![[COLONNA, Francesco (1433-1527)]. Hypnerotomachia Poliphili, in Italian. Venice: Aldus Manutius for Leonardus Crassus, December 1499.](https://www.christies.com/img/LotImages/2018/CKS/2018_CKS_16019_0133_002(colonna_francesco_hypnerotomachia_poliphili_in_italian_venice_aldus_ma013105).jpg?w=1)
![[COLONNA, Francesco (1433-1527)]. Hypnerotomachia Poliphili, in Italian. Venice: Aldus Manutius for Leonardus Crassus, December 1499.](https://www.christies.com/img/LotImages/2018/CKS/2018_CKS_16019_0133_001(colonna_francesco_hypnerotomachia_poliphili_in_italian_venice_aldus_ma013105).jpg?w=1)
![[COLONNA, Francesco (1433-1527)]. Hypnerotomachia Poliphili, in Italian. Venice: Aldus Manutius for Leonardus Crassus, December 1499.](https://www.christies.com/img/LotImages/2018/CKS/2018_CKS_16019_0133_000(colonna_francesco_hypnerotomachia_poliphili_in_italian_venice_aldus_ma060845).jpg?w=1)
Details
[COLONNA, Francesco (1433-1527)]. Hypnerotomachia Poliphili, in Italian. Venice: Aldus Manutius for Leonardus Crassus, December 1499.
First edition of the most celebrated illustrated printed book of the Italian Renaissance and the epitome of Aldine design. The Hypnerotomachia interweaves the courtly romance of the Middle Ages with the revival of classical culture. In search of his lost love, Polia, Polifilo is led through a fantastic dream-world of pyramids and obelisks, classical gardens, ruined temples and bacchanalian festivals, before finding her and gaining ultimate enlightment at the temple of Venus. Interpretations of the intricate text are many, and there is evidence that it served as a sort of humanist encyclopedia (D. Stichel, 'Reading the Hypnerotomachia Poliphili in the Cinquecento, marginal notes in a copy at Modena,' Aldus Manutius and Renaissance Culture, Essays in memory of Franklin D. Murphy, Florence: 1998). The Aldine mastery of type, illustration, design and execution come together at their highest level in the Hypnerotomachia. The attribution of the woodcuts – commissioned specifically for this work – to the Paduan miniaturist Bordon is supported by the initial ‘b’ appearing in two of them, and the similarity of style to miniatures, which have been assigned to him. The present copy has the original setting of the nine leaves described by Harris as also existing in reset states (N. Harris, ‘Nine reset sheets in the Aldine Hypnerotomachia Poliphili (1499)’ GbJb 2006, 245-75). HC *5501; GW 7223; BMC V, 561; Sander 2056; Essling 1198; IGI 3062; IDL 1353; Renouard Alde 21.5; ISTC ic00767000; Goff C-767.
Super-chancery folio (300 x 199mm). 234 leaves. Roman, Greek and Hebrew types, letters AM stamped in by hand as correction in line 5 of second title (a1r) as GW Anm. 2. 172 woodcuts attributed to Benedetto Bordon, 11 of which are full-page [the Priapus cut uncensured], 39 woodcut initials forming the name Franciscus Columna. (Small marginal repairs to title, first and last leaf faintly browned, occasional spotting.) Early 20th-century red morocco, gilt fillet border on sides and spine, gilt turn-ins and edges (minor scuffing, minor split at upper hinge). Provenance: early inscription washed from title – Ermanno Loescher & Co., Rome (publishers and booksellers; printed label).
First edition of the most celebrated illustrated printed book of the Italian Renaissance and the epitome of Aldine design. The Hypnerotomachia interweaves the courtly romance of the Middle Ages with the revival of classical culture. In search of his lost love, Polia, Polifilo is led through a fantastic dream-world of pyramids and obelisks, classical gardens, ruined temples and bacchanalian festivals, before finding her and gaining ultimate enlightment at the temple of Venus. Interpretations of the intricate text are many, and there is evidence that it served as a sort of humanist encyclopedia (D. Stichel, 'Reading the Hypnerotomachia Poliphili in the Cinquecento, marginal notes in a copy at Modena,' Aldus Manutius and Renaissance Culture, Essays in memory of Franklin D. Murphy, Florence: 1998). The Aldine mastery of type, illustration, design and execution come together at their highest level in the Hypnerotomachia. The attribution of the woodcuts – commissioned specifically for this work – to the Paduan miniaturist Bordon is supported by the initial ‘b’ appearing in two of them, and the similarity of style to miniatures, which have been assigned to him. The present copy has the original setting of the nine leaves described by Harris as also existing in reset states (N. Harris, ‘Nine reset sheets in the Aldine Hypnerotomachia Poliphili (1499)’ GbJb 2006, 245-75). HC *5501; GW 7223; BMC V, 561; Sander 2056; Essling 1198; IGI 3062; IDL 1353; Renouard Alde 21.5; ISTC ic00767000; Goff C-767.
Super-chancery folio (300 x 199mm). 234 leaves. Roman, Greek and Hebrew types, letters AM stamped in by hand as correction in line 5 of second title (a1r) as GW Anm. 2. 172 woodcuts attributed to Benedetto Bordon, 11 of which are full-page [the Priapus cut uncensured], 39 woodcut initials forming the name Franciscus Columna. (Small marginal repairs to title, first and last leaf faintly browned, occasional spotting.) Early 20th-century red morocco, gilt fillet border on sides and spine, gilt turn-ins and edges (minor scuffing, minor split at upper hinge). Provenance: early inscription washed from title – Ermanno Loescher & Co., Rome (publishers and booksellers; printed label).
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Please note that the hinges have been neatly repaired.
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Robert Tyrwhitt