1951, lot 31) purchased by — Maggs Bros., London (£36) — Pierre Berès, Paris (Catalogue 93, [2004], item 10, €60,000). acquisition: Purchased from Pierre Berès through Robin Halwas, 2015.
references: Edit16 2641; USTC 810636; Bongi, Annali di Gabriel Giolito de’ Ferrari I, p. 126; Agnelli & Ravegnani, Annali delle edizioni ariostee, p. 74; for this and related bindings, see: Piquard, “Les livres du Cardinal de Granvelle à la Bibliothèque de Besançon. Les reliures Italiennes,” in Libri 1 (1951), pp. 301–323 (nb: Piquard’s identification of four binding styles [A, B, C, and alla greca] is followed by Brooker); Brooker, “Identifying Books by Colors,” in Bibliophilies et reliures: mélanges offerts à Michel Wittock (Brussels 2006), pp. 65-107: Appendix 4: Library of Antoine Perrenot de Granvelle. Types of Venetian Bindings, 1547 shipment. Type A, no. 4; Waille, La bibliothèque des Granvelle: inventaire des livres et manuscrits présents au Palais Granvelle en 1607 (Besançon 2017), p. 150, no. 1284 (edition misidentified).
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