Martín (1529 Steinmetz) Sold at Auction Prices

[COLONNA, Francesco (d. 1527)].Hypnerotomachie, ou Discours du songe de Poliphile.Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver, 20 August 1546.

[COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver, 20 August 1546. 2° (334 x 206mm). Roman, italic, Greek and Hebrew types, woodcut Arabic. Title within woodcut border with putti, male and female terminal figures and grotesques, signed with Kerver's initials in three places, Blaublom's two-turtle device at bottom; 181 woodcut illustrations in various sizes, 13 full-page, including a group of tombstones with typeset text inserted; woodcut 9-line arabesque or criblé initials composing an acrostic including Colonna's name; Kerver's device (Renouard 513) on last leaf. (Very occasional light spotting, repaired small marginal hole or tear in 2 leaves.) French crushed dark brown morocco by G. Mercier, 1928, paneled in blind with gilt corner pieces, spine lettered and gilt, crushed tan morocco inlaid pastedowns, silk flyleaves, gilt edges. Provenance: early inscription washed from title margin. FIRST EDITION IN FRENCH, REVISED AND EDITED BY JEAN MARTIN. When Jacques Gohory proposed the Hypnerotomachia to Jean Martin, who had already translated the work of poets such as Bembo, Ariosto and Sannazaro, it created a certain stir, especially in literary circles in Lyons. Gohory had obtained the translation from a knight of Malta and commissioned Martin to revise it for publication, joining a series of works introducing Italian culture to the French. For Jean Martin too editing the Hypnerotomachia was a turning point. Almost simultaneously he translated Serlio, Vitruvius and Alberti, thereby not only providing French-language editions of these architectural treatises of classical antiquity and the Renaissance but also laying the foundation for his Hypnerotomachia text, itself a crossroads of architectural imagery and allegory. Beyond mere storytelling, Jean Martin perceived the importance of architectural fantasies to antiquity and incorporated them afresh to nourish the creative fantasy world of his time. The elegant woodcuts of this edition are freely adapted from the cuts of the Aldine editions of 1499 and 1545, with a number of modifications typical of the French Renaissance style, including modelling, swirling drapery, and more lavish landscapes. Fourteen new illustrations of topiary, formal gardens and architectural details are added. At least four different styles can be discerned in the woodcuts, but no artist has been positively identified, although Jean Goujon has been mentioned. Davies, Fairfax Murray French 99; Mortimer, Harvard French 145.

COLONNA, Francesco (1433-1527). Hypnerotomachie, ou Discours du songe de Poliphile, Deduisant comme Amour le combat a l'occasion de Polia. Anonymous French translation by a Knight of Malta, from the original Italian. Edited by Jean Martin. Paris: Marin Massellin for Jacques Kerver, 22υnυd December 1553-1554. M2υo (347 x 215mm). Collation: ãυ6 (preliminaries), A-Yυ6 (book I); Zυ6 Aa-Bbυ6 Ccυ8 (book II, Cc8 blank except for device on verso). 164 leaves. Roman type. Typographical title within publisher's woodcut border of terminal figures, cherubs and scrollwork, publisher's large woodcut device on last page, 181 WOODCUT ILLUSTRATIONS, woodcut foliated headpieces and initials, and a series of large arabesque initials. (Tear in C5 and small marginal one in D4 mended, stamp erased from lower blank margins of title, B3, penultimate and last leaf.) BINDING: late-16υtυh-century Parisian gold-tooled polished calf, paneled sides, fleuron within a wreath in the center, leafy corner-pieces incorporating a cherub's head, the same fleuron at the outer angles, a small hatched foliate tool in the paneled compartments of the spine, gilt edges, (rubbed in places, some restoration to joints, headcaps and corners). Slipcase. Provenance: Jacques ANDROUET DU CERCEAU (c. 1510-84) or another contemporary member of the Du Cerceau family of architects (pen-trials of the Ducerceau signature and paraphs, calligraphic inscriptions of French rhyming couplets and Margaret of Austria's motto fortune infortune fort une) -- Benjamin Fillon, author of Quelques mots sur le Songe de Poliphile 1879 (ownership signature dated 1871; Etienne Charavay, Inventaire des autographes et documents historiques reunis par M. Benjamin Fillon v.II, 1879, no. 1592) -- Dr. Lucien-Graux (gilt-lettered morocco booklabel) -- Acquired from Nicolas Rauch 1959. Second edition of the first French translation. In a brief Latin note to the reader Jacques Gohory, who was closely involved with the activities of Kerver's press and himself the translator of Machiavelli, reveals that he had obtained this translation from a Knight of Malta and handed it to Jean Martin for publication. Martin, the translator of Vitruvius, who in his own introduction points out the complications of Colonna's text larded with Latin and Greek, applied some finishing touches and dedicated the edition to count Henri de Lenoncourt, famous for his interest in architecture and owner of the magnificent palace of Nanteuil. All illustrations were printed from the same blocks cut for the first French edition of 1546, except the full-page diagram on B6v, which was recut. They follow the Aldine iconography, but are adapted to French technique and taste, with more landscape and architectural detail, while 14 illustrations of buildings and formal gardens are original and cannot be found in the Italian editions. Several artists had a hand in designing the cuts, the most accomplished of whom was probably JEAN GOUJON, who also collaborated with Martin on his Vitruvius of 1547. This copy was presumably bound for Androuet du Cerceau, who inscribed it on the back free endpaper facing Kerver's magnificent unicorn device. He was probably Jacques I , the Royal Architect, whose influence on French Renaissance architecture was greater through his publications than his buildings. Two other family members, however, both important architects, cannot be dismissed: Jean-Baptiste (d. 1590), who designed the Pont Neuf and worked on the Louvre; and Jacques II (d. 1614), who designed the Pavillon de Flore, the only part of the Tuileries still standing. Brun p. 174; Brunet IV, 778-779; Mortimer French 146. Fact and Fantasy 35.

[COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver, 20 August 1546.

[COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver, 20 August 1546. 2° (305 x 199mm). Roman, italic, Greek and Hebrew types, woodcut Arabic. Title within woodcut border with putti, male and female terminal figures and grotesques, signed with Kerver's initials in three places, Blaublom's two-turtle device at bottom; 181 woodcut illustrations in various sizes, 13 full-page, including a group of tombstones with typeset text inserted; woodcut 9-line arabesque or criblé initials composing an acrostic including Colonna's name; Kerver's device (Renouard 513) on recto of last leaf. (Washed, short repaired tear in H1 just touching edge of woodcut, single small wormhole in final 2 quires, minor repair to blank corner of \Kυp\ka5.) Blue morocco janseniste by Sangorski and Sutcliffe, gilt edges. Provenance: a few faint annotations -- Count Ödön Zichy (1811-94; patron of the arts in Austria-Hungary, founder of the Oriental Museum at Vienna; armorial stamp on title) -- Walter Hirst (bookplate). FIRST EDITION IN FRENCH. The woodcuts of Kerver's edition are freely adapted from those of the Aldine editions of 1499 and 1545, restyled to French Renaissance taste. To these are added 14 new illustrations of topiary, formal gardens, and architectural details, and a set of arabesque initials made specially for this edition; they are the first purely arabesque alphabet at Paris (Johnson Decorative initial letters). At least four different styles can be discerned in the woodcuts, but no artist has been positively identified, although Jean Goujon has been mentioned. Davies, Murray French 99; Mortimer, Harvard French 145.

PSALTER in the German translation of Martin Luther, with Kurzen Summarien und Gebetlein für die Hausüeter unnd ihre Kinder , by NICOLAUS SELNECCER (1530-1592), ILLUMINATED CALLIGRAPHIC MANUSCRIPT ON VELLUM AND PAPER

