Cesare di Lorenzo Cesariano Sold at Auction Prices

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      • VITRUVIUS POLLIO, Marcus (ca 90-20 B.C.). De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July
        Dec. 05, 2008

        VITRUVIUS POLLIO, Marcus (ca 90-20 B.C.). De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July

        Est: $25,000 - $35,000

        VITRUVIUS POLLIO, Marcus (ca 90-20 B.C.). De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521. 2o (410 x 297 mm). Collation: [\Kp\k8]; A-Z8. Roman type, a few words in Greek, text with commentary surround. Privileges from Pope Leo X and Francois I on verso of title, errata and editors' note at end (Z8r). 117 woodcuts (including one small repeated cut), of which 10 full-page, printer's large woodcut swan device on title, smaller device on Z7v, large historiated and foliated white-on-black woodcut initials, small foliated initials. (Some staining and a small wormhole at beginning and end, errata leaf with marginal tear and small patched hole affecting a few letters, F7 with light staining affecting a few letters, Y3 torn and repaired, \Kp\k8 with small marginal repair, occasionally some minor worming, generally a very good copy, unwashed, unpressed with wide margins). 17th-century half sheep and boards (some rubbing). FIRST EDITION IN A MODERN LANGUAGE AND ONE OF THE FINEST ILLUSTRATED BOOKS OF THE ITALIAN RENAISSANCE. As recorded in the concluding editors' address to the reader, the Milanese Cesare Cesariano (1483-1543) abruptly abandoned the project after quarreling with the publishers Gallo and Pirovano in May 1521; his commentary ends at chapter 6 of Book IX, and the remainder was completed by Benedetto Giovio da Comasco and Bono Mauro da Bergamo. An autograph note by Cesariano in the copy of the Biblioteca Melziana supplies details of the publishing contract, including the edition size of 1300 copies. The fine illustrations, of which many were cut by Cesariano himself (one, on folio X6r, is signed with his monogram and dated 1519), clearly show the influence of Leonardo da Vinvi, and Kristeller believed them to have been in fact the work of one of his pupils. Although some of the woodcuts follow the classical models of the previous editions, others show water-wheels and various mechanical devices. The three full-page cuts of the cathedral of Milan are apparently the first precisely measured illustrations of Gothic architecture in a printed book. This copy with the corrected state of the heading ("tutta lopera") on final leaf. Adams V-914; Berlin Kat 1802; Cicognara 698; Dibner Heralds 170; Dyson Perrins 232; Fowler 395; Harvard/Mortimer Italian 544; Paul Kristeller, Die lombardische Graphik der Renaissance (Berlin 1913) 362; Millard Italian 158; Norman 2158; Sander 7696.

        Christie's
      • VITRUVIUS POLLIO, Marcus. De architectura libri dece . Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521.
        Jun. 04, 2008

        VITRUVIUS POLLIO, Marcus. De architectura libri dece . Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521.

        Est: £10,000 - £15,000

        VITRUVIUS POLLIO, Marcus. De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521. 2° (398 x 272mm). Collation: [\Kp\k8]; A-Z8. Roman type, a few words in Greek, text with commentary surround. 176 leaves. 117 woodcuts, of which 10 full-page, printer's woodcut device on title and smaller device in the colophon. (Some worming primarily in the first and last gatherings, some of which repaired in a few margins and some leaves, title soiled and becoming loose, occasional browning, occasional light mostly marginal soiling.) Early 19th-century half calf, spine gilt in compartments (spine worn, front joint starting, sides scuffed, extremities worn). Provenance: early title inscription, a few pen trials, anatomical plates censored in ink -- G.P. Boyce (signature dated 1873 on front endpaper) -- W. Gedney Beatty (1869-1941, American architect; gifted to:) -- The Metropolitan Museum of Art, New York, Department of Prints (bookplate recording the bequest, cancelled). THE COMO VITRUVIUS -- THE FIRST EDITION IN A MODERN LANGUAGE, AND ONE OF THE FINEST ILLUSTRATED BOOKS OF THE ITALIAN RENAISSANCE. The fine illustrations, of which many were cut by Cesariano himself, clearly show the influence of Leonardo da Vinci, and Kristeller believed them to have been in fact the work of one of his pupils. Although some of the woodcuts follow the classical models of the previous editions, others show water-wheels and various mechanical devices. The three full-page cuts of the cathedral of Milan are apparently the first precisely measured illustrations of Gothic architecture in a printed book. This copy with the uncorrected state of the heading ('tuta lopera') on the final leaf. Adams V-914; Berlin Kat 1802; Cicognara 698; Dibner Heralds 170; Dyson Perrins 232; Fowler 395; Mortimer Italian 544; Paul Kristeller, Die lombardische Graphik der Renaissance (Berlin 1913) 362; Millard Italian 158; Norman 2158; Sander 7696.

