{"title":"Coming Soon","description":null,"products":[{"product_id":"anonymous-la-grande-danse-macabre-1728","title":"La grande danse macabre","description":"\u003cp\u003e1728\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. [1] f.e., 1-76, [1] r.e.\u003cbr\u003e\nTroyes\u003cbr\u003e\nJean-Antoine Garnier\u003c\/p\u003e\n\n\u003cp\u003eContemporary marbled boards, rubbed; spine worn and cracked, but sound, with small losses at the head and foot and an early paper shelf label, \"197.\" Mounted heraldic bookplate on the front pastedown, identifiable through heraldic research as that of the von Neindorff family, an old Saxon noble house and hereditary cupbearers to the Dukes of Brunswick, bearing the characteristic zigzag bend and stag with the motto trew ist wildbrat (\"loyalty is as rare and prized as game\"). Characteristic browning and foxing throughout on the inexpensive papier à chandelle typical of Bibliothèque bleue publications, with occasional soiling, light marginal wear, and a few small marginal chips. The lower margin has been trimmed very close to the text, occasionally affecting signatures but never the printed text itself. A sound, attractive copy of an intrinsically fragile popular production. Fine.\u003c\/p\u003e\n\n\u003cp\u003eA popular eighteenth-century Troyes edition of one of the most influential illustrated books of the late Middle Ages, preserving the Danse Macabre within the celebrated Bibliothèque bleue, the inexpensive chapbook tradition that carried classic texts to a mass readership throughout France. With provenance form the Library of a noble German family.\u003c\/p\u003e\n\n\u003cp\u003eLa Danse Macabre (French) originated as late-medieval allegories expressing the universal fragility of life, while criticizing the rich and potent. Evolving from Black Death tragedies and sermons, the earliest artistic examples took the form of elaborate murals in the cemetery of the Church of the Holy Innocents in Paris. Similar paintings popped up across Europe, depicting personified Death leading a chain of people (from popes and kings to peasants and children) toward the grave. When the Paris murals began to decay, publisher Guyot Marchant copied the poetry and commissioned woodcut illustrations, publishing the first definitive printed version, La Danse Macabre in 1485.\u003c\/p\u003e\n\n\u003cp\u003eThe motif became one of Europe's enduring visual and literary allegories, reminding readers that death levels every distinction of rank, profession, age, and sex. By the eighteenth century, the work had entered the world of the Bibliothèque bleue: the inexpensive, woodcut-illustrated books printed principally at Troyes and distributed by itinerant colporteurs from the seventeenth through the nineteenth century. In this new setting, a late medieval moral allegory became household reading, devotional literature, and popular picture book at once, its illustrations surviving through generations of reused and recut woodblocks.\u003c\/p\u003e\n\n\u003cp\u003eThe title page identifies Jean-Antoine Garnier, active as printer-bookseller at Troyes from 1766, while the privilege printed on p. 76 reproduces the royal privilege granted in 1728 to Pierre Garnier. This juxtaposition is entirely characteristic of the Bibliothèque bleue: privileges, woodcuts, and popular texts alike passed from one generation of the Garnier family to the next, and were routinely reprinted unchanged as editions continued to be issued throughout the eighteenth century. The privilege thus records the continuity of the Troyes press rather than the date of the present impression.\u003c\/p\u003e\n\n\u003cp\u003eThe title-page is adorned with a (so to say) lively woodcut of four skeleton musicians, immediately announcing the macabre pageant that follows. The volume is illustrated throughout with sixty woodcuts (some original and some reproduction of earlier editions), retaining much of the directness and expressive power of their medieval prototypes: animated skeletons seize popes and princes, monks and merchants, physicians, lawyers, lovers, and laborers alike, leading each inexorably into the universal dance. Following the author's prologue (\"Ô créature raisonnable... C'est la Danse des Machabées\"), each encounter unfolds as a dialogue in verse, Death first addressing its victim before receiving a reply, the paired texts printed beneath the corresponding woodcut. A second procession extends the dance to women, from queens and duchesses to brides, pregnant women, nuns, and young gentlewomen, reaffirming that beauty, youth, wealth, and rank offer no exemption from mortality. The accompanying illustrations are remarkably theatrical, juxtaposing the living and the dead with a stark economy of line that made the Danse Macabre one of the most enduring visual inventions of late medieval Europe. The volume concludes with several companion texts in the tradition of the ars moriendi, including La Mort menace l'humain lignage, the Exhortation de bien vivre et de bien mourir, and a concluding prayer.\u003c\/p\u003e\n\n\u003cp\u003eThere's something deliciously fitting about this particular copy, as if its delightfully rock'n'roll skeletons weren't already enough to make us smile. This modest Bibliothèque bleue edition (printed cheaply for a mass readership) survives from the library of a noble German family. The book seems to have practiced exactly what it preached, paying little attention to social hierarchy: just as, in the Danse Macabre, kings and queens, merchants, bishops, beggars, and lovers all take Death's hand in turn, so too did this humble chapbook find its way into aristocratic hands - and now into ours.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49318587760875,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00158_IMG_8664_1.jpg?v=1788120350"},{"product_id":"kern-eyn-new-kunstlichs-wolge-1530","title":"Eyn new Kunstlichs wolgegründts Visierbüchl","description":"\u003cp\u003e1531 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn Folio. Leaves [1] f.e., [1], lvi, [1] folding woodcut plate, [1] r.e.\u003cbr\u003e\nStraßburg (Strasbourg)\u003cbr\u003e\nPeter Schöffer, bei Hansen Schwyntzern\u003c\/p\u003e\n\n\u003cp\u003eModern olive brown morocco, richly gilt- and blind-tooled, spine with four raised bands. The upper margins are somewhat shorter than in an otherwise well-margined copy; in a couple of larger illustrations, the upper margins have been trimmed close to the upper edge, causing minor losses, due to the fact that the images were originally printed well beyond the normal text area. many other small and big woodcuts in the text. Later bookplate of Owen Gingerich on the front pastedown, with the motto \"Coeli enarrant gloriam Dei\" and the initial G enclosing a globe. Handwritten ownership note at the back of leaf lvi \"Alessandro Volpi\". A clean, fresh, and attractive copy of this rare work, with distinguished provenance. Fine.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of Kern's important illustrated German treatise on the practical art of gauging wine casks, a remarkable vernacular work bringing geometry directly into commerce and the wine trade. With provenance from the Library of Owen Gingerich.\u003c\/p\u003e\n\n\u003cp\u003eCompleted on 1 April 1531, Kern himself announces its novelty on the title-page, claiming that it is never before printed or issued (dergleichen noch nie getruckt oder außgangen). A wine cask became a commercial object only after its capacity had been determined, and this Visierbuch (gauging book) addresses precisely the practical art by which an irregular barrel could be measured with a graduated Visierrute (gauging rod) and converted into local units of capacity. Written in Early New High German, with Latin mathematical headings, the work identifies its author in both the dedication and closing verses as Ulrich Kern von Freysing, Rechenmeyster und teutscher schreiber (Ulrich Kern of Freising, reckoning-master and German scribe). The dedication to the merchant Hans Volmar of Rottweil reveals the intended audience: merchants, coopers, and tax officials whose livelihood depended upon accurate measurement rather than abstract mathematics. Kern also acknowledges his teacher, Christoff Rudolff of Jauer, author of the first German algebra book and commonly credited with introducing the radical sign, placing the work firmly within the Rechenmeister (reckoning-master) tradition.\u003c\/p\u003e\n\n\u003cp\u003eThe printer's family name will not pass unnoticed by any scholar or lover of early printing. Peter Schöffer the Younger was the son of the celebrated Mainz printer Peter Schöffer the Elder, Gutenberg's apprentice and collaborator; he was also the grandson of Johann Fust, Gutenberg's primary financier. The younger Schöffer carried this remarkable printing dynasty into the Reformation era, working successively in Mainz, Worms, Strasbourg, Basel, and Venice.\u003c\/p\u003e\n\n\u003cp\u003eThis volume was printed during Schöffer's Strasbourg partnership with Johann Schwintzer, at a moment when practical mathematical knowledge previously transmitted through local teaching and workshop practice was increasingly finding durable printed form. Kern's insistence on adapting the measuring rod to the different weights and measures of individual regions makes the book particularly revealing of the problem it sought to solve: applying a common geometrical method across a commercial world still governed by highly local systems of capacity.\u003c\/p\u003e\n\n\u003cp\u003eThe large woodcut printer's device on the colophon leaf is notable in its own right. Signed with the monogram \"HG\" and traditionally attributed to Hans Baldung Grien, it is Schöffer's elaborate 1531 device, incorporating the family arms and flanked by shepherds and a richly dressed couple. Schöffer reused the block in later publications, including the \"Rerum musicorum opusculum\" printed with Matthias Apiarius in 1535.\u003c\/p\u003e\n\n\u003cp\u003eThe book opens with an illustrated title page: a woodcut depicts a cooper or wine gauger standing behind a large wooden cask, demonstrating the use of a gauging rod (Visierrute). Holding the long graduated rod horizontally across the barrel while taking a measurement with his right hand, he illustrates the practical operation at the heart of the Visierbuch: determining the capacity of a cask geometrically without filling it. The barrel is shown with pronounced staves and iron hoops, emphasizing its commercial rather than decorative function.\u003c\/p\u003e\n\n\u003cp\u003eThe following text is divided into three parts. The first explains the construction of gauging rods from geometrical principles, introducing square and cube roots through tables and diagrams. The second applies these methods to the differing systems of measurement used throughout the German lands, illustrating the geometrical constructions with numerous diagrams and a striking folding plate. The final section presents completed gauging rods for the principal regional measures, together with multiplication tables, worked examples, exchange calculations, and the printed rod scales used in practice. Throughout, the units are those of the barrel trade, including Fuder, Saum, Ohm, Eimer, Viertel, and Maß.\u003c\/p\u003e\n\n\u003cp\u003eThe volume is illustrated with numerous text diagrams, a large folding plate, and a handsome colophon woodcut. Particularly noteworthy is the use of red and black printing in the rod scales: the red rules form continuous measuring lines while the black dots mark the graduations, making color an essential functional element rather than decoration.\u003c\/p\u003e\n\n\u003cp\u003eWine, geometry, and the dawn of printing, what's not to love? This ingenious little manual taught merchants how to measure a cask without ever filling it, transforming mathematics into an everyday tool of the wine trade. But we also fell for its printing pedigree: produced by Peter Schöffer the Younger, son of Gutenberg's apprentice and grandson of his financier, it leaves you only two degrees of separation from the invention of printing itself. Add handsome diagrams, clever red-and-black typography, and a delightful woodcut or two, and this is exactly the sort of book that makes our hearts skip a beat.