VITRUVIUS Pollio, Marcus. Architecture ou Art de bien bastir. Translated from Latin by Jean Martin. Paris: for Jacques Gazeau and the widow and heirs of Jean Barbé, 1547. 2° (360 x 233mm). With blank CC6. Woodcut portrait on title and final leaf, numerous woodcut illustrations, about 33 full-page (those on F4v and F5r folding, the latter with a pasted-on single-leaf extension). (Lacking final blank D6, illustrations on G1 and I4 shaved with slight loss, D5 with hole [?paperfault] in lower blank margin.) 18th-century blue-stained deerskin gilt, floral endpapers, g.e (restained). Provenance : Cornelius Lips (early signature 'Corn Lips' on title); Bisset (armorial pasted on verso of title); 2nd Marquess of Bute (Luton Library bookplate). FIRST EDITION OF THE FIRST COMPLETE FRENCH TRANSLATION, 'a beautiful example of sixteenth-century French printing' (Fowler). The majority of the illustrations are by Jean Goujon and many of the remainder are copies of Giovanni Giocondo's cuts for the Venice 1511 edition, while 11 are based on the 1521 Como edition illustrated by Cesare Caesariano. Mortimer, Harvard Italian 549; Fowler 403; Berlin Kat. 1807.
VITRUVIUS Pollio, Marcus. Architecture ou Art de bien bastir. Translated from Latin by Jean Martin. Paris: for Jacques Gazeau and the widow and heirs of Jean Barbé, 1547. 2° (360 x 233mm). With blank CC6. Woodcut portrait on title and final leaf, numerous woodcut illustrations, about 33 full-page (those on F4v and F5r folding, the latter with a pasted-on single-leaf extension). (Lacking final blank D6, illustrations on G1 and I4 shaved with slight loss, D5 with hole [?paperfault] in lower blank margin.) 18th-century blue-stained deerskin gilt, floral endpapers, g.e (restained). Provenance : Cornelius Lips (early signature 'Corn Lips' on title); Bisset (armorial pasted on verso of title); 2nd Marquess of Bute (Luton Library bookplate). FIRST EDITION OF THE FIRST COMPLETE FRENCH TRANSLATION, 'a beautiful example of sixteenth-century French printing' (Fowler). The majority of the illustrations are by Jean Goujon and many of the remainder are copies of Giovanni Giocondo's cuts for the Venice 1511 edition, while 11 are based on the 1521 Como edition illustrated by Cesare Caesariano. Mortimer, Harvard Italian 549; Fowler 403; Berlin Kat. 1807.
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.jpg "Quelle: Christie's")
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