        Christie's
      • VITRUVIUS POLLIO, Marcus. De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521.
        Dec. 03, 2007

        VITRUVIUS POLLIO, Marcus. De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521.

        Est: $40,000 - $60,000

        VITRUVIUS POLLIO, Marcus. De architectura libri dece. Translated by Cesare Cesariano (1475-1543). Commentary by Cesariano, Benedetto Giovio, and Bono Mauro. Como: Gottardo da Ponte for Agostino Gallo and Aloisio Pirovano, 15 July 1521. Large 2o (431 x 294 mm). Collation: [\Kp\k8]; A-Z8. Roman type, a few words in Greek, text with commentary surround. Privileges from Pope Leo X and Franois I on verso of title, errata and editors' note at end (Z8r). 117 woodcuts (including one small repeated cut), of which 10 full-page, printer's large woodcut swan device on title, smaller device on Z7v, large historiated and foliated white-on-black woodcut initials, small foliated initials. Ruled in red. (Some minor worming mostly marginal, a few closed tears, some staining to last leaf.) 18th-century French red morocco, sides ruled with gilt border, spine in 7 compartments, gilt lettered in two, others decorated with small floral and star hand tools (some minor staining). Provenance: Woodhull (note on preliminary blank); Leigh's sale (note on preliminary blank). FIRST EDITION IN A MODERN LANGUAGE AND ONE OF THE FINEST ILLUSTRATED BOOKS OF THE ITALIAN RENAISSANCE. As recorded in the concluding editors' address to the reader, the Milanese Cesare Cesariano (1483-1543) abruptly abandoned the project after quarreling with the publishers Gallo and Pirovano in May 1521; his commentary ends at chapter 6 of Book IX, and the remainder was completed by Benedetto Giovio da Comasco and Bono Mauro da Bergamo. An autograph note by Cesariano in the copy of the Biblioteca Melziana supplies details of the publishing contract, including the edition size of 1300 copies. The fine illustrations, of which many were cut by Cesariano himself (one, on folio X6r, is signed with his monogram and dated 1519), clearly show the influence of Leonardo da Vinvi, and Kristeller believed them to have been in fact the work of one of his pupils. Although some of the woodcuts follow the classical models of the previous editions, others show water-wheels and various mechanical devices. The three full-page cuts of the cathedral of Milan are apparently the first precisely measured illustrations of Gothic architecture in a printed book. This copy with the corrected state of the heading ("tutta lopera") on final leaf. Adams V-914; Berlin Kat 1802; Cicognara 698; Dibner Heralds 170; Dyson Perrins 232; Fowler 395; Harvard/Mortimer Italian 544; Paul Kristeller, Die lombardische Graphik der Renaissance (Berlin 1913) 362; Millard Italian 158; Norman 2158; Sander 7696.

        Christie's
      • VITRUVIUS POLLIO, Marcus (c.90-c.20 B.C). De architectura libri dece. Translated and edited by Cesare Cesariano (1475-1543). Como: Gotardo da Ponte for Agostino Gallo and Luigi Pirovano, 15 July 1521.
        Jul. 11, 2002

        VITRUVIUS POLLIO, Marcus (c.90-c.20 B.C). De architectura libri dece. Translated and edited by Cesare Cesariano (1475-1543). Como: Gotardo da Ponte for Agostino Gallo and Luigi Pirovano, 15 July 1521.