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49353634250987,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00152_IMG_8683_fc547ba9-8305-4965-9e9c-448d6ded079a.jpg?v=1788647044"},{"product_id":"cysat-mathemata-astronomica-de-loco-1619","title":"Mathemata astronomica de loco, motu, magnitudine et causis cometa","description":"\u003cp\u003e1619 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. (1) f.e., [8], 84, [4].\u003cbr\u003e\nIngolstadt\u003cbr\u003e\nEx Typographeo Ederiano\u003c\/p\u003e\n\n\u003cp\u003eFull contemporary limp parchment, minor soiling; manuscript title 'De Cometa' on spine. Water stains in the outer margin at the front and again in the final third, generally not touching text; browning in gatherings H, L, M, and some general toning. Title page with a mute paper seal glued on the left side; very early inscription 'Abbas d. Iulius emit. 1694' in an interline, and circular ink stamp 'Bibl. S. Puden. de Urbe' on the right. Later Owen Gingerich bookplate at the inner front cover, with motto \"Coeli enarrant gloriam Dei,\" initial G enclosing a globe; ink shelfmark on the same leaf. Some age-related defects but rare, with provenance and perfectly enjoyable. Very good.\u003c\/p\u003e\n\n\u003cp\u003eThe first treatise to record observation of a comet with a telescope, and the earliest to describe and depict a cometary nucleus and its surrounding coma, with provenance from the Library of Owen Gingerich. Cysat's Mathemata astronomica belongs to the lively debate surrounding the great comets of 1618, when new scientific instruments were challenging old cosmologies. From parallax, Cysat placed the comet far beyond the Moon, helping to displace the Aristotelian view of comets as atmospheric vapors and bringing his observations into line with those of Tycho Brahe and other Jesuit astronomers. The apparitions of 1618 also provoked the bitter comet controversy in which Orazio Grassi in Rome and Cysat in Germany argued from parallax for distant celestial bodies, while Galileo (ill and without having observed the comets himself) treated them as atmospheric optical effects and dismissed parallax measurements as inconclusive. On the central physical question, the Cysat and the Jesuits were right.\u003c\/p\u003e\n\n\u003cp\u003eCysat sets out his treatise in seven chapters that move methodically from raw observation to physical cause, a structure he announces in the preface. The first chapter assembles the observations themselves, running from 1 December 1618 to 22 January 1619, each position of the comet fixed by its distance from two fixed stars; a table on p. 20 gathers the results in parallel columns of latitude, longitude, declination, right ascension, digression from the sun, and diurnal motion. From this foundation, the later chapters build outward. Caput IV traces the coma and tail across the sky in a sequence of full-page woodcuts, carrying the comet through Boötes, Virgo, and Draco, while a large plate sets its path against the orb of the sun. Caput VI explains and depicts the head resolving over the course of December from a solid disc into a swarm of starry points; Cysat likens three bright starlets within it to the luminous companions of Jupiter, \"aeque clarae atque lucidissimi Iovis Comites\" (\"as bright as Jupiter's brightest satellites\"). The same chapter contains his much-discussed remark on a nebulous appearance, on the strength of which he is sometimes, probably wrongly, credited with the discovery of the Orion Nebula. Cysat's work formed part of a wider contemporary discussion of the comet: Kepler, who corresponded with Cysat and visited Ingolstadt, and Orazio Grassi both published treatments of the same apparition in 1619.\u003cbr\u003e\nThe provenance is particularly apt: this copy comes from the library of Owen Gingerich (1930-2023), the Harvard historian of astronomy and author of the celebrated census of surviving copies of Copernicus's De revolutionibus.\u003c\/p\u003e\n\n\u003cp\u003eCute bear images (with fur and all), strange angels, interestingly dressed gentlemen... oh wait, they are constellations (Ursa, Virgo, Boötes), and the book is all about a comet racing across the sky 400 years ago?! And it is not your average phenomenon: the comet was observed for the first time with a telescope, and, again for the first time, described with its nucleus and surrounding coma, sparking a debate with Galileo, who was exceptionally wrong. Gingerich knew it was an exceptional volume, and his bookplate proving the provenance reminds us that astronomy rarely gets this many goosebumps in one book.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892380907,"sku":"144-1619--5800.00-2286.00-2026","price":5800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00144_IMG_8755_29437c71-a61d-4d4e-ac76-0dc0391b7f00.jpg?v=1788989972"},{"product_id":"zindel-der-eislauf-oder-das-1825","title":"Der Eislauf oder das Schrittschuhfahren","description":"\u003cp\u003e1825 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., [1] frontispiece, IV, 180, [5] plates, [1] r.e.\u003cbr\u003e\nNuremberg (Nürnberg)\u003cbr\u003e\nFriedrich Campe\u003c\/p\u003e\n\n\u003cp\u003eOriginal paper boards, with rich illustration on both covers and spine (no editorial notes); green edges. Paper slightly green\/bluish. Six illustrations in total outside of pagination. Some slight rubbing at the edges, very light internal spotting. A very beautiful copy. Fine.\u003c\/p\u003e\n\n\u003cp\u003eAn early German pocket-manual devoted to the fun art of ice skating, in first edition. The book appears at a moment when skating was moving from winter utility into social performance, sport, and literary subject explored by the most renowned writers, like Goethe, who famously enjoyed it very much.\u003cbr\u003e\nThe historical study, besides archaeological finds, starts around 800 years ago in Holland, where messengers with iron blades and wooden shoes began gliding across the frozen canals, delivering urgent messages to aristocratic recipients. In the following centuries, ice skating developed first into a pastime of the nobility and later into a popular sport. The first skating clubs were founded in Great Britain in the mid-eighteenth century. While the Nordic peoples, as well as the Frisians and Dutch, remained skilled skaters, this art was largely confined to youth in Germany until it became more popular and a preferred winter pastime. As a work devoted entirely to ice skating, this charming volume speaks to historians of sport, leisure, physical practice, material culture, and German literary life.\u003c\/p\u003e\n\n\u003cp\u003eThe charm of this little book begins with its covers: the original illustrated paper boards are ornamented with a zodiacal border and pictorially printed with skaters and the snow-bringing North Wind on the front, and King Winter on the rear. The engraved frontispiece shows Nuremberg's famous skating ground at the Dutzendteich, with a large crowd of people frolicking on the ice. The other five engravings in the book, by Adam Klein, depict different forms of skates and figures of ice skating, while the accompanying text explains them in considerable detail. The first part, pp. 1-78, forms a graded course of instruction: encouragement by word and example; the choice and fastening of skates; the skater's dress; laying out the rink; the first attempt on the ice; and the four elementary movements (straight running, crossing over, the outside-edge curve, and the turn) followed by stance and carriage, group figures, the ice-sledge, precautions, and a concluding note on the literature of the sport. The appendix, beginning on p. 79, gathers poems, letters, essays, and literary quotations relating to ice skating, chiefly by Klopstock, Goethe, Herder, and Platen, including Goethe's \"Die Eisbahn\" (\"The Ice Rink\"). Throughout, the text contains numerous remarks on races, speed records, ice festivals, Parisian novelties, and other curiosities of contemporary skating.\u003c\/p\u003e\n\n\u003cp\u003eSkating has a soft spot at La Fenice, and this little book is exactly our kind of quirky find. The illustrated boards alone would have won us over; but inside, elegant figures glide across the ice in impeccable frocks and fine skates - although our twenty-first-century minds remain puzzled by the ladies being carried about in chairs rather than simply joining the fun. Passing nods to Goethe and other German writers complete the charm of this delightful skating manual mixing athletic pursuit, social theater, erudite entertainment, and excuses to dress remarkably well.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892479211,"sku":"145-1825--3400.00-2174.00-2026","price":3400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00145_IMG_8777.jpg?v=1788990595"},{"product_id":"malvezin-lettre-a-la-chambre-de-1874","title":"Lettre à la Chambre de commerce de Bordeaux sur le phylloxera de la vigne","description":"\u003cp\u003e1874 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., 56, [1] r.e.\u003cbr\u003e\nBordeaux\u003cbr\u003e\nCharles Lefebvre\u003c\/p\u003e\n\n\u003cp\u003eOriginal printed wrapper, sewn as issued and largely uncut, with generous untrimmed margins. Light foxing and toning to the title page and to rear matter. Internally clean and well printed. Very good conditions.\u003c\/p\u003e\n\n\u003cp\u003ePublished while the phylloxera crisis was still searching for a solution, this open letter to the Chambre de Commerce de Bordeaux captures one of the defining debates in nineteenth-century viticulture. Rather than advocating a single remedy, Théophile Malvezin surveys the competing scientific and practical responses then under discussion, from American vines and chemical treatments to biological control and legislative action, at a moment when neither the epidemic nor its cure had yet been fully mastered. Addressed to Bordeaux's principal commercial institution, instead of the scientific and botanical community, the pamphlet argues that the destruction of the vineyards was no longer simply an agricultural problem but a matter of regional commerce requiring coordinated public intervention. Malvezin would later become the author of the monumental Histoire du commerce de Bordeaux, making this an early intervention by one of the city's foremost historians of its commercial life. Neal Martin places the work within the Gironde's campaign against what contemporaries called \"this horrible plague,\" noting that the alternatives it discusses were ultimately superseded by grafting onto American rootstocks, together with carbon bisulphide and potassium sulpho-carbonate.\u003c\/p\u003e\n\n\u003cp\u003eThe pamphlet opens with the Chamber's cri d'alarme, followed by three formal petitions to the Minister: the publication of an official summary of the phylloxera question, the increase of the proposed reward to one million francs, and legal protection for insectivorous birds as natural enemies of the pest. The Première partie, presented as a practical handbook, traces the origin and spread of the epidemic (rom its first observations around 1863 in England and the Var to its appearance in the Bordeaux vineyards about 1866) before describing the characteristic symptoms of the disease and the insect's complex life cycle in its gall-forming (gallicole) and root-feeding (radicicole) stages, both wingless and winged. A substantial chapter reviews the full range of contemporary remedies, from cultivation practices, fertilizers, drainage, and American vines to traps, birds, vineyard flooding, and chemical treatments. The author's constant refrain is the need for immediate intervention: isolate the infected vines, expose the roots to a depth of 30-40 cm, and irrigate with pentasulfure de chaux. The Deuxième partie moves from the vineyard to public policy, arguing for a national phytosanitary framework that anticipated the French law of 15 July 1878, and illustrating how the struggle against phylloxera had become as much a matter of legislation and commerce as of viticulture itself.