PSALTER in the German translation of Martin Luther, with Kurzen Summarien und Gebetlein für die Hausüeter unnd ihre Kinder, by NICOLAUS SELNECCER (1530-1592), ILLUMINATED CALLIGRAPHIC MANUSCRIPT ON VELLUM AND PAPER Oldenburg, 1592 and 1600.250 x 188mm. 214 leaves, including 8 paper at beginning (first 3 pasted down) and 10 paper at end (last 2 pasted down), written in various Fraktur scripts in black, gold and silver or metallic ink with numerous large flourished initials, every paper page framed by beaded fillets, EVERY VELLUM PAGE WITH A FULL BORDER of knotwork, interlace or geometric designs, some with flowers, lion masks and cherub heads, ONE FULL-PAGE MINIATURE in colour, EIGHTEEN PAGES WITH EXTENSIVELY DECORATED DISPLAY SCRIPTS, and NINE PAGES WITH INTRICATE MICROGRAHIC DESIGNS some with mirror writing (slight cockling to f.2). CONTEMPORARY BLACK VELVET OVER WOODEN BOARDS, BOTH COVERS WITH ELABORATE SILVER OPENWORK BORDERS OF TREFOILS WITH CORNERPIECES INCORPORATING CLASSICAL FIGURES, ENCLOSING ARMORIAL CENTREPIECES within cartouches of flowers, fruit and putti, surmounted by Justice over the letters DGHIE, inscribed VGG [von Gottes Gnade] JOHAN GRAFE ZU OLDENBURGH UND DELMENHORST HER ZU IEVER UND KNIPHAUSEN, clasps and catches with antique motifs, with some gilt retention, (velvet rubbed and mostly lacking from spine but retaining original manuscript vellum binders' waste onlays, silver tarnished, one clasp defective). Green half-morocco solander case. A MAGNIFICENT MASTERPIECE OF CALLIGRAPHY AND MICROGRAPHY IN ITS ORIGINAL BINDING FOR JOHN VII OF OLDENBURG PROVENANCE: 1. Johann VII or XVI, Graf von Oldenburg (1540-1603), initiator of the Golden Age of Oldenburg brought to fruition by his son, Graf Anton Günther (1583-1667): his name and titles f.1; hymn 'Durch Gott hab ichs erhalten', source of his device DGHIE f.1v; his coat of arms in micrography, with his name below the helm f.2, and f.3; the colophon on the final written paper leaf addressed to him and dated 17 October 1600 by Johannes Kirchring from Riga, Güldenschreiber in Oldenburg, who signed and dated the title page 1592, 'Geschrieben durch Johannem Kirch- ringk Rigensem Güldenschreiber und Rechenmeister zü Olden bürg f. Ano. 92' f.17. 2. Anton II, Graf von Aldenburg (1680-1738): his armorial bookplate inside upper cover. Anton Günther left much of his property, including the Oldenburg library, to his only, illegitimate, son Anton, first Graf von Aldenburg (1663-1680), father of Anton II. 3. Charles Aldenburg Bentinck (1810-1891): autograph note at beginning, continuing the provenance to Anton II's only child, Charlotte Sophia (1715-1800), wife of William Bentinck (1704-1774), son of the 1st Earl of Portland; her bequest to her grandson, also William Bentinck (1764-1813), whose widow gave it in 1832 to their son, the writer of the note. His son, Henry Aldenburg Bentinck (1852-1938), signed his name in 1905; Henry Bentinck signed in 1945. CONTENT AND ILLUMINATION: Prefatory calligraphic and micrographic leaves incorporating prayers, hymns and Biblical texts ff.1-16: including micrographic armorial achievement of Johann VII f.2, his micrographic coat of arms with the Prayer of Manasseh f.3, the Ten Commandments, dated 1600, within micrographic designs f.5, Ecclesiasticus III 31 - VI 22 as a micrographic maze-like composition f.7, micrographic interlace f.7v, liturgical calendar framed with texts, all in mirror writing f.8, the Golden ABC, interspersed with texts in mirror writing ff.9-11v, micrographic design in mirror writing around the Ten Commandments f.12, micrographic orb with the opening of John's Gospel f.13, micrographic panel with the opening of Genesis f.14, micrographic page with diagram of sin and salvation f.16. The Psalter in the German translation of Martin Luther with summaries and verse prayers by Nicolaus Selneccer, a leading figure in the Lutheran Church, first published in 1571 ff.17-195; f.196 unwritten. The 1581 Leipzig edition has two cuts of King David; here David appears in a full-page miniature on f.18, with blank verso. Lutheran hymns, first seven paper folios at end, finishing on recto, with colophon; final paper leaves unwritten. Johannes Kirchring the Elder, one of the greatest 17th-century calligraphers, had moved from Riga to Oldenburg by 1592, as attested by the title page. He is last recorded in 1630 living with his son, the painter and calligrapher Johannes Kirchring the Younger, whose style is anticipated in the miniature of King David. It seems likely that this Psalter is the very work that attracted Johann VII's patronage and important court commissions. Dated 1592, the Psalter, with no mention of the Count, was perhaps written as a speculative venture to demonstrate his extraordinary skills and then greatly enriched and personalised in 1600 with the addition of the prefatory parchment leaves and the final paper leaves of hymns. In 1604 Kirchring completed for Count Anton Günther a second German Psalter; also inherited by the Aldenburg Bentincks, it has returned to Oldenburg (Landesmuseum, LMO 11,654). This later Psalter is finely decorated but does not equal the micrographic displays that make the Arcana volume so exceptional. Kirchring was a superb exponent of the calligraphic skills developed in Germany during the 16th century, stimulated not extinguished by the demands of type design for printed books. His micrography probably drew on the rich Jewish tradition of Bible decoration that was especially strong in Germany. Although Lutherans were not, like Jews, forbidden religious images, there was great concern about the dangers of idolatry. Elaborate calligraphy and intricate micrography in elegant combinations of gold, silver and black were a splendid yet appropriate way of honouring the Word of God and of creating a book worthy of God's worship.

