{"title":"Italian","description":null,"products":[{"product_id":"brioschi-othmar-christian-hulsen-introduction-villa-d-este-in-tivoli-die-originalzeichnungen-befinden-sich-im-besitz-sr-k-u-k-hoheit-des-erzherzogs-franz-ferdinand","title":"BRIOSCHI, Othmar; Christian HÜLSEN ( introduction ). Villa d’Este in Tivoli … Die Originalzeichnungen befinden sich im Besitz Sr. K.u.K. Hoheit des Erzherzogs Franz Ferdinand.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eCommissioned by Archduke Franz Ferdinand\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBRIOSCHI, Othmar; Christian HÜLSEN (\u003ci\u003eintroduction\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Villa d’Este in Tivoli … Die Originalzeichnungen befinden sich im Besitz Sr. K.u.K. Hoheit des Erzherzogs Franz Ferdinand. \u003ci\u003eRome [: Buchdruckerei des Senats (Forzani \u0026amp; Co.)]\u003c\/i\u003e. 1899.\u003c\/p\u003e\n\u003cp\u003eFolio. Original vellum portfolio boards signed by C. Glingler, Rome, upper board lettered in red, six vellum ties with vellum tassels, patterned paper pastedowns; pp. [4], with 17 collotype prints after drawings by Othmar Brioschi mounted on blue card; boards lightly soiled, ties stiffened; internally very clean; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, very rare, of this portfolio reproducing Othmar Brioschi’s seventeen drawings of Tivoli, originally commissioned by Archduke Franz Ferdinand of Austria, the last private owner of the Villa d’Este.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn into an Austrian family of theatre painters of Italian origin, Othmar Brioschi (1854–1912) settled permanently in Rome after winning the Grand Austrian State Prize in 1882. Working within the city’s German-speaking artistic community, he became known for his atmospheric landscapes characterised by subtle effects of light, mood, and perspective. His 1898 commission from Archduke Franz Ferdinand for a cycle of seventeen views of the sixteenth-century Villa d’Este at Tivoli established him as the leading Austrian landscape painter active in Italy.\u003c\/p\u003e\n\u003cp\u003eIn 1905 he was appointed professor at the Accademia di San Luca. Commissioned by Cardinal Ippolito II d’Este (1509–1572), the Villa d’Este passed into Habsburg ownership in 1796. After a prolonged period of neglect, it was restored to its former glory by Cardinal Gustav von Hohenlohe (1823–1896), who transformed it into a hub for German artists, musicians, and writers in Italy. Among its most celebrated visitors was Franz Liszt (1811–1886), who drew inspiration there for his works \u003ci\u003eAux cyprès de la Villa d’Este\u003c\/i\u003e and \u003ci\u003eLes jeux d’eau à la Villa d’Este\u003c\/i\u003e. Franz Ferdinand was the last private owner of the villa before it passed to the Italian State after the First World War. The portfolio is introduced by an essay on the history of the Villa d’Este by the German classical archaeologist and epigrapher Christian Hülsen (1858–1935).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOutside continental Europe, OCLC finds two copies in the US (Berkeley and Emory). Not on Library Hub\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125740\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64039902609785,"sku":"2125740","price":850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125740a.jpg?v=1784817104"},{"product_id":"dolce-lodovico-le-osservationi-del-dolce-da-lui-stesso-in-questa-seconda-editione-emendate-et-ampliate","title":"DOLCE, Lodovico. Le osservationi del Dolce. Da lui stesso in questa seconda editione emendate et ampliate.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eVernacular Grammar for Dummies – Censored\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDOLCE, Lodovico.\u003c\/strong\u003e Le osservationi del Dolce. Da lui stesso in questa seconda editione emendate et ampliate. \u003ci\u003eVenice: Gabriel Giolito de’ Ferrari, et fratelli.\u003c\/i\u003e 1552.\u003c\/p\u003e\n\u003cp\u003e12mo. Recased in its original binding of contemporary vellum, spine lettered in ink, later leather ties; pp. 230, [2 (register, printer’s device)], with the letter from Dolce to Ruscelli (K8–K10) excised as usual (\u003ci\u003esee below\u003c\/i\u003e); title within woodcut cartouche, woodcut Giolito device to title and final leaf, woodcut initials; slight soiling to covers, small chip to spine affecting one letter (retouched in manuscript at a later date), half of lower tie to rear board perished; small loss to corner of B11 not affecting text, small light dampstain to inner margin of first quire and to inner margin and lower corner of last two quires.