\u003c\/p\u003e\n\n\u003cp\u003eWhat won us over is not so much the enemy as the audience. Malvezin isn't writing for botanists or agronomists, but for Bordeaux's Chamber of Commerce, treating phylloxera as a threat not just to the vine, but to the fortunes of an entire region. American vines, chemical remedies, new laws, even insect-eating birds all earn their place in the debate. A wonderful reminder that wine has never been merely an agricultural affair: it has always been serious business.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892544747,"sku":"148-1874--3500.00-242.00-2026","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00148_IMG_8990.jpg?v=1788990844"},{"product_id":"praun-abbildung-und-beschreibung-1859","title":"Schmetterlinge u. Raupen. Abbildung und Beschreibung europäischer Schmetterlinge.","description":"\u003cp\u003e1859 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Papiliones: [9] leaves, 78 pp., 41 plates (2 b\/w; 39 colored). Bombyces: [3], [25] leaves, 25 plates (1 b\/w, 24 colored). Sphinges: [4], [11], 11 plates (1 b\/w, 10 colored). Noctuae: [4], [41], 41 plates (1 b\/w, 40 colored). Geometrae: [4], [21], 21 plates (21 colored). Microlepidoptera: [3] leaves, 69 pp., 32 plates (32 colored). Prospectus: pp. 12.\u003cbr\u003e\nNürnberg\u003cbr\u003e\nBauer \u0026amp; Raspe\u003c\/p\u003e\n\n\u003cp\u003eOriginal publisher's half-cloth cartonnage, with black cloth spines over gray cardboard boards; yellow paper mounted on the covers, printed with editorial information and completed in manuscript with the title of each of the six volumes. Some rubbing and soiling; joints generally a little loosened and in some cases carefully restored in modern times to avoid further damage. The plates are fresh, with strong color, minimal offsetting, and generous margins. The prospectus carries twice the violet oval handstamp of K. Schimmelpfeng's Buchhandlung, Mülheim-Ruhr, Viktoriastrasse. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst and only edition of a great illustrated work of the nineteenth-century European entomology. Devoted to the butterflies and moths of Europe, Praun's work has a layered publication story: it began publication in fascicles in 1858 and grew into a substantial large-quarto undertaking comprising 42 parts, 166 finely colored plates, and representations and descriptions of more than 2,300 species. Publication extended over more than a decade, with the individual taxonomic families also offered separately by the publisher as self-contained units, accounting for the complex sectional organization of surviving sets and the present six-volume arrangement. A complementary work devoted to the caterpillars, revised and completed after Praun's death by Ernst Hofmann, eventually followed separately in 1874-75; the appearance of \"Schmetterlinge u. Raupen\" on the present title page, suggests that the caterpillars had already been envisaged within the broader scope of the project.\u003cbr\u003e\nCombining encyclopedic scholarship with sumptuous illustration, Praun conceived the work as a practical reference for identifying and comparing butterflies and moths. Working as both compiler and systematist, he drew upon an extensive network of collectors and correspondents, acknowledging among his collaborators Freiherr von Welser zu Neuhof and the schoolmaster Fehr of Gunzenhausen. In his preface, dated Nuremberg, November 1857, Praun laments that the study of butterflies and moths still remained too much the province of amateurs because reliable illustrated references were either incomplete, prohibitively expensive, or difficult to use. His ambition was to produce a comprehensive, systematic, and accessible iconography of the European Lepidoptera. The publishing history, preserved in the successive title pages, traces the project through the Nuremberg firm of Julius Merz, Ludwig Korn, and Emil Küster between 1859 and 1869, year of Praun's death.\u003c\/p\u003e\n\n\u003cp\u003eThe work, organized in 6 lean volumes, comprises 171 plates, of which 5 steel engravings in black\/white and 166 beautifully hand-colored plates, illustrating more than 2,300 species, accompanied by detailed systematic descriptions. An additional small pamphlet represents the Prospectus to guide through the volumes organization.\u003cbr\u003e\nThe first book opens with a dedication to G. J. K. Freiherr von Welser von und zu Neuhof, whom Praun acknowledges as both friend and patron of natural-scientific research. A preliminary essay on classification (Bemerkungen zur Systematik) sets out a remarkably modern view of taxonomy, arguing that only individual organisms exist in nature, while genera are human constructions based upon shared structure and habits, and that climate, nourishment, migration, cultivation, and hybridization continually produce new forms. An explanation of abbreviations follows, citing the principal authorities of European entomology (such as Linné, Fabricius, Esper, and Hübner to Boisduval, Ochsenheimer, Treitschke, and Zeller) and identifying anatomical terminology and figures borrowed from earlier works. The systematic catalogue begins with the Papiliones genus by genus, each species treated with synonymy, food plant, flight period, and geographical distribution. It continues with Bombyces, Sphinges, Geometrae and Microlepidoptera.\u003cbr\u003e\nThe magnificent hand-colored plates form the heart of the work, portraying specimens with exceptional scientific precision and artistic refinement: over 2,300 delicate and vivid butterflies and moths come to life through the pages.\u003c\/p\u003e\n\n\u003cp\u003eCataloguing this magnificent work took us several sessions, not because it is particularly complicated, but because we kept losing count of the plates... and track of time. More than 2,300 butterflies and moths, each hand-colored with astonishing precision, have a way of distracting even the most disciplined bibliographer. A masterpiece of nineteenth-century science, but also a glorious excuse to stop working and simply look.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892610283,"sku":"151-1859--4000.00-1564.00-2026","price":4000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00151_IMG_8715-2_2.jpg?v=1788991293"},{"product_id":"clerc-principes-sur-la-culture-1825","title":"Principes sur la culture de la vigne en cordons","description":"\u003cp\u003e1825\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [3], 81, [1]\u003cbr\u003e\nChatillon-sur-Seine\u003cbr\u003e\nCharles Cornillac\u003c\/p\u003e\n\n\u003cp\u003eOriginal contemporary paper wrappers (showing signs of age) with hand-written title by a contemporary hand. Red paper spine with a manuscript label. Original stabbing threads preserved, but exposed at the inner hinge. Scattered light foxing; light watermark at the final 20 pages. The hand-colored plate is fresh and well preserved. The final leaf is pasted to the inner rear wrapper. A charming complete copy.\u003c\/p\u003e\n\n\u003cp\u003ePublished in the heart of Burgundy's Côte-d'Or, this early French treatise belongs to the generation of practical manuals that transformed viticulture from inherited custom into a system of observation, economy, and reproducible technique. Identified on the title page only as \"M. Clerc,\" the author presents himself as a reformer of vineyard practice, arguing that higher yields and lower cultivation costs could be achieved through disciplined pruning rather than greater labor or larger plantings. His cordon system is conceived a portable method, beyond regional practices: the vine is reduced to a carefully ordered structure whose trunk, permanent arms, renewal wood, and trellising can be replicated from one vineyard to another.\u003cbr\u003e\nLong before cordon training became standard across much of the wine-growing world, Clerc offered one of its earliest self-contained expositions, extending from the architecture of the vineyard to the cellar practices that completed the system.\u003c\/p\u003e\n\n\u003cp\u003eThe book opens with a finely hand-colored engraved plate in front of the title page, and it depicts a vine-grower training a cordon vine against stakes; the lettered keys identify each structural element of the vine, including the souche, mère-branche, allonge, and souchet à ravaler.\u003cbr\u003e\nThe small treatise proceed to unfold over eleven chapters. Following a historical introduction that traces viticulture from Asia through Caesar's Gallic campaigns, Domitian's prohibitions, and the revival under Probus, it begins with the principles of planting before establishing the technical vocabulary of the cordon itself: souche, mères-branches, allonge, souchets, pousses-de-souchets, and remplaçant. Clerc then treats pruning, treillage, tying (accolage), debudding (ébourgeonnement), renewal of fruiting wood, general vineyard maintenance, wall-trained trellises, and the practical advantages of the cordon system, concluding with a chapter on la manière de faire le vin. The winemaking section recommends fermentation vessels broader at the base than at the mouth and provides directions for treading, pressing, and managing the must.\u003c\/p\u003e\n\n\u003cp\u003eLong before cordon training became standard, Clerc was already sketching out the vineyard of the future. Yet what truly won us over is this copy itself: the charming original wrappers with their contemporary handwriting and the beautifully hand-colored frontispiece, turning a practical pruning manual into a deeply personal survivor.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892708587,"sku":"154-1825--450.00-97.00-2026","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00154_IMG_8886.jpg?v=1788991394"},{"product_id":"haulen-jahrbuch-alter-und-neuer-1742","title":"Jahrbuch alter und neuer Nachrichten oder historische Beschreibung","description":"\u003cp\u003e1743 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. [16], 112, [22].\u003cbr\u003e\nOnolzbach (Ansbach)\u003cbr\u003e\nChristoph Lorenz Messerer\u003c\/p\u003e\n\n\u003cp\u003eContemporary green full leather, with warped boards, scratches and losses along the edges, especially at the corners. Endpapers missing. Scribbles to the pastedowns. Ex-libris Friedrich von Bassermann-Jordan, wine historian. The printed text block is soiled and browned; the edges show signs of heavy use. Paper loss at pp. 111-112, affecting the first three lines of text. The manuscript leaves are generally sound and less browned, except for the final verso. There are signs that some manuscript leaves have been removed at the end. A heavily worn but rare and significant copy. Fair.\u003c\/p\u003e\n\n\u003cp\u003eExceptionally interesting \"yearbook\" in the Franconian Jahrbuch tradition, with a manuscript appendix and ex-libris Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history.\u003cbr\u003e\nAt the heart of the book are wine and weather. Häulen records exceptional vintages alongside disastrous crop failures, noting wine and grain prices as measures of abundance and scarcity: a good or failed vintage affected rents, trade, household economies, and the prosperity of an entire wine-producing region. Grain prices therefore stand beside wine prices, as part of the same economic and environmental cycle. The chronicle also records extreme weather and natural disasters, including floods of the Main, prolonged rains, and destructive hailstorms. War, mortality, civic ceremonies, and other local events enter the same register, providing the circumstances in which harvests and prices acquired their significance. Häulen's interpretation of abundance and catastrophe through divine providence further reveals the religious framework through which an eighteenth-century community understood environmental events.