[SACRED MUSIC - 16th Century - Italian]Biblio.com
1 592 résultats
159941148Brixiæ Brescia: Apud Vincentium Sabbium 1599. Quarto. Full contemporary vellum with manuscript titling to spine. 1f. recto verso blank p. 3 dedication p. 4 "Tabula" 5-143 i blank pp. Printed in red and black. Typeset throughout. With decorative woodcut initials and woodcuts of religious scenes at head of each chapter.<br /> <br /> Title with large oval woodcut device incorporating saints and Latin motto "Ecclesiæ Brixiani Advocata Defensores."<br /> <br /> Includes ca. 35 pages of neumatic musical notation on red 4-line staves scored for solo voice. <br /> <br /> With 17th and 18th century annotations to front pastedown canceled "M. A" M. Dona . F. B. and front free endpaper in two hands: the first "Ego Carolus Fontana . 1699" and the second Barthoi Campagnola Archipbri sta Caecilia Verona dono Antonij Piccoli Verone Archibri Terrentiani Brixien Diacesis die 10 Feris 1734." Annotation to verso of rear free endpaper "L h P. Ego Carolus Fontana de Rsa Pa habita Gambar 1699." <br /> <br /> Binding worn soiled and stained with a few minor tears to edges and spine; remnants of early vellum ties. Moderate foxing to title; occasional light foxing minor soiling dampstaining and small stains; mispagination from p. 57. OCLC 1 copy only at the Sistema Bibliotecario Ticinese in Switzerland. OPAC SBN 1 copy only at the Biblioteca di Studi Giuridici e Umanistici in Milan. Apud Vincentium Sabbium unknown
18236probably Italian 19th Century. 2 vols. Oval images each 10 x 8 inches vividly matted in gold and framed and glazed to 20 x 16-1/2 inches. Very good. 2 vols. Oval images each 10 x 8 inches vividly matted in gold and framed and glazed to 20 x 16-1/2 inches. Decorative studies probably from a larger series of classical divinities. unknown
1901220983Akron Ohio: The B.F. Goodrich Company 1901. 40 x 29-1/2 inches. Signed "V. Corcos 1900". Small hole lower right some short tears along top edge some soiling. Framed. 40 x 29-1/2 inches. The B.F. Goodrich Company unknown
1610001421Venetia: Antonio Pinelli 1610. Full Vellum. Very Good. 8 8 615 pp. 8vo 8.25 by 6.25 inches 21 by 16 cm. Considered one of the most significant pieces of literature from the Middle Ages and a seminal work of literature written in the French language. Also a milestone in historiography as the most important account of the first and second crusades and especially the latter for which William of Tyre was a contemporary witness. The author produced this work at the request of Almaric I in about 1170 and he continued to work on it until 1183. The work was indeed accepted as unquestioned fact for many centuries and only recently have biases been discerned owing from William's entanglement in the political disputes of the day. Antonio Pinelli unknown
1980ZB394798NY 1980-2003. volumes 6-7; 9-10; 14-16; 18; 21 1980-2003 complete volumes partly bound library markings textually clean & tight PRICE IS FOR THE LOT. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. NY unknown
1860257826Milan Venice & Verona: P. Ripamenti Carpano 1860. Volume 13 only. Engraved title and 9 engraved plates after contemporary Italian painters. xxxix i 68 xv iii pp. 4to. Bound in the publisher's "chocolate box" style of white paper boards elaborately embossed and chromolithographed front cover with a central die-cut oval revealing a hand-colored engraving of a woman pulling a necklace from a jewellery box her dress embellished with small jewels rear cover with a central embossed image of a floral boquet some foxing throughout in a custom cardboard chemise. Volume 13 only. Engraved title and 9 engraved plates after contemporary Italian painters. xxxix i 68 xv iii pp. 4to. Volume 13 of this Italian art periodical in a beautiful "chocolate box" style binding of embossed and chromolithographed paper boards. P. Ripamenti Carpano unknown