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSecond edition, expanded by the author, of Lodovico Dolce’s response to the \u003ci\u003equestione della lingua\u003c\/i\u003e, aiming to popularise the rules of grammar in a way that would make them accessible to those who did not speak Latin; this edition marks a turning point in the bitter literary rivalry between Dolce and Girolamo Ruscelli.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFirst published in 1550 (also by Giolito) as \u003ci\u003eOsservationi nella volgar lingua\u003c\/i\u003e, Dolce follows Bembo ‘in matters of grammatical and orthographic rules […] and in matters of punctuation, accentuation, poetics, metre, and rhythm’ (\u003ci\u003eDBI, trans\u003c\/i\u003e.). Although he acknowledges in his prefatory letter to Giolito that to ‘create new rules’ would verge on madness, he acknowledges that Bembo’s desire to ‘dress [grammar] in the rich cloth of eloquence’ meant that he ‘considered only the learned’ (\u003ci\u003etrans\u003c\/i\u003e.). Dolce, a prominent art theorist, friend of Titian, and the first to  refer to Dante’s epic as the \u003ci\u003eDivina Commedia\u003c\/i\u003e, first addresses the question of whether the vernacular should be called Italian or Tuscan (expressing a strong preference for the latter) before discussing the definition and principles of vernacular grammar.\u003c\/p\u003e\n\u003cp\u003eThis edition reflects the culmination of mounting tensions between Dolce and Ruscelli. In 1552, Dolce and Ruscelli – then working as a literary editor for Valgrisi – had almost simultaneously produced new editions of Boccaccio’s \u003ci\u003eDecameron\u003c\/i\u003e. Dolce’s, published by Giolito slightly earlier, contains an address to the reader sharply critiquing editors, proofreaders, and printers of other editions of the Decameron, including Ruscelli’s edition (of which he had seen galley proofs), although he does not mention Ruscelli by name. In turn, Ruscelli attempted to correct the numerous errors in the first edition of Dolce’s \u003ci\u003eOsservationi\u003c\/i\u003e ‘covertly, without mentioning [Dolce], in his notes on language appended to the Valgrisi \u003ci\u003eDecameron\u003c\/i\u003e. Dolce refused to credit Ruscelli and instead ‘broke off the friendship, sparking a literary war in which both parties fought by means of the pen, both offensively and defensively’ (Bongi, \u003ci\u003etrans\u003c\/i\u003e.). Dolce had originally appended to this edition of his grammatical work a defamatory letter against Ruscelli for this reason, but it was so scathing that Giolito was forced – by order of the Council of Ten – to censor the letter by excising the three offending leaves from the book.\u003c\/p\u003e\n\u003cp\u003eAlthough the book was published between May and June 1552, the order from the Council of Ten would not be issued until February 1553, so only the copies sold in the intervening nine months retained the letter; such copies are considered ‘true bibliographic rarities’ (\u003ci\u003eibid\u003c\/i\u003e.). Ruscelli, incensed, re-sponded in kind in his \u003ci\u003eTre discorsi a Messer Lodovico\u003c\/i\u003e (1553), arguing that Dolce’s \u003ci\u003eOsservationi\u003c\/i\u003e consisted of little more than a translation of Donatus and an amalgamation of the work of Bembo, Fortunio, Liburnio, and Alunno comprising ‘not more than two hundred lines of original work’ (quoted in Bongi, \u003ci\u003etrans\u003c\/i\u003e.).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOutside continental Europe, we find eleven copies in the US (Claremont, Duke, Harvard, Indiana, Newberry, NYPL, Ohio State, Pennsylvania, San Francisco State, UCLA, Wisconsin-Madison), and only one in the UK (Manchester).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eEDIT16 CNCE 17344; USTC 827075; Bongi, pp. 353–56; Index Aureliensis XII, p. 270; Shaaber, p. 175. This edition not in Adams (see D-746–48), BM STC Italian (see p. 221), Brunet (see vol. II, col. 789), nor Graesse.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125231\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64039912210809,"sku":"2125231","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125231.jpg?v=1784817229"}],"url":"https:\/\/sotherans.co.uk\/collections\/italian.oembed","provider":"Sotherans","version":"1.0","type":"link"}