\u003cbr\u003e\nIn the preface, Häulen reveals some peculiarities of this specific volume: a manuscript covering only the previous century came into his hands by chance; he then sought out older reports to extend it and published the result at the request of many. Blank paper was expressly bound in at the rear so that each owner might continue the record year by year and assemble, as he puts it, a small house-chronicle for his descendants. In this copy, that invitation was taken up: twenty-two pages at the rear carry a manuscript continuation from 1742 into the 1750s in more than one hand (interestingly enough Häulen did publish a continuation in 1749, covering 1743-1748, see VD18 12344702). Blank paper for owners' entries was common in early modern Germany, most familiarly in the \"Schreibkalender\", produced in vast numbers from the 1540s. But the calendar was disposable, superseded each January, whereas Häulen attached continuation paper to a chronicle reaching back to antiquity and asked its owner to carry it forward (Ref. Herzog August Bibliothek Wolfenbüttel, The Schreibkalender - writing calendar - of early modern German-speaking Europe). Rarer still is a copy in which that invitation was actually taken up and the resulting record survived.\u003c\/p\u003e\n\n\u003cp\u003eTaken as a whole, the \"Jahr-Buch\" is a printed Franconian wine and grain chronicle useful for local record; today it reads as an unusually rich primary source for Franconian viticulture, historical climatology, agricultural and commodity history, and the social history of the region.\u003cbr\u003e\nThe book begins in antiquity, with the vintage of 126 BC cited to Pliny and Funccius, before settling into an \"Anno Christi\" sequence running from AD 312 to Häulen's own time in 1742. Year after year, wine provides one of the principal measures of history. Prices are recorded by \"Eymer\", \"Fuder\", and \"Mass\"; grain prices later appear by the \"Malter Korn\"; values move between Batzen, Kreuzer, and Gulden. Most entries are followed by a \"Geschicht\" (History) rubric. The result is wonderfully indiscriminate in the best sense: economic history, weather observation, local memory, and the marvelous sit comfortably beside one another. In 593 there is a \"Drach grosser in Rom\" (a great dragon in Rome); the enormous vintage of 1296 produces a \"Fässer-Mangel\", a shortage of casks; in 1373 comes \"Veits-Tanz\", the phenomenon of dancing mania; 1382 is remembered simply as the \"Jahr ohne Wind\", the year without wind. In 1426 wine was so cheap that a \"Fuder\" could be bought for two florins \"mit samt dem Faß\", cask included, effectively leaving the barrel worth more than its contents.\u003cbr\u003e\nSome entries move still further into the territory where meteorology, marvel, and collective memory become difficult to separate. The year 1456 brings \"Fleisch- und Blut-Regen\", a rain of flesh and blood. In 1531, at Kitzingen, there was supposedly such an abundance of wine that they \"allda mit Wein gemahlen\": milled with wine, using it in place of water. Then comes 1540, the extraordinary heat-and-drought vintage, remembered here as producing \"Wein, der rareste in diesem Seculo\" (the rarest wine in this century). Elsewhere the chronicle catches sudden catastrophe: in 1659 the \"Pulver-Hauß zu Delfft fleucht in die Lufft\", the Delft powder-house flies into the air, an apparent recollection of the Delft Thunderclap, though entered several years later than its generally accepted date of 1654.\u003cbr\u003e\nAs the chronology approaches Häulen's own lifetime, this distant historical compilation increasingly becomes local memory. The closing printed \"Supplementum\" concentrates on Mainbernheim and its surroundings, recording plague mortality, the sack of Marckbreit, local wine prices, and the 1729 \"Huldigung\" (tribute) for Baron von Seckendorff. The movement is almost imperceptible: what begins with Pliny, ancient vintages, dragons, prodigies, and medieval chronicles gradually arrives at the prices, weather, deaths, ceremonies, and harvests of Häulen's own community.\u003cbr\u003e\nAnd the book was designed not to end there. The manuscript continuation at the rear takes up the printed chronology in German cursive Kurrentschrift and carries it forward into the 1750s. Here the boundary between public and private history becomes even thinner, in alignment with Häulen's conception of the book: history beginning in antiquity, narrowing gradually toward Franconia and Mainbernheim, and finally arriving inside the reader's own house.\u003c\/p\u003e\n\n\u003cp\u003eWine, weather, dragons, dancing mania, and a year when the barrel cost more than the wine inside it. The author invited his readers to carry the chronicle forward, and someone took him up on it, continuing the entries by hand in 22 additional pages. What begins with Pliny and the vintage of 126 BC narrows to Franconia, then to Mainbernheim's own prices and deaths, and finally to the household that owned the book.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892741355,"sku":"157-1743--2500.00-237.00-2026","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00157_IMG_8834.jpg?v=1788991512"},{"product_id":"chappuis-brun-ueber-den-rebbau-wie-1844","title":"Ueber den Rebbau, wie er im Ryff-Thale, Kantons Waadt, betrieben wird","description":"\u003cp\u003e1844 First German Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. VI, 7-32\u003cbr\u003e\nAarau\u003cbr\u003e\nJ. J. Christen\u003c\/p\u003e\n\n\u003cp\u003eOriginal contemporary pink printed wrappers; the front wrapper has a longer tear at the lower part, which has been recently restored with Japanese paper. Light browning, no foxing. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Ink stamp with same provenance at the head of the title page. Good.\u003c\/p\u003e\n\n\u003cp\u003eFirst and only German translation from the second French edition of Brun-Chappuis's practical manual of pre-phylloxera Swiss viticulture. Brun-Chappuis writes as a practicing vine-grower from Vivis, now Vevey, in Canton Vaud, drawing on experiments made in the Ryff valley on the shores of Lake Geneva. The book answers a mid-nineteenth-century moment in which vineyard knowledge moved through agricultural societies as well as through local practice, and field experience was being tested, translated, and adapted for cantonal use. The Landwirthschaftliche Gesellschaft im Aargau financed and distributed this German printing chiefly for its members, with annotations intended to make Vaud methods applicable under Aargau conditions. The unnamed translator worked from the revised French text, preserving the manual's preference for district terminology over learned abstraction. Taken whole, the pamphlet is a case study in how one lakeside vineyard practice was converted into institutional agricultural advice for another Swiss canton.\u003c\/p\u003e\n\n\u003cp\u003eThe Society's prefatory note is followed by Brun-Chappuis's Vorwort, which opens with an appeal to experiment: \"Ich habe Kenntniss vom Rebbau erhalten wollen und mich, da ich keinen sicherern Führer fand als die Erfahrung, mehrere Jahre lang mit Versuchen beschäftigt\" (the author wished to learn viticulture and, finding no surer guide than experience, spent several years in trials). He warns that the prose will offer clarity and simplicity rather than elegance, and that its vocabulary follows the usage of vine-growers in his own district. Nineteen numbered articles then move from soil preparation and the choice of cuttings to planting, pruning, earthing-up, layering, hoeing, manuring, weed control, and the recovery of exhausted vineyards. The sharpest practical intervention comes in the article on kitchen-garden cultivation among vines, where a common mixed-use practice is rejected from direct experience. The prefatory program recommends Klevner and white Gutedel for Aargau, while calling for the eradication of white Hünsch and Kleinburger.\u003c\/p\u003e\n\n\u003cp\u003eAn unassuming little wine pamphlet with the dirt of the Ryf Valley, Canton Vaud (Switzerland), under its fingernails: Brun-Chappuis captured mid-19th-century Aargau's forgotten ampelographic knowledge with experiment - and plain prose. Add Bassermann-Jordan provenance - viticultural pioneer and the most influential wine historian active some 50 years after publication - and it's viticultural history with pedigree.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892806891,"sku":"160-1844--300.00-193.88-2026","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00160_IMG_9002.jpg?v=1788991669"},{"product_id":"bonnel-maladies-de-la-vigne-1855","title":"Maladies de la vigne","description":"\u003cp\u003e1855 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., [2], 68, [1] r.e.\u003cbr\u003e\nNarbonne\u003cbr\u003e\nImprimerie de Caillard\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; printed paper label to the spine that appears to be taken from the original wrappers. Paper lightly toned. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Ink stamp to the title page with same provenance. Fine.\u003c\/p\u003e\n\n\u003cp\u003ePrinted as the \"Complément du Mémoire\" to an earlier submission on vine disease, this important pamphlet belongs to the first practical literature of the oidium crisis in French viticulture, and contributed to the contributed to spreading knowledge of the remedy throughout Europe.\u003cbr\u003e\nBonnel writes as a local observer in the Narbonnais, and addresses his findings to the Minister of Agriculture in the official language of remedial experiment and rural administration. The date matters: in 1855, two years after Heuzé's ministerial report, sulfur was passing from proposed treatment to demonstrated practice against the fungus that had damaged vineyards across southern France. The tract answers that moment from within an affected wine region, converting vineyard observation into a form suitable for circulation beyond the locality. Taken whole, it is a concise record of pre-phylloxera disease management.\u003cbr\u003e\nAs a prof of its importance and circulation in Europe: the Bulletin de la Société d'Encouragement pour l'Industrie Nationale, records an award to Bonnet of 500-franc in a competition on vine disease, subsequently quoting this work. The book and the author \"Benito\" Bonnel are mentioned also in the Gaceta de Madrid of Sept. 30, 1855, where his remedy for oidium is summarized. Last but not least The Economist in 1856 discusses the demonstrated success of sulfur treatment and mentions Bonnel of Narbonne.\u003c\/p\u003e\n\n\u003cp\u003eThe book proceeds through titled sections rather than numbered chapters. It opens with Rougeot, a discoloration and withering of the vine that Bonnel links to oidium, writing that it \"se rattache essentiellement à l'Oïdium\" (is essentially connected to Oidium) and rises or recedes with it. The next section treats the Altise bleue, Haltica ampelophaga, the blue flea beetle. Bonnel notes its sudden disappearance across much of the Narbonnais and attributes the effect to the sulfur treatments used against the fungus, where fumigation and surface application also suppress the insect. The observation is empirical rather than theoretical, and its interest lies in the unintended double action of a remedy aimed at one enemy and found to check another. \"Reprise de l'Oïdium\" considers the possible return of the disease and concludes that sulfur remains the only proven treatment. The final section, on Coulure, or failure of fruit set, discusses bud-pinching as a means of redirecting sap toward the grape cluster, with attention to vine posture and air circulation.\u003c\/p\u003e\n\n\u003cp\u003eA pamphlet written from inside the crisis, just as sulfur stopped being an experiment and became a weapon. Bonnel observes in the vineyards of the Narbonnais and reports to the Minister of Agriculture that the blue flea beetle has virtually disappeared after the vines were treated for oidium. One remedy, two enemies - and this little local tract traveled! A 500-franc award from the Société d'Encouragement, a summary in Madrid that September, a mention in \"The Economist\" the following year: Paris, Madrid, London in eighteen months. Our guy Bonnel was the man of the hour.