1758AQ13524A Paris: Chez Ch. Ant. Jombert 1758. In three volumes. xvi 230; 4 197 1; 4 288pp. Attractively bound in contemporary cats-paw calf gilt all edges red. Rubbed with slight surface loss. Marbled endpapers index to rear blank endpapers of Vol. I. ink- stamps of the Ben Damph Forest Library - family seat of the Earls of Lovelace - to all FFEPs. A travelogue and guide to the artworks of Italy produced following a journey of two years conducted by French engraver and critic Charles-Nicolas Cochin 1715-1790 undertaken in part in the company of Abel Francois Poisson brother of mistress to Louis XV Madame de Pompadour. . 12mo. Chez Ch. Ant. Jombert unknown
189626549Brooklyn NY: Lia Rand 1896. Book. Good. Hardcover. First Edition. 16mo - over 5¾" - 6¾" tall. 62 pages. Well known for her Philosphy of Cooking this is a very scarce title with beautifully illustrated front board depicting an Italian flower seller in traditional costume. Lia Rand Hardcover
1867ABC_49343Milan: Libreria Editrice Oliva 1867. Contemporary half calf with the title lettered in gold on the spine. 12mo. With a wood engraved frontispiece in each volume. 4 volumes. Scarce illustrated edition of a classic testifying to the great popularity which the Thousand and one nights enjoyed throughout the 19th century also in Milan. In his introductory letter to the reader the publisher notes I shall not mention the faults of the competing editions lest I hear and perhaps justifiably so the words qui sine peccato whispered in my ear but I do hope that the care taken with the present one will render it not unworthy of the public to whom it is hereby recommended".Only three copies traced in Italian libraries.With a contemporary rubbed handwritten ownership in scription Fortini Edoardo on the pastedown of vol. 2. Occasional browning to interior as expected. Otherwise in good condition.l OPAC SBN ITICCUTO01223198 3 copies incl. 2 incomplete; WorldCat 875083401 1 copy; cf. not in Chauvin. Libreria Editrice Oliva, unknown
1815ABC_49356Milan: Pietro Agnelli 1815. Contemporary half beige cloth marbled paper sides with the title lettered in gold on the spine. 12mo. With a small woodcut vignette on each title page. 5 volumes bound as 2. First and only Milan edition of the Heyaryek-Rouz or Thousand and one days so called to give the work an air of originality Chauvin IV 124. A Persian manuscript of this work was given to Francois Petit de la Croix in Isfahan in 1675 but enjoyed far fewer editions and translations than the Alf layla wa-layla. As Chauvin notes it cannot be determined whether the Thousand and one days or the Thousand and one nights was composed first; nevertheless to this day the Heyarek-Rouz is much less well-known to the Western world IV 123f. Chauvin quotes one commentator who declares the Heyarek-Rouz much more ingenious and more realistic as it sometimes includes marvels following the taste of the Oriental.The bindings show signs of wear some occasional browning and foxing. Otherwise in good condition.l OPAC SBN ITICCULO1E019449 4 copies incl. 1 incomplete; WorldCat 799553244 1 copy; cf. this edition not in Chauvin. Pietro Agnelli, hardcover
ABC_49355Venice: Santini 1810. Contemporary gold-stamped half brown cloth marbled paper sides with the title and volume number stamped in black on the spine. 12mo. 5 volumes bound as 2. Charming Italian edition of the Heyaryek-Rouz or Thousand and One Days so called to give the work an air of originality Chauvin IV 124. A Persian manuscript of this work was given to Francois Petit de la Croix in Isfahan in 1675 but enjoyed far fewer editions and translations than the Alf layla wa-layla. As Chauvin notes it cannot be determined whether the Thousand and One Days or the Thousand and One Nights was composed first; nevertheless to this day the Heyarek-Rouz is much less well-known to the Western world IV 123f. Chauvin quotes one commentator who declares the Heyarek-Rouz much more ingenious and more realistic as it sometimes includes marvels following the taste of the Oriental.With the bookplate of Luciano Perez mounted on the front pastedowns. The spines incl. the hinges are worn with some loss of material on both spines. A slight stain in the upper blank margin of a few pages of vol. 4. Otherwise in good condition.l OPAC SBN ITICCUTO0E074381 11 copies incl. 5 incomplete; WorldCat 57504717 1040084656 2 copies incl. 1 incomplete; cf. this edition not in Chauvin. Santini, hardcover
