PETRARCA, FRANCESCO. 1304-1374.
Three titles bound in one volume:
1. Trostspiegel in Glück und Unglück. Frankfurt am Main: Christian Egenolff, 1584. ):(4, A-Z6, a-o6, p4. Woodcut device to title-page, illustrated throughout the text with 260 woodcuts by Hans Weiditz, 3 of which are full page, the rest are half-page or 1/3 page, title in red and black, elaborated printers woodcut device at colophon.
Early edition of Petrarcas Remedies for both, Good and Bad Fortune. This work represents a distillation of the moral philosophy of Petrarca, the first Humanist and father of the Renaissance. The woodcuts in this volume are among the most famous work of Hans Weiditz of the Augsburg School, whose membership included Albrecht Durer, Hans Holbein, and Hans Burgkmair. In fact, Weiditz has frequently been called "Der Petrarcameister" or the "Master of the Trostspiegel. The blocks actually were cut by 1520, but were not published until 1532; they later came into Christian Egenolffs hands. According to Richard Watson they "constitute one of the most important visual sources for the cultural history of 16th century Germany." Buchnummer des Verkäufers 011912; not in Adams, Murray, or BL.
2. De Rebus Memorandis in Teutscher Spraach. Frankfurt am Main: Christian Egenolff, 1566. A-T6. Illustrated with 5 woodcuts by Hans Burgkmair, woodcut initials and tailpieces, title in red and black, elaborated printers woodcut device at colophon.
A fine German translation. Each of the books into which Petrarca's text is broken is preceded by a woodcut by Burgkmair. Buchnummer des Verkäufers 011912, BMC German 685; not in Adams, Murray, or BL.
3. OVID. 43 BC-17 AD. Posthius of Germersheim (Johannes): Tetrasticha in Ovidii Metamorphoses. Frankfurt am Main: Johann Feyerabendt, 1581. )(4, )( )(4, A-Z4, aa-zz4, Aaa-Eee4. 178 woodcuts throughout the text by Virgil Solis, elaborated printers woodcut device at colophon.
One of the finest illustrated editions of Ovids Metamorphoses, a narrative of over 100 stories from myth and legend completed by Ovid shortly before he was exiled by Emperor Augustus. By the time of the Renaissance, the Metamorphoses was regarded as a classic, and was one of the most frequently illustrated works. In this particular copy, the woodcuts designed by Virgil Solis are renowned for the realistic human proportions and the infinite details in the vegetation. The text was adapted from Ovid's poem by Johannes Posthius of Germersheim [1537-1597], German doctor and poet. Guthmüller, 291-307; not in Adams, Murray, or BL.
Folio (314 x 198 mm). Early full pigskin, boards paneled and decorated in blind, with sequences of foliations, cherubs, and medallions with the impression of the faces of Erasmus of Rotterdam, and Jan Hus, among other Humanists, Francesco Petrarcas name and unidentified symbol stamped in black on upper cover, brass clasps, scattered worming to first work, offset from woodcuts mainly in first work, light toning, 17th century ownership inscription to front free endpaper, early inscription to rear paste-down otherwise internally clean, spine lightly rubbed, some wear to extremities, overall an excellent copy.