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892872427,"sku":"161-1855--550.00-33.00-2026","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00161_IMG_8951.jpg?v=1788991768"},{"product_id":"lintemer-kurze-abhandlung-wie-man-1801","title":"Kurze Abhandlung, wie man einen neuen Weingarten regelmäßig anlegen und ferner methodisch bearbeiten soll","description":"\u003cp\u003e1801 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [8], 12, 72\u003cbr\u003e\nPrag (Prague)\u003cbr\u003e\nCaspar Widtmann\u003c\/p\u003e\n\n\u003cp\u003eOriginal editorial mute wrappers with pen and pencil shelfmarks. Spine worn, but sound. Uniform browning. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine-estate owner, viticultural pioneer, and the most influential wine historian of his era, author of the monumental \"Geschichte des Weinbaus,\" the standard reference work for the history of German viticulture. Fine.\u003c\/p\u003e\n\n\u003cp\u003eAn early nineteenth-century Bohemian vineyard manual by Franz Anton Lintemer, a practical agricultural reformer writing for ordinary vine-growers rather than academic agronomists. The small book answers a local problem stated in the preface: Bohemian viticulture lagged behind, although, in Lintemer's phrase, \"Die Urquelle alles Reichthums ist ohne allen Zweifel die Erde\" (the primary source of all wealth is without doubt the earth). The book belongs to the Enlightenment culture of agrarian improvement, where better cultivation, regular method, and written record were treated as instruments of provincial prosperity. Its dedication to Jakob von Wimmer, a decorated imperial officer and Bohemian estate lord, places that program within the managed economy of landed reform.\u003c\/p\u003e\n\n\u003cp\u003eThe forty-three questions proceed from site selection (the author argues that Lage (aspect) is more decisive than climate) through soil preparation, planting, pruning, first and second hoeing, manuring, leaf management, pest control, and finally the harvest.\u003cbr\u003e\nThe fold-out plate is of particular ampelographic interest. It opens with a model \"Verzeichniß\" (register) for vineyard record-keeping, with columns for section number, variety name, color, and observations on virtues and faults. Three varieties are entered as examples: Muskateller, green, producing the best wine but requiring a warm summer to ripen; Zirifandel, also green, very fruitful and frost-hardy, and therefore \"verdienet daher vielen Vorzug\" (deserving much preference); and Elbing, white and fruitful, but prone to rot in wet weather.\u003cbr\u003e\nThe Appendix then expands into descriptions of more than thirty Bohemian grape cultivars, organized by berry shape - Langbeerige (oblong) and Rundbeerige (round) - and ranging from Weisser Muskateller and Weisse Zuckerweinbeere through Kleine Rieslinge to Corinthentrauben and the curious parsley-leaved Petersilientraube (Vitis laciniola). More significantly, the author proposes a systematic, inter-regional method for identifying grape varieties: each should be carefully described at harvest, and these descriptions exchanged between wine-growing regions so that local names and varieties might be compared and cross-identified.\u003c\/p\u003e\n\n\u003cp\u003eA small practical manual with surprisingly large ambitions. Lintemer begins with the everyday work of making and tending a Bohemian vineyard, but ends by proposing something much broader: a systematic method for describing grape varieties at harvest and exchanging those descriptions between wine regions, so that growers might determine which local grapes were actually the same. The fold-out vineyard register makes the idea wonderfully concrete - Muskateller, Zirifandel, Elbing, virtues and faults all reduced to columns - while the Bassermann-Jordan provenance places this modest provincial handbook in the library of the scholar who would later write the great history of German viticulture.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385892937963,"sku":"162-1801--500.00-226.20-2026","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00162_IMG_8907.jpg?v=1788991857"},{"product_id":"nemety-versuch-einer-darstellung-1835","title":"Versuch einer Darstellung der Lage und Ausdehnung des Hegyallyaer Weingebirges","description":"\u003cp\u003e1835 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., 102, [2] blank, [1] r.e.\u003cbr\u003e\nWien (Vienna)\u003cbr\u003e\nFr. Beck's Universitäts Buchhandlung\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; printed paper label to the spine that appears to be taken from the original wrappers. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Ink stamp to the title page with same provenance. Very limited foxing. Fine\u003c\/p\u003e\n\n\u003cp\u003eEarly nineteenth-century systematic account of Tokaj, written by Joseph Némety as an organizer of practical regional wine knowledge rather than as a celebrant of a famous name. At the time, wine districts were increasingly described through topography, archival record, and agricultural observation; Némety instead gives Hegyalja the form of a viticultural landscape, relating communes, soils, exposures, varieties, and cellar practice to the production of Tokayer Ausbruch. The wine already carried a learned reputation: Franz Forgách called it \"vinum nobilissimum atque praestantissimum\" and Hermann Conring named it \"vinum generossissimum.\" Némety's contribution is to bring that reputation under documentary and technical description, including the chronology of botrytised berry selection and vineyard labor. The book is a historical and practical treatise on the Hegyallya wine region and the cultivation, preparation, and treatment of Tokaji Ausbruch.\u003c\/p\u003e\n\n\u003cp\u003eThe volume opens by defining the Hegyallya district through its wine communes, naming Tokay, Zambor, Tállya, and related places before turning to soils, exposures, and vineyard parcels. It then describes the cultivated grape varieties and the preparation and treatment of Tokayer Ausbruch. The historical section traces the emergence of Ausbruch through parliamentary records of 1655 and urbaria (feudal land registers or property records), arguing that the separate gathering of botrytised berries was not practiced before that point. Némety also treats the labor term \"trina fossio\" and connects its triple working of the vines with usage after 1560, quoting the phrase \"separataque selectione, uvae passae\" (separate selection of dried berries). The Anmerkungen (Notes) move through Claudian on the vine-clad Ister, Sextus Aurelius Victor on Pannonian vineyards, the Anonymous Notary of King Béla, and Hungarian historians including Szirmay, Wagner, Kaprinay, and Forgách. The closing observations place Habsburg wine production at 36 to 40 million buckets annually and record the presentation of 300 Hungarian wine varieties at Maria Theresia's court.\u003c\/p\u003e\n\n\u003cp\u003eEarly documentary wine history, uncommon in 1835, with a specifically narrow purpose: Hegyalja, its vineyards, and the making of Tokaji Aszú, one of Europe's most celebrated wines. We like books that catch a great wine before modern oenology and standardized its language, taking us from the wine mountain into the cellar and how this wine was made circa 1830.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385893003499,"sku":"163-1835--500.00-290.00-2026","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00163_IMG_8898.jpg?v=1788991911"},{"product_id":"garelli-del-miglior-modo-di-fare-i-1869","title":"Del miglior modo di fare i vini comuni","description":"\u003cp\u003e1869 Third Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e. 86, [2], [1], r.e.\u003cbr\u003e\nTorino (Turin)\u003cbr\u003e\nEnrico Moreno Editore dei Libri per le Scuole Rurali\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; printed paper label to the spine that appears to be taken from the original wrappers. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Ink stamp to the title page with same provenance. Pronounced toning at the title page, otherwise in very good codfition. Very good.\u003c\/p\u003e\n\n\u003cp\u003eThird edition of a gold-medal manual for improving common Italian wines, issued by Enrico Moreno, Turin publisher of books for rural schools. The work originated as a memoir submitted to the Enological Congress of Mondovì in September 1868, where it was awarded a gold medal. It was first published through the local agricultural society and then taken up by the Turin publisher Enrico Moreno. It was apparently remarkably successful: three editions appeared within less than a year. In fact, Garelli writes as a practical agricultural reformer, directing technical instruction toward the schoolteacher, smallholder, and provincial producer rather than the estate enologist. The commercial premise is plain: ordinary wine could not become a dependable rural product unless its making was brought under teachable rules. The book belongs to the post-unification program of agricultural education, when the new Italian state treated rural technique as part of national consolidation and commercial modernization.\u003c\/p\u003e\n\n\u003cp\u003eThe book is a schoolroom guide to cellar reform in the first decade of unified Italy, cast as the \"Veglie del Signor Lorenzo\" (\"Evening Lessons of Signor Lorenzo\"), a series of conversations in which an experienced winemaker instructs his friends. The preface\"opens with Carlo Ridolfi's principle that good wine begins with soil, sun, and the quality of the vine, but depends equally on careful cultivation, a diligent harvest, and regular vinification. Garelli then identifies the problem his book means to correct: science has moved forward while practice has stood still.\u003cbr\u003e\n\"Veglia Prima\" (\"First Evening\") begins in the vineyard, moving through the harvest, pruning, \"svettatura\" (topping the shoots), \"spampanatura\" (leaf removal), cultivation between the rows, and even precautions against theft in the fields. At its center is the \"gleucometro\" (must sugar meter), used to determine the proper moment for harvest. It becomes a small emblem of Garelli's whole program of reform: ripeness, traditionally judged by the inherited eye and palate of the grower, can now be measured in the must.\u003cbr\u003e\n\"Veglia Seconda\" and \"Veglia Terza\" (\"Second Evening\" and \"Third\") follow the grapes into the cellar: mechanical crushing, additions of sugar, cooked must, and alcohol; the timing of \"svinatura\" drawing the new wine off the skins); open versus closed vats; and comparisons with practices in Lorraine and Burgundy. Fermentation is discussed through the work of Ladrey and Guyot and condensed into the memorable maxim, \"il vino si forma nei tini e si migliora nelle botti\" (\"wine is formed in the vats and improved in the casks\").\u003c\/p\u003e\n\n\u003cp\u003eA little book with a big ambition: to drag everyday Italian winemaking into the modern age. We like Garelli's faith in measurement, with the gleucometer replacing the practiced eye, but even more the way he delivers all this modernity through old-fashioned evening conversations among friends. Science moves forward; Signor Lorenzo explains it after dinner.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385893036267,"sku":"164-1869--250.00-81.00-2026","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00164_IMG_8919.jpg?v=1788991956"},{"product_id":"brun-fraudes-et-maladies-du-vin-1865","title":"Fraudes et maladies du vin","description":"\u003cp\u003e1863 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., [4], 125, [3], [1] r.e.\u003cbr\u003e\nGenève, Paris\u003cbr\u003e\nCherbuliez\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; printed paper label to the spine that appears to be taken from the original wrappers. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Ink stamp to the title page with same provenance. Lightly marbled edges. A sound copy. Fine.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of this forensic manual on diseased and adulterated wine, written by J. Brun, a Geneva pharmacist who had examined suspect wines for the city police. The volume combines wine pathology, adulteration\/fraud, corrective cellar practice, and chemical analysis. Brun writes for the pharmacist, chemist, and \"chimiste, arbitre ou expert\" asked to decide whether a wine has suffered disease, accident, or deliberate falsification. Its moment is the mid-nineteenth-century commerce of adulterated wine, when artificial coloring, dilution, plastering, scenting, and cider or perry substitution required repeatable tests rather than reputation or taste.\u003c\/p\u003e\n\n\u003cp\u003eThe book begins almost as a history of wine and ends as a laboratory manual for catching its diseases and deceptions. The \"Première partie,\" \"Des vins malades ou fraudés\" (\"Diseased or Adulterated Wines\"), reaches back to Noah, Osiris, Bacchus, Saturn, and Géryon before arriving at the cultivated vine itself, which Brun calls \"un produit de l'art\" (\"a product of human art\"). From there the book becomes increasingly scientific. The \"Seconde partie,\" \"Composition du vin naturel\" (\"Composition of Natural Wine\"), establishes the standard against which everything else will be judged: true wine is fermented grape juice \"sans la moindre addition d'autres substances\" (\"without the slightest addition of other substances\"). Brun takes it apart into water, alcohol, acids, mineral constituents, lees, and fermentation products, even pursuing the chemistry behind bouquet and aroma.\u003cbr\u003e\nIt is when this ideal wine meets the real world that the book becomes most interesting. Brun distinguishes legitimate cellar practices from manipulation: Spanish winemakers might perfume wine by steeping dried vine flowers in it, while raspberry, blackcurrant, \"Médoc,\" and \"Volney\" essences belong to the arsenal of the fraudster. Natural faults, like acidity, secondary fermentation, \"tourne,\" ropiness, excessive astringency, and bitterness, are likewise separated from deliberate adulteration. Suspected cider or perry masquerading as wine can be interrogated through silver nitrate, distillation, smell, and analysis of the ash.\u003cbr\u003e\nThe folding \"Tableau servant à reconnaître les principales matières colorantes rouges\" (\"Table for Recognizing the Principal Red Coloring Substances\", p. 96-97) turns this chemical detective work into a practical diagnostic tool. Nine reagents (logwood, brazilwood, red poppy, elderberry, blackberry, blueberry, privet berry, pokeweed, and beetroot) are tested against genuine red wine and against a wonderfully suspicious cabinet of possible adulterants allowing the analyst to identify what might be hiding behind the color in his glass.\u003c\/p\u003e\n\n\u003cp\u003eWine under interrogation. Brun begins with Bacchus and the history of adulteration, then brings in chemistry to decide what is really in the glass: disease or fraud, natural color or logwood and beetroot, wine or cider in disguise. We particularly like the folding diagnostic table: nineteenth-century wine forensics reduced to nine reagents and a suspicious rainbow of results.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385893101803,"sku":"165-1863--350.00-80.00-2026","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00165_IMG_8972.jpg?v=1788992069"},{"product_id":"heuze-traitement-des-vignes-malades-1853","title":"Traitement des vignes malades","description":"\u003cp\u003e1853 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., 70, [2], [1] r.e.\u003cbr\u003e\nParis\u003cbr\u003e\nDusacq, Librairie Agricole de la Maison Rustique\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; printed paper label to the spine that appears to be taken from the original wrappers. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Ink stamp to the half title with same provenance. Foxing throughout, but very good.\u003c\/p\u003e\n\n\u003cp\u003eRight at the time of the first European oïdium emergency, Heuze writes as an agronomist commissioned by the state, answering letters of 9 and 27 August 1852 that required him to test proposed remedies against the disease. By the early 1850s oidium had moved from a botanical observation to a national agricultural emergency, threatening harvests across the French wine regions. The report is framed as a ministerial letter from Versailles, dated 3 March 1853, to Jean Gilbert Victor Fialin, Comte de Persigny, Minister of the Interior, Agriculture, and Commerce under Napoleon III. Vine disease is treated as a matter for inquiry, experiment, and public recommendation rather than estate management.\u003c\/p\u003e\n\n\u003cp\u003eThe report opens with the Premiere Partie, which traces the disease from its first observation in 1843 by the gardener Tucker at Margate, on the greenhouse and open-air vines of Mr. Slater, to its identification by the Reverend Berkeley of Bristol as the fungus Oidium Tuckeri. Heuze follows its passage from England to Belgium and France, where by 1851 it affected every wine-growing region. The Deuxieme Partie, \"Experiences et remedes,\" turns to remedies tested in the field: washing the stocks with cold or boiling water, oxysulfide of calcium, and the procede Bergmann, devised by Baron de Rothschild's head gardener and useful only on forced vines. The twenty-one numbered conclusions recommend only fleur de soufre projected dry and eau-Grison, deny the possibility of fully curing infected stocks, and warn against treatment before oidium appears.\u003c\/p\u003e\n\n\u003cp\u003eA report from inside the first great modern vineyard epidemic. In 1853, with oïdium spreading through France and remedies still being tested and argued over, Heuzé reports directly to the Minister of the Interior on what might actually save the vines. We like the immediacy: this is viticultural science being worked out while the crisis is still unfolding.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894248683,"sku":"166-1853--200.00-48.00-2026","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00166_IMG_8929.jpg?v=1788992183"},{"product_id":"bronner-die-verbesserung-des-1830","title":"Die Verbesserung des Weinbaues durch praktische Anweisung den Rießling ohne Pfähle und Latten","description":"\u003cp\u003e1830 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., XII, 77, [], [1] folding plate, [1] r.e.\u003cbr\u003e\nHeidelberg\u003cbr\u003e\nC. F. Winter\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; manuscript paper label to the spine. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Reinforced when bound, with a small loss to the inner margin of the first few leaves. Title page heavily browned, the remainder lightly foxed. Folding plate with light foxing. Good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of Bronner's first published book, a remarkably focused monograph on Riesling by a Wiesloch apothecary who became a viticulturist after clearing and planting a plot of waste ground. The timing was urgent: the severe winter of 1829-30 devastated vineyards across Baden and the Rhineland, and the damage formed part of the immediate background to Bronner's intervention. He wrote from his own vines, testing methods at home and against what he observed in the Palatinate and Rheingau.\u003cbr\u003e\nWhat makes the book particularly interesting is its concentration on a single named grape. Rather than treating pruning and training as universal techniques, or burying Riesling among dozens of \"Rebsorten\" (grape varieties), Bronner makes it the subject of an entire practical experiment: how does this particular vine behave, how should it be trained, and can changing its cultivation produce better wine at lower cost? His answer is the \"Bockschnitt\" (bush-pruning system), dispensing with the usual stakes and laths. The result is an early German contribution to variety-specific viticulture, where close observation of Riesling meets the practical economics of running a vineyard.\u003c\/p\u003e\n\n\u003cp\u003eThe title page announces \"Mit 11 Abbildungen\" (with 11 illustrations - all collected in one folded plate), and Bronner's preface, signed at Wiesloch on 24 July 1830, immediately declares improved vine training a \"Bedürfniß der Zeit\" (need of the time). His complaint is economic as much as agricultural: when markets readily paid for inferior wine, growers had little reason to change. Better viticulture begins when better wine becomes worth making.\u003cbr\u003e\nThe numbered sections move from argument to experiment. \"Zweck und Nutzen der niederen Erziehungsart\" (purpose and advantages of low vine training) makes the case for cultivation without stakes and singles out Riesling as \"die edelste der Rebsorten\" (the noblest of grape varieties), weighing the new system against established practices such as the Bechtheim method. \"Der Rebsatz\" (planting the vineyard) follows the vine from selection and soil preparation through planting, winter earthing, yield, and, unusually, a year-by-year account of Bronner's \"Bockschnitt\" (bush-pruning system) from the first season through the sixth.\u003cbr\u003e\nThe final section, \"Traubenspaliere mit Winkelschnitt\" (grape espaliers trained by angle pruning), moves from the vineyard toward the house. Bronner sets out his \"Winkelschnitt\" (angle-pruning system), contrasts it with the \"fächerförmige\" (fan-shaped) method, and engages with Metzger's \"Rheinischer Weinbau\" (Rhenish Viticulture). The large folding plate by Th. Hengstenberg gathers the argument into eleven numbered figures, progressing from young vines through increasingly elaborate espalier forms.\u003c\/p\u003e\n\n\u003cp\u003eBefore single-grape monographs were fashionable, Bronner writes Riesling a love letter: low-trained, near today's regenerative bush-vine enthusiasms, and two centuries early.\u003cbr\u003e\nAn apothecary becomes a winegrower, plants Riesling, and decides the way everyone trains it can be improved. We like the combination of specificity and experiment: one grape, one vineyard problem, eleven illustrations, and a practical system worked out vine by vine.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894314219,"sku":"167-1830--550.00-258.00-2026","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00167_IMG_8965.jpg?v=1788992611"},{"product_id":"schmidt-der-weinstock-am-spalier-1871","title":"Der Weinstock am Spalier und in Töpfen sowie im Dienste des Altars","description":"\u003cp\u003e1871 Second Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1], f.e., [4], 72, [1] r.e.\u003cbr\u003e\nAugsburg\u003cbr\u003e\nLiterarisches Institut von Dr. W. Huttler\u003c\/p\u003e\n\n\u003cp\u003e19th century half-cloth binding; manuscript paper label to the spine. Ex-libris Friedrich von Bassermann-Jordan (1872-1959), German wine estate owner, viticultural pioneer, and the most influential wine historian of his era, author of Geschichte des Weinbaus, which is the wine library of record for German viticultural history. Paper with scattered foxing, some browning at the first and last leaves. Very good.\u003c\/p\u003e\n\n\u003cp\u003eSecond improved edition of a practical German vine manual written for the household and parish rather than the commercial vineyard. Schmidt brings together three traditions of nineteenth-century horticulture: the established German methods of Kolbe, the newer French espalier (trellis) system of Hardy at Versailles, and Jäger's geometrical forms of vine training. The result belongs to a gardening culture in which the vine could be trained against the walls and windows of the house, cultivated ornamentally in pots, and taken through to small-scale domestic winemaking.\u003cbr\u003e\nThe title's unusual \"im Dienste des Altars\" (in the service of the altar) asks that the espalier vine serve not only the house but also the religious service, while the potted vine pleases the eye and raises the heart, with an appealingly complete vision of domestic viticulture.