        Est: $23,400 - $31,200

        2o (406 x 266mm). Collation: π 8 (1r title with woodcut printer's device, π1v privileges, π2r-7v index, π8r Pirovano's preface, π8v Gallo's preface), A-Z 8 (A1r-Z7r text, Z7r colophon, Z7v register and woodcut printer's device [Vaccaro fig.112], Z8r errata and editors' note, Z8v blank). 192 leaves. 77 lines. Roman type, occasional words in Greek, commentary printed around translation. 117 woodcut illustrations [including one repetition, Harvard count] after Cesariano, Pietro Paolo Segazone [?and others], 10 full-page, woodcut historiated and floriated initials. (Scattered light spotting, minor marginal staining at fore-edges, worming throughout, heavier in the earlier gatherings, mostly skilfully repaired.) 18th-century Italian half tan sheep over colour-printed paper-covered boards, spine gilt in compartments, gilt leather lettering-piece in one, the lowest with gilt helmet and tree device, the others decorated with floral tools (extremities a little rubbed, a little wormed on upper cover and spine, neatly rebacked retaining original spine). Provenance : 18th-century manuscript shelfmark on spine -- helmet and tree device at foot of spine with initials 'FX [-]Z'. FIRST ITALIAN AND FIRST VERNACULAR EDITION. A 'SUMPTUOUS BOOK' (Dyson Perrins). The translation and commentary used for this edition of 1,300 copies were commissioned by Gallo and Pirovano, who promised Cesariano two thirds of the edition as payment for his text, while they would pay the printing costs and retain the remaining third of the edition. The printing was entrusted to Gotardo da Ponte, a Milanese printer who temporarily decamped to Como in either the latter part of 1519 or 1520 in order to print both the present work and the Como breviary. However the publication of the Vitruvius was hampered by a dispute between Cesariano and the publishers; although Dyson Perrins considers that 'there is internal evidence in his book that [Cesariano] was an insanely conceited pedant', the cause seems to have been the denial of his contractual right to read the proofs of the work. Cesariano fled with his manuscript but was apprehended, the manuscript was retrieved by the publishers, and its author imprisoned. Gallo and Pirovano then employed Benedetto Giovio (1471-1544) and Bono Mauro (fl. 16th century) to finish the work (as they state in their note on Z8r), and the work was finally issued in mid 1521. Mortimer judges the illustration of the work 'highly original... and much more detailed than that provided by Tacuino [in his Venice: 1511 edition]. Blocks have black backgrounds and strong black lines'. Particularly noteworthy are the plans and elevations of Milan cathedral on B6r, B7r and B7v: 'Cesariano's introduction of a gothic building into a classical text, apparently the first such illustration of gothic architecture, is typical of his individual approach to Vitruvius'. These images are complemented by da Ponte's typography, which Millard describes thus: 'The translation and the commentary are printed in typeface of different size and spacing, creating strong patterns of varied grays, with judiciously placed woodcuts breaking up the text' (p.496). Mortimer notes that within the edition of 1,300 copies different issues can be distinguished by variations of signature and typographical error; leaves P3, P4 and Y2 missigned as 'Oiii', 'Piii' and 'Yi' respectively (in this copy all these leaves are correctly signed) and the misspelling 'TUTA' in the headline of the errata page Z8r, which is uncorrected in this copy, indicating that it is from the earlier part of the edition. Adams V-914; Berlin Kat. 1802; Brunet V, 1330 ('dition assez rare'); Cicognara 698; Dyson Perrins Italian Book-illustrations and Early Printing 232; Fowler 395; Mortimer, Harvard Italian 544; Millard Italian 158; Norman 2158; Sander III, 7696.

        Christie's
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