1633P5193Rome: Stephanus Paulinus 1633. Very Good. Notes: Set of 3 botanical prints published in De Florum Cultura. Image Size : 195x135 mm 7.68x5.31 Inches Platemark Size : Paper Size : 242x172 mm 9.53x6.77 Inches Coloring: Hand Colored Medium: Copper Engraving Categories: Natural History Botany; Stephanus Paulinus unknown
1919222921919. Gentile Maria. The Italian Cook Book: The Art of Eating Well 1919 documents the early transmission of Italian culinary practice into American domestic life following mass Italian immigration in the late nineteenth and early twentieth centuries. Written in English with bilingual Italian headings the work presents Italian cuisine to an American readership at a moment when immigrant foodways were entering broader cultural circulation. As a female-authored cookbook produced in the immediate post-World War I period it identifies women's domestic labor as a central site for the preservation and adaptation of ethnic identity. The volume supports research into immigration history food studies and women's roles in shaping household economy and cultural continuity.<br /> <br /> Gentile Maria. The Italian Cook Book: The Art of Eating Well. Practical Recipes of the Italian Cuisine: Pastries Sweets Frozen Delicacies and Syrups. New York: Italian Book Co. 1919. First edition. Text in English with bilingual Italian headings. Single volume 92 pages. Bound in black pebbled boards with gilt title stamped to front cover 8vo. The book opens with a preface linking Italian domestic practice to wartime conditions stating that "the home of an Italian family. has proved more than once to be a model of food economy" and positions its recipes as "palatable healthy and economic." Contents include foundational dishes such as brodo polenta and risotti alongside pastries sweets and syrups reflecting both everyday sustenance and celebratory traditions. Recipes are written in a direct instructional style intended for practical household use.<br /> <br /> Published during a period when Italian cuisine was not yet fully integrated into mainstream American food culture this work contributes to the early documentation and dissemination of regional Italian cooking in the United States. The emphasis on frugality and efficiency reflects broader economic concerns of the postwar era while the inclusion of traditional dishes demonstrates the retention of cultural practices within immigrant households. Female authorship further situates the text within the gendered framework of domestic instruction and culinary authority in the early twentieth century. Spine replaced with black tape with text block intact and covers and pages clean; overall good to fair condition. This volume provides early evidence of Italian American culinary adaptation and the role of women in shaping American food culture. unknown
1800130Venice 1800. 1. Mercier Louis Sébastien. Il Disertore. Commedia del Sig. Mercier. Tradotta dal Francese. Bologna: Stamperia di S. Tommaso d'Aquino 1772. 8vo. 82 pp. Original paste paper wrappers. ICCU cites one copy in Bologna; NUC cites only the 1796 edition at Johns Hopkins only. Not in OCLC. 2. Albergati Capacelli Francesco. Il Capriccioso. Farsa del Cittadino Francesco Albergati Capacelli. Venice. 1797. 8vo. 42 pp. Original past paper wrappers. NUC cites copies at Johns Hopkins and NYPL; OCLC adds Munich; ICCU list 8 locations. 3. Alberghetti Forciroli Carlo. Edipo. Tragedia inedita del Cavaliere Carlo Alberghetti Forciroli. Venice 1797. 8vo. 68 pp. Original paste paper wrappers. NUC cites copies at Johns Hopkins and NYPL; OCLC adds U Penn; ICCU lists 12 locations. 4. Collin d'Harleville Jean François I Castelli in Aria. Commedia del Signor Collin d'Arleville. Traduzione inedita di Giovanni Piazza. Venice 1798. 