MONTAIGNE, MICHEL EYQUEM DE. 1533-1592.

The Essayes.... London: M. Flesher, 1632. [12] 161 [i.e. 631], [12] pp. Additional engraved title by Martin Droeshout. Folio (281 x 178 mm). 19th century three quarter calf over marbled boards, rebacked and retipped, preserving original gilt-decorated spine. Engraved title and "To the Beholder" leaves reinserted, some light stains, careful marginalia. Third edition of the John Florio translation. This copy neatly and meticulously annotated by a former owner who was evidently a follower of the Baconian Cipher Theory. Pforzheimer 378.

Heinrich VIII.: Literarium, quibus invict. Köln, Quentel, 1527

Luther, Martin. - Heinrich VIII. Literarum. quibus inuictissimus princeps Henricus octauus, rex Angliae & Franciae respondit, ad quandam epistolam Martini Lutheri, ad se missam,& ipsius Lutheranae quoque epistolae exemplum. 14 nn. Bl. Mit Wappenholzschnitt auf dem Titel. 20 x 14 cm. Halbleder um 1900 mit goldgeprägtem RTitel und Goldfileten auf den Deckeln sowie Kopfgoldschnitt. Köln, (Peter Quentel), 1527. VD 16, H 2176. Benzing 2394. Erste in Deutschland gedruckte Ausgabe der Abhandlung Heinrichs VIII. (1491-1547), in der er Martin Luthers Reformideale denunzierte und die Sieben Sakramente verteidigte. Dafür wurde er vom Papst als "Defender of the Faith" ausgezeichnet. Luther antwortete mit einem Brief vom 1. September 1525, den Heinrich schroff und abweisend beantwortete. Die Veröffentlichung beider Schreiben, auch ihrer deutschen Übersetzungen, wurde vor allem von katholischer Seite betrieben, was Luther gar nicht recht war. Am 2. Dezember 1526 war die erste Ausgabe bei Richard Pynson in London erschienen, denen dieser noch zwei weitere Auflagen folgen ließ bis es zur vorliegenden, beim katholischen Kölner Drucker Peter Quentel (tätig 1520-1546) verlegten Ausgabe kam, der einige weitere folgten. - Vorletztes Blatt mit geschlossenem Einriss (minimale Buchstabenüberklebung), stärkere Wasserränder und Braunflecke, gebräunt.

[COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver, 20 August 1546.

[COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver, 20 August 1546. 2° (307 x 203 mm). Roman, italic, Greek and Hebrew types, woodcut Arabic. Title within woodcut border with putti, male and female terminal figures and grotesques, signed with Kerver's initials in three places, Blaublom's two-turtle device at bottom; 181 woodcut illustrations in various sizes, 13 full-page, including a group of tombstones with typeset text inserted; woodcut 9-line arabesque initials composing an acrostic including Colonna's name; Kerver's device (Renouard 513) on recto of last leaf (Very occasional staining in white margins, leaves Q4 and R4 with clean tear, lower third of last leaf with a pastedown obscuring an old inscription in Greek.) Contemporary vellum, flat spine, (slightly stained and with the occasional loss). Provenance: Old shelfmarks on front and rear cover (respectively numbers 146 and 15) -- Petrus Smidts (book plate printed in stencil 'Sum Petrus Smidts Medicus'). FIRST EDITION IN FRENCH. The woodcuts of Kerver's edition are freely adapted from the somewhat sparer cuts of the Aldine editions of 1499 and 1545, with a number of modifications typical of the French Renaissance style, including modelling, swirling drapery, and more lavish landscapes. Fourteen new illustrations of topiary, formal gardens, and architectural details are added. At least four different styles can be discerned in the woodcuts, but no artist has been positively identified, although Jean Goujon has been mentioned. Fairfax Murray French 99; Harvard/Mortimer French 145.