\u003c\/p\u003e\n\n\u003cp\u003eThe first chapter analyzes Kolbe's method, beginning with the preparation and setting of cuttings and following the progressive formation of the vine against the wall from its first through fourth year. Schmidt treats the pruning of \"Fruchtreben\" (fruiting canes), winter protection, defense against spring frost, and the correction of old, irregularly trained stocks.\u003cbr\u003e\nThe second one turns to Hardy (\"directeur du Potager impérial\", director of the Imperial Kitchen Garden at Versailles) and Jäger, introducing their newer systems of espalier training. Here the vine takes increasingly architectural forms, including the \"Herzstamm\" (heart-shaped trunk) and \"Winkelzug\" (zigzag cordon), with Schmidt proposing a combination of the latter with Kolbe's older practice.\u003cbr\u003e\nA later section moves from cultivation to household winemaking, treating vines in pots before following their grapes into the cellar. Its most mechanical passage illustrates a compact domestic press (fig. 30) and a sealed fermentation vessel fitted with a \"Gährlufe\" (fermentation airlock, fig. 31), with instructions for maintaining the must between 12 and 24 degrees Réaumur.\u003cbr\u003e\nThe book closes with a priced list of varieties suitable for espalier and pot culture, available from nurseries in Frauendorf, Stuttgart, Erfurt, and Unterauach near Bamberg. Thirty-one in-text woodcuts accompany the instructions, showing successive stages of training, window and pier espaliers, and the apparatus of pressing and fermentation.\u003c\/p\u003e\n\n\u003cp\u003eFrom vine on the garden wall to wine on the altar, we like the wonderfully complete scale of Schmidt's domestic viticulture, where a cutting is trained around windows and walls, grapes are pressed in a tiny household press and fermented under an airlock, and the finished wine can ultimately serve the church; practical horticulture, home winemaking, and devotional life all contained within one little manual.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894346987,"sku":"168-1871--250.00-129.00-2026","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00168_IMG_8942.jpg?v=1788992732"},{"product_id":"ketskhoveli-sakartvelos-1948","title":"Ампелография Грузии \/ საქართველოს ამპელოგრაფია","description":"\u003cp\u003e1960 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn Folio, large. Pp. [1] f.e., VIII, 440 pp., [1] r.e., 57 color plates\u003cbr\u003e\nTbilisi\u003cbr\u003e\nPublishing House of the Academy of Sciences of the Georgian SSR\u003c\/p\u003e\n\n\u003cp\u003ePublisher's original blue cloth, embossed, with gilt Georgian title to the upper board within a blind-stamped grapevine device; corners and headcaps bumped; rear joint and hinge split at the lower portion. Internally clean. The front free endpaper carries a contemporary ink ownership inscription in Georgian cursive dated 1966, largely illegible. Bookshop stamp at the verso of the last page, dated 1964 and pricing the volume at 1 rouble 50 kopecks. Plates in perfect conditions, some with hand applied errata corrige, as in other copies consulted online. Despite the defects at the binding, very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of this monumental color-illustrated ampelography of Georgia, a comprehensive survey of over 520 Georgian grape varieties, and an extraordinary state scientific project devoted to one of the world's oldest and richest traditions of viticulture. Published by the Academy of Sciences of the Georgian SSR in parallel Georgian and Russian text, the volume set out to document a vine culture whose diversity had accumulated over centuries: more than 520 indigenous cultivars were recorded by the wider project, with fifty-seven of the most economically important selected here for detailed study and illustration.\u003cbr\u003e\nThe project had been proposed at the Georgian Agricultural Institute in 1938 but took shape in earnest after 1945, when the country's viticulture was organized for study according to its historical-geographic regions - Kakheti, Kartli, Imereti, Racha-Lechkhumi, Samegrelo, Guria, Adjara, and Abkhazia. Three Georgian scholars divided the principal work. N. N. Ketskhoveli, general editor, wrote on Georgia's natural conditions and the historical geography of its viticulture; M. A. Ramishvili contributed the prospectus for its future development and numerous individual cultivar studies; and D. I. Tabidze, director of the Institute of Viticulture and Winemaking, examined the composition of Georgia's vineyards and supplied a further group of varietal monographs.\u003cbr\u003e\nThe great achievement of the book, however, is visual. Artists E. Derevitskaya and E. Pomerantseva, together with two further illustrators identified as Lemkul and Azarov, were brought from Leningrad and Moscow to the Institute of Viticulture and Winemaking at Telavi, where the principal commercial cultivars were painted at natural size. The resulting fifty-seven color plates transform a state agricultural census into something approaching a botanical portrait gallery - and the first illustrated ampelography of the country. Production proved so demanding that, according to the closing note, the volume took more than fifteen years to complete, largely because of difficulties reproducing the illustrations. The colophon records that it finally went to press on 18 November 1960 in an edition of 3,000 copies.\u003cbr\u003e\nThe result is much more than a Soviet agricultural handbook: a bilingual documentary census of Georgian vine culture at the point where regional memory, field observation, botanical illustration, and state taxonomy meet, preserving in remarkable color the grape varieties of a viticultural landscape undergoing rapid modernization.\u003c\/p\u003e\n\n\u003cp\u003eKetskhoveli opens with the landscape itself. \"Natural Conditions of Viticulture in Georgia\" moves through geography and climate into the historical evidence for the antiquity of Georgian wine, drawing on archaeology, place names, and the survival of wild \"Vitis vinifera\" subsp. \"sylvestris\". Statistics bring that long history abruptly into the twentieth century: a table of 1953 plantings shows Rkatsiteli dominating with roughly 14,680 hectares, followed by Tsolikouri with 10,181.\u003cbr\u003e\nAn ornamental divisional title (ჯიშები \/ Сорта, Varieties, decorated with a reclining doe amid scrollwork) announces the heart of the book. Here the Georgian vineyard is taken apart cultivar by cultivar. Rkatsiteli, Saperavi, Tsolikouri, Khikhvi, Chkhaveri, Jani, Mtevandidi, Aladasturi, Tavkveri, and Chinuri appear alongside long-established Western introductions including Cabernet Sauvignon, Aligoté, Chardonnay, and Pinot Noir. Each is subjected to the same ampelographic scrutiny: shoots and leaves, flowers, clusters and berries, synonyms and geographic distribution, cultivation, productivity, and the character of the wine it produces. For Mtsvivani Rachuli, for example, the cluster is measured at 13 × 7 cm and described as conical, winged, and medium-dense, while its berries are rounded and transparent with a blush on the side exposed to the sun.\u003cbr\u003e\nThe natural-size color plates give these measurements a physical presence. Clusters hang beside leaves and cut berries with the precision of botanical specimens but the richness of still-lifes, allowing varieties that may otherwise survive only as names and measurements to be recognized visually. Fifty-seven such plates accompany numerous illustrations throughout the text (some references say 55 plates, but they are numbered 57 and the present copy has been collated). Even the occasional irregularity has its charm: Cabernet Sauvignon appears in one Russian caption as \"Каберне Совьинен\" (\"Kaberne Sovinen\"), rather than the expected \"Совиньон\".\u003cbr\u003e\nThe individual entries also look backward. Their bibliographies gather Georgian and Russian viticultural literature extending deep into the nineteenth century; the entry for Amlakhu, for example, cites works published at Tiflis, Sukhumi, Simferopol, and elsewhere, including sources dating to the 1870s. Extensive indexes at the rear organize the resulting mass of information by grape variety, locality, plant name, and synonym. What begins as a survey of Soviet Georgian agriculture thus becomes, page by page and grape by grape, an archive of the names, places, practices, and physical forms of Georgian wine.\u003c\/p\u003e\n\n\u003cp\u003eWe love how an intensely bureaucratic Soviet scientific project ended up producing such a beautiful monument to the individuality of Georgian wine: artists brought to Telavi to paint grapes at natural size, scientists measuring and classifying them, and fifteen years spent turning the Georgian vineyard into a book. Long before Georgian wine became fashionable abroad, Georgian scientists were doing the painstaking work of recording what made it different.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894412523,"sku":"169-1960--2200.00-1549.00-2026","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00169_IMG_9740.jpg?v=1788992842"},{"product_id":"sguario-dissertazione-sopra-le-1738","title":"Dissertazione sopra le aurore boreali","description":"\u003cp\u003e1738 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. [1] f.e., 119, [1]; [1] folding illustration; [1] table; II plates.\u003cbr\u003e\nVenezia (Venice)\u003cbr\u003e\nPietro Bassaglia\u003c\/p\u003e\n\n\u003cp\u003eVellum binding, soiled and stained; red offset stain to the back cover. Spine rubbed, showing an earlier vellum binding beneath, indicating that the volume has been rebound at an early date. Water stain at the front and rear endpapers; early restoration to the front one. Very well-executed and marginal restorations to the title page (visible only against a light source). Bottom margin slightly chipped at the central gatherings; small and very well-executed restorations. Despite this, overall internally handsome. Very good.\u003c\/p\u003e\n\n\u003cp\u003eThe rare appearance of the northern lights (aurora borealis) over Venice on the night of 16 December 1737 provided Eusebio Sguario with the occasion for this learned dissertation on natural philosophy. At a latitude where such displays were highly unusual, the phenomenon caused widespread alarm among the city's inhabitants, and Sguario sought to replace fear with reason through a systematic explanation grounded in mechanics, optics, astronomy, and observation, offering a revealing example of Enlightenment science and an early Italian contribution to Newtonian physics.\u003c\/p\u003e\n\n\u003cp\u003eThe work opens with the author's candid address to the reader, in which Sguario states that his theory is presented as probable and likely, rather than demonstrated, and that he was only at the beginning of his fifth lustrum (so about twenty-five years of age), and the treatise was completed in approximately thirty days.\u003cbr\u003e\nThe book is illustrated with a particularly striking large folding engraved plate depicting the aurora over Venice, showing rays and luminous columns rising above the horizon; curiously, the references to the \"second\" and \"third\" hours of the night follow the Venetian system of timekeeping, counting the hours from nightfall rather than from midnight. It is complete with 2 tables of geometrical demonstrations supporting the author's optical theory.\u003cbr\u003e\nThe dissertation begins with a survey of the history and geography of the aurora, collecting reports from across Europe, including the observations at Brévillepont in 1726 and 1731 and the Venetian display of 1737. Sguario reviews the regions in which the phenomenon might be observed and reproduces, with corrections, the engraved \"Tavola delle Aurore Boreali del Sig. de Mairan\".