8vo. 76 pp. Original paste paper wrappers. No copies in US libraries. ICCU cites 20 locations. 5. Cornielle Pierre. Il Cid. Tragedia di Pietro Cornelio. Tradotta da Giuseppe Greatti. Venice 1798. 8vo. 87 pp. Original paste paper wrappers. OCLC cites copies at Johns Hopkins U Penn Duke and Getty. 6. Dumaniant M. Guerra Aperta Ovvero Astuzia Conrto Astuzia. Commedia del Sig. Dumaniant tradotta da Pietro Andolfati. Venice 1798. 8vo. 76 pp. Original paste paper wrappers. OCLC Johns Hopkins and U Penn. 7. Piron Alexis. Gustavo Wasa. Tragedia di Alessio Piron. Tradotta dal Nobile Francesco Gritti. Venice: 1798. 8vo. 95 pp. Original paste paper wrappers. OCLC cites copies at Johns Hopkins and U Penn. 8. Bassi Domenico. L'Impensato Accidente. Commedia del Signor Domenico Bassi. Venice 1799. 8vo. 72 pp. Original paste paper boards. NUC cites copies at Boston Public Library and NYPL; OCLC adds U. Penn. 9. Avelloni Francesco. Giulio Villenwelt Assassino. Commedia del Signor Francesco Antonio Avelloni. Venice: 1800. 8vo. 64 pp. Original paste paper boards. OCLC cites copies at Johns Hopkins and Michigan State. 130. unknown
RGW20776No Binding. Very good. PAIR OF ORIGINAL WATERCOLOURS each Signed 'V Loria' on paper one with artist's stamp on reverse Vincenzo Loria was born at Salerno. He studied at the Istituto de Belle Arti under Domenico Morelli. He painted scenes all over Italy mainly in watercolour and is best known for his views of Naples. The artist's stamp records the studio address at 6 Via Vittoira Naples which Loria moved to in 1890 and many of his famous clients would frequent. unknown
198632588-1087Berlin 24 December 1986. Berlin 24 December 1986. Expresses his thanks for a quote received and mentions a book which he is looking for. Gives his present address as valid until July 1987 which is 1000 Berlin 12 Uhlandstr. 184. AUTOGRAPHS ; AUTOGRAPHEN MANUSKRIPTE ; MUSIC ; (Berlin , unknown
20591no date verso unrelated autographs dated 1890-1 Bologna Italy. Page from an autograph album 16.5 x 12cm containing autographs as follows: "Compliments of Count Primo Magri from Bologna Italy Comtess sic M L Magri Mrs Genl Tom Thumb" filling the page. Overleaf signatures of C. W. Couldock American Shakespearian Actor; Theodore Thomas American conductor; M.W. Whitney and another "W. Fort". no date (verso unrelated autographs dated 1890-1), Bologna, Italy. unknown
175040348Italy 1750. 5 parts. Quarto and two bifolia. Notated on 10-stave rastrum-ruled paper. Watermark letters within a circle.<br /> <br /> Contains:<br /> <br /> 1 P.rimo Ten.ore: 1 p. Text commencing "Tantum ergo sacramentum" and Genitori Genitoque" "P Mro Martini" to head.<br /> 2 P.rimo Ten.ore music different from above: 1 p. Text commencing "Tantum ergo sacramentum" and Genitori Genitoque."<br /> 3 Basso: 1 p. Text commenting "Tantum ergo sacramentum" and "Genitori Genitoque" with "Tantum &c. a 3 Voci Ripieno" to head.<br /> 4 Secondo Tenore: 2 pp. Text commencing "Pange lingua" "Nobis datus" "Verbum caro" and "Genitori Genitoque." With "à 3. Voci TT. e B." to head of first page.<br /> 5 2o. Ten.ore: 1 p. Text commencing "Tantum ergo" and "Genitori Genitoque." With "P Mro Martini" to head.<br /> 6 2o. Ten.ore: 3 i blank pp. Text commencing "Sancta Maria" "Sedes sapienti" "Regina Martyrum" and "Agnus Dei." With "Littanie a 3. Voci" to head. <br /> 7 Basso: 3 i blank pp. Text commencing "Kyrie" "Virgo potens" "Regina Angelorum" and "Agnus Dei." With "Littanie a 3. Voci" to head.<br /> <br /> A few small stains. unknown
28024Vue a route du promenade Faglio a Livorn" "Vue du San Antoine e.d. Ferdinande.a Livorn" and two scenes in Augsbourg. 1 vols. Image 12 x 16 inches; matted and framed. Vue a route du promenade Faglio a Livorn" "Vue du San Antoine e.d. Ferdinande.a Livorn" and two scenes in Augsbourg. 1 vols. Image 12 x 16 inches; matted and framed. unknown
17801481780. Graphite and ink on handmade watermarked C & I Honig laid paper 8 15/16 x 6 3/4 inches 226 x 170 mm. Signed illegibly in ink lower margin. Scattered light creasing and surface soiling minor areas of rubbing all consistent with age. unknown
188532779New York: Charles Scribner's Sons 1885. Third American Edition. With An Additional Chapter. Hardcover. Fair. Octavos. Two volumes. Volume I: lxvi 411 pages. Volume II: x 463 pages. Illustrated with 3 maps and black and white illustrations. First map in volume 1 is split into two parts. Light edge wear to the other folded maps. Green cloth hardcovers with gilt titles on the spines. This set formerly owned by the author with his illustrated bookplates on the front paste downs. No writing inside the books. Cloth bindings edge worn on the spines and corners. Light shelf wear to the covers. Hinges intact. Binding cords visible rear hinge volume 2 but cover securely attached. Paper is fragile with a couple of small edge tears. A fair to good set. Charles Scribner's Sons hardcover
178040349Italy 1780. Folio 226 x 312 mm. Sewn. Notated on 10-stave rastrum-ruled paper with lowermost stave of first page of the Tenore part hand-drawn with music and text added in another hand. Watermark letters within a circle above a star. <br /> <br /> Music for Holy Thursday Good Friday and Holy Saturday of Holy Week in the Christian calendar: <br /> <br /> - "Feria Quinta in Cena Domini." Tenore. 4 pp. Bound with "Feria Sexta in Parasceve" Basso 6 pp. and an additional bass part headed "Sabbato Sancto" 6 pp. <br /> <br /> - "Feria Quinta in Cena Domini." Basso 6 pp. Bound with "Feria Sexta in Parasceve" 6 pp. "Sabbato Sancto" 6 pp. 1f. blank. <br /> <br /> With short semi-chanted homophonic liturgical pieces:<br /> "In Monte Oliveti" "Tristis est anima mea" "Ecce appropinquat" "Ecce vidimus" "Vere languores" "Amicus meus" "Flius quidem hominis" "Unus ex vobis" "Eram quasi agnus innocens" "Seniores populi" "Revelabunt celi iniquitatem" "Omnes amici" "Velum Templi" "Vinca mea" "Tamquam ad latronem" "Tenebre facte sunt" "Barabbas latro dimittitur" "Tradiderunt me" "Jesum tradidit" "Sicut ovis" "Sepultro Domino" "Jerusalem Iuge" "Plange quasi virgo" "Recessit Pastor" "O Vos omnes" "Caligaverunt oculi mei" "Ecce quomodo" "Æstimatus sum" "Agnus Dei" and "Lustris sex qui."<br /> <br /> Occasional moderate soiling and small stains; first leaf of Tenore part partially detached. unknown
RGW26573Hardcover. Very good. 25 leaves all written in a clear neat style on sheets with colour printed decorative borders before each such sheet is a leaf with the name of the language in Italian written within a decorative printed vignette. Large folio 35.5 x 25.4 cm later full dark green morocco spine with raised bands decorated in compartments with single rule in gilt covers with single rule border in gilt Sangorski Sutcliffe stamp on gilt turndown a.e.g. The languages include Albanian Arabic Armenian Chaldean Cingalese Danish Dutch English French Gaelic Georgian German Greek Hungarian Latin Italian Russian Spanish Tamil and Turkish. There are two leaves of script for Italian and Literary Greek. An unusual manuscript recording the scripts of diverse languages. hardcover
21957Earlier letters on letterheads of his Helsinki publishing house Eurographica; later letters on his personal Helsinki letterhead. Between 1984 and 1996. 43 letters in 8vo and 12mo making a total of 44 pp. Signed 'Rolando Pieraccini' and latterly 'Rolando'. Thirteen of the letters 1984-1986; all 8vo on 'Eurographica' letterhead the others 1986-1996; 27 in 12mo and 3 in 8vo on Pieraccini's personal letterhead. Also present is a carbon copy of a two-page letter from Pieraccini to Penny Eckley of Oxford University Press regarding copyright matters. The collection in good condition lightly-aged. Pieraccini published several limited editions of Fry's works for the Finnish market and the correspondence is by turns businesslike courteous and personal. Pieraccini begins by introducing himself: 'I am a publisher of art books. During recent years I have also started publishing a series of short stories in different languages in Signed Limited Editions 350 copies printed in Italy on special hand-made paper. I have already published a Play in one act by Graham Greene short stories by Erskine Caldwell Alan Paton Leonardo Sciascia Norman Mailer also a play Luise Rinser and am now working on short stories and plays by Ionesco Heinrich Böll John Updike Italo Calvino Halldor Laxness Anthony Burgess etc.' He explains that he will be 'very pleased and honoured to publish any play or short story' if Fry has 'something suitable for my project'. He explains the specifications including the way in which the 'signing operation is made simple'. On 23 December 1984 he writes in response to Fry's reply stating that he has 'read the three plays with great interest and curiosity and that 'A Phoenix Too Frequent' will make a beautiful and valuable book'. He discusses the terms noting that Fry is 'very generously not overvaluing your signature and the time you will need to sign 350 frontispiece pages which with no hurry should not be more than two hours'. Regarding his 'outright fee' he states: 'I must tell you that only in one case I have paid $3.00 per copy but it was in the case of perhaps the greatest contemporary author Graham Greene who is among other things giving a very high value to his signature.' Subsequent letters discuss the practicalities of printing and publishing: proofs payment arrangement with Fry's British publisher Oxford University Press difficulties with Italian customs and other matters. On 15 January 1985 following a mix-up over payment in dollars rather than pounds he writes: 'I hope you and your agent will be satisfied with my offer anyway if you like I am prepared to print 12 extra copies of the book for your personal use as I have done for Mr. Graham Greene. Have you perhaps still the original manuscripts of this play It would be a wonderful idea to have a few pages of it reproduced as well in my Signed Limited Edition as again I have done in the case of Mr. Greene play YES AND NO.' In March 1985 he asks Fry to inscribe copies 'one for Mrs. Tellervo Koivisto wife of the President of the Republic of Finland; one for the Helsinki University or Helsinki University Library and one for myself'. In April 1985 he asks if it might be possible for him to have a signed photograph as 'Every year in December I hold an exhibition of the books I have published during the year together with manuscripts proofs photographs etc. relating to the authors published during the year'. Three months later he asks for another signed photograph 'that I could have kept after the exhibition for myself the greedy collector'. On 27 May 1985 he asks him 'to write for me by hand on one of your small letterheads a few lines from A Phoenix Too Frequent For instance what Dynamene says at the very end of the comedy This short “manuscript†would go very well on the exhibition together with the photograph.' Letters between 1986 and 1987 relate to a similar edition of 'The Lady's Not for Burning' and on 8 June 1987 he explains difficulties in typesetting the text. Subsequent letters discuss the practicalities of printing and publishing: proofs payment arrangement with Fry's British publisher Oxford University Press difficulties with Italian customs and other matters. On 15 July 1987 he suggests delivering Fry's copies in person on 'a short afternoon visit' to Chichester but it is only in 1991 that such a visit takes place with Pieraccini thanking Fry 30 July 1991 for his hospitality and adding: 'You live in a most beautiful place in a very charming village a real discovery for me.' In 1989 an edition of 'The Dark is Light Enough' is mooted but plans have still not been finalised two years later. On 30 December 1990 he asks Fry whether he would like to contribute to 'another important project' a book 'as a tribute/homage to Julian Symons on the occasion of his 80th birthday May 1982'. He lists the numerous contributors he has lined up 'I have just started enquiring'. On 30 July 1991 he writes regarding another of Fry's plays: 'I have read Venus Observed and enjoyed it very much. It would certainly make a good book. However as I have already mentioned to you when I first saw it it is a rather long play and it would need even more pages than The Lady's which was itself a little bulky with the kind of paper we use. If only possible I would really like to do something else with you this time particularly in consideration of the special occasion next year we know. i.e. Fry's 85th birthday' As there is no time for a 'larger project' previously discussed he asks: 'Could we think of something different A selection of poems for instance a short story a collection of thoughts or “philosophical†notes or similar something you have already written or you might have time to write by February-March next year'. An edition of Venus Observed is planned and then dropped at the beginning of 1994 due to 'such economic difficulties that the kind of books I produce do not sell anymore at all. I think the many thousands I still have in stock will suffice at least for my next three lives' 23 January 1994. He asks Fry if he would consider leaving the typescript of the play 'with my archives and book collection which will one day go to the Helsinki University Library'. On 22 March 1994 Pieraccini thanks Fry for being allowed 'to keep the manuscript of Venus Observed a most valuable contribution to my collection'. Following another meeting at Fry's home The Toft Pieraccini gives 22 April 1996 three suggestions for 'another project' to celebrate Fry's forthcoming ninetieth birthday including 'A story of The Toft which could also mention East Dean and its inhabitants. With one/two photographs of the house and/or an etching by your artist-friend I've forgotten his name the one you collect'. In the last letter 13 July 1997 he expresses regret that 'our exciting project has fallen. It sounded so nice: 90 copies of 90 lines for your 90th birthday. Well it will be for your 100th. With some inspiration and a little more time to spare I am sure you can write 100 beautiful verses.' Several letters veer into the personal. On 8 September 1986 he explains that his 'real first name the one I still have in my Italian passport is Rolando; but having spent almost half of my life 20-22 years abroad I got used to and I actually prefer to use the more European version of it Roland'. On 8 January 1987 'a lot of snow -30º' Pieraccini writes of one of his art books: 'Onni Oja Finnish artist 1909-2004 was very pleased to know that you liked his work. Your good and generous words were also the best reward for me as editor and publisher of the book. To complete one of such volumes I usually need about two years. Well yesterday I have mailed to you the other volume published in the same series dedicated to the work of Veikko Vionoja one of the greatest contemporary Finnish artists. I hope you like it as well and I'll be curious to know which of the two you and your family prefer.' On 27 November 1987 he complains of 'a hard autumn which besides the usual business rush included also a painful illness kidney stones or renal calculus which took me to hospital'. On 5 December 1988 he states that he has 'recently attended a lecture on Peter Brook here in Helsinki' ad that he 'had the opportunity of mentioning his production of your play The Dark is Light Enough in 1954. Although he had already proved his talent Peter Brook was still quite young then'. He asks 'what kind of experience' it was to work with Brook. Earlier letters on letterheads of his Helsinki publishing house Eurographica; later letters on his personal Helsinki letterhead. unknown
1741214611Venezia . Milano: Michel'Antonio Panza 1741. Second edition. 12 266pp. 1 vols. 4to. Later vellum-backed boards uncut red leather spine label. Boards scuffed tear in lower joint very slight internal foxing; overall a very good sound copy. Second edition. 12 266pp. 1 vols. 4to. Michel'Antonio Panza unknown