\u003cbr\u003e\nRejecting both the ancient and contemporary theory that the aurora resulted from combustible vapors or subterranean fires, Sguario proposes a distinctly Newtonian explanation, attributing the phenomenon to the reflection and refraction of sunlight in a lofty atmospheric cloud identified with the zodiacal light, or solar atmosphere. His argument draws upon planetary attraction, cometary atmospheres, the mechanics of rarefied matter, and the geometry of parabolic and hyperbolic motion, illustrated by detailed mathematical diagrams.\u003c\/p\u003e\n\n\u003cp\u003eAuroras are rare enough on their own. At this latitude, over Venice, they're improbable to the point of disbelief. Yet it happened, and this book, with its almost supernatural black-and-white engraving of luminous rays dancing above the lagoon, tries to bring us there. Sguario was all science and optics, but can you imagine the magic?\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894478059,"sku":"171-1738--1800.00-650.00-2026","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00171_IMG_0437.jpg?v=1788993006"},{"product_id":"anonymous-al-gioco-cinese-1818","title":"Al gioco cinese chiamato il Rompicapo","description":"\u003cp\u003e1818 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. 1-34, [4], 35-38, [4], 39; 12 plates\u003cbr\u003e\nMilano (Milan)\u003cbr\u003e\nPietro e Giuseppe Vallardi\u003c\/p\u003e\n\n\u003cp\u003eOriginal orange printed wrappers, worn; spine rubbed, upper wrapper chipped. Untrimmed, wide-margined paper with minor marginal foxing and light toning. Some modern internal reinforcements at the inner margin with Japanese paper, well executed and not affecting the illustrations. Twelve plates, hand-colored in yellow, pink, blue, and green watercolor by a contemporary hand. Extremely rare ephemeral booklet, overall in good condition.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of this rare book, historically significant as a very early Italian publication dedicated to the Tangram, the famous seven-piece Chinese dissection puzzle (the very first book on the subject was published in Italy the previous year).\u003cbr\u003e\nThe little volume was published in Milan in the same year as a Florentine edition, which appears to have sepia-toned engraved plates rather than the pastel hand-colored ones found in the present Milan copy. The two editions differ in pagination, as noted by comparison with the digitized Florence copy available online (Internet Archive). The comparison also confirms that the pages headed \"Tavola\" begin with Tavola V (5): plates 1-4 reproduce the alphabet and therefore do not require explanatory Tavole. In the present copy, the Tavole are bound within the text rather than within the sequence of illustrated plates.\u003cbr\u003e\nIn the catalogue entry for the Florentine copy presently offered by Peter Harrington, the Milan edition is described as \"surfacing slightly less regularly\" than the Florentine one, with the observation that \"At auction, Florentine copies have appeared three times (...) and one Milanese is recorded.\"\u003cbr\u003e\nNo priority between the two editions has been established when copies have previously surfaced on the market.\u003cbr\u003e\nThe European Tangram craze of the early nineteenth century manifested itself in Italy not only as a passion for the puzzle but also as a vehicle for satire. This figure album turns the seven-piece \"Rompicapo\" or \"Testa-rotta\" (Tangram) into a display of chinoiserie, mock erudition, and social comedy. Issued anonymously and commonly attributed to a Roman playwright, it frames the game with a witty discourse on progress, Chinese customs, and European manners, then treats the seven geometric pieces composing the puzzle as an alphabet of comic invention.\u003c\/p\u003e\n\n\u003cp\u003eThe title announces Tangram figures representing the alphabet, the nine Arabic numerals, men, beasts, houses, coaches, boats, urns, vases, and other domestic furnishings, preceded by an introductory discourse on the game Rompicapo and on China, where it originated.\u003cbr\u003e\nThe introduction is particularly interesting, being an often ironic essay that contextualizes the game's sudden popularity in Europe. Employing an Orientalist literary device, it playfully critiques the Western obsession with fashionable novelties while presenting the Tangram as a window into Chinese culture, patience, and philosophy.\u003cbr\u003e\nThe text cites George Macartney and his historic 1793 diplomatic mission to the Qianlong Emperor, effectively the first British embassy to China. Although the mission failed to secure expanded trade, it fascinated Europe through the detailed journals that described Chinese society and court life. It also mentions Lorenzo Magalotti, whose publication of early seventeenth-century accounts of China is invoked to lend intellectual authority to the puzzle and to demonstrate that Western fascination with Chinese learning had deep roots.\u003cbr\u003e\nThe illustrations form the heart of the book, and they are arranged as an appendix of figures, providing the models that readers are invited to recreate with their seven Tangram pieces. Their captions (in the \"Tavole\" interrupting the text pagination) are particularly engaging, including Kneeling Eunuch, Back-Bending Flatterer, Urn Containing the Ashes of Confucius, Meditating Philosopher, Rowing Duck, Aerostatic Mummy, Scholar Giving Birth to His Work, Robe of the Emperor Wu Wang, and Steam Carriage (in the original Italian: Eunuco genuflettente, Adulatore dorso-curvante, Urna delle ceneri di Confucio, Filosofo meditante, Anatra remigante, Mummia aereostatica, Letterato che partorisce l'opera, Tunica dell'Imperatore Vou-vang, and Vettura a vapore).\u003c\/p\u003e\n\n\u003cp\u003eWe have a weakness for books that refuse to choose between play and erudition. Part puzzle book, part tongue-in-cheek essay on Europe's fascination with China, this delightful Tangram manual rewards both the hands and the imagination. And then there are the irresistible (although cryptic) figures: a Kneeling Eunuch, a Back-Bending Flatterer, even a Scholar Giving Birth to His Work. Who could resist?\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894510827,"sku":"172-1818--2800.00-931.00-2026","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00172_IMG_0463.jpg?v=1788993071"},{"product_id":"argentero-di-bersezio-il-dilettante-1795","title":"Il dilettante de' cavalli","description":"\u003cp\u003e1795 Second Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 12mo. Pp. [1] f.e., 237, IV folding plates, [1] r.e.\u003cbr\u003e\nVenezia (Venice)\u003cbr\u003e\nPresso il Martini\u003c\/p\u003e\n\n\u003cp\u003eContemporary half-leather binding with marbled paper boards; manuscript label to the spine, slightly rubbed. Some scattered light foxing and browning, especially in the first part of the volume. Tears with minor loss to the margins not affecting text at pp. 21 and 149; at p. 179 touching one line of text. Folding plates in very good condition. A genuine copy, very good.\u003c\/p\u003e\n\n\u003cp\u003eIn this agile booklet, horse knowledge becomes both rural science and a defense against the hazards of the marketplace. The work gathers late-eighteenth-century equestrian practice into a portable Italian handbook, firmly rooted in the Enlightenment culture of useful knowledge, where natural history, husbandry, veterinary practice, and commercial prudence meet in the body of the horse.\u003cbr\u003e\nThe work is attributed to the Piedmontese Marquis Gioachino Bonaventura Argentero di Bersezio, a cavalry general and passionate hippologist. Dissatisfied with conventional military teaching, he devoted himself to the study of horses, cavalry tactics, and even troop psychology, and traveled to Prussia to procure horses for the royal armies. In his Turin palace he assembled a \"choice library of all the military authors.\" His interests extended well beyond the stable: a founder of the Turin Academy of Sciences, he maintained his own chemical laboratory and mineralogical collection and moved in intellectual circles that included Lagrange and Lessing. This 1795 Italian edition claims fidelity to an earlier Turin edition of 1780 (followed by a Venice one in 1782) and to its copperplates (although neither 1780 nor 1782 are present in any Italian Library, as per OPAC SBN), and following the French edition of 1769.\u003c\/p\u003e\n\n\u003cp\u003eThe little book opens with a title page framed by a decorative typographical woodcut border, and featuring a woodcut vignette of horses in a rural landscape, executed in a rather naïve and charming style.\u003cbr\u003e\nAfter surveying eleven \"articles\" on horse husbandry, equine science, and veterinary practice (together providing a broad overview of contemporary equestrian knowledge, from choosing the right animals to diseases and shoeing) the book moves to the \"Saggio sopra le Razze de' Cavalli\" (p. 77, Essay on Horse Breeds), which includes an analytical examination of the tricks employed by horse dealers (\"Furberie de' Sensali\") and offers advice on protection against fraud. This is followed by the \"Trattato della Meccanica del Morso\" (p. 139), a treatise on the mechanics and action of the bit, and by several other specific chapters intended to assist in the practical management of a stable. Authorities cited include Buffon, the Duke of Newcastle, and a farrier of the French royal stables.\u003cbr\u003e\nIn addition to the woodcut title vignette, the volume is decorated with woodcut head-pieces in the same naïve and charming manner. Their distinctly popular style appears somewhat old-fashioned for an eighteenth-century book and contrasts strikingly with the four folding copperplates, executed in a much more accomplished and technically precise manner. These illustrate the anatomical parts of the horse; jaws and teeth according to age, together with the lower leg and hoof; bits and parts of the bridle; and, finally, a large folding view of a stable interior.\u003c\/p\u003e\n\n\u003cp\u003eThe charm of contradictions: naive woodcuts that would not look out of place in a village almanac, bound alongside four folding copperplates of anatomy, teeth, bits and a stable interior, drawn by a hand that clearly knew what it was doing. And a cavalry general who found military teaching inadequate, and dedicated personal resources to improve his knowledge.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894543595,"sku":"173-1795--650.00-350.00-2026","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00173_IMG_0367.jpg?v=1788993135"},{"product_id":"f-breve-esposizione-di-alcuni-1827","title":"Breve esposizione di alcuni precetti sull'arte dell'equitazione da proporsi alle donne","description":"\u003cp\u003e1827 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., VIII, 135, [1], VI plates, [1] r.e.\u003cbr\u003e\nMilano\u003cbr\u003e\nFelice Rusconi\u003c\/p\u003e\n\n\u003cp\u003eOriginal publisher's wrappers, title within a woodcut border, repeated on the rear wrapper. Worn but intact. An untrimmed copy. Faint waterstain to the first and last leaves, barely noticeable. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of an early Italian manual on horsemanship addressed specifically to women. The author, signing only \"F., L.\" and declaring himself a cousin of the Milanese noblewoman Luigia Lecchi Greppi, takes Pons d'Hostun's \"Écuyer des Dames\" of 1806 as his model, gathering its precepts and adapting them for the instruction of women in a distinctly Milanese context.\u003cbr\u003e\nPublished in Milan in 1827, the work appeared at a curious moment in the city's history. Under Austrian administration, Milan was establishing itself as the economic and financial powerhouse of the Italian peninsula, while remaining a remarkably vivacious intellectual and cultural center. Open rebellion had been suppressed and political life was closely watched by the Austrian police, yet Milan's intellectual circles continued to sustain a spirit of resistance through literature, philosophy, and cultural exchange.\u003cbr\u003e\nThe model for the work, Louis-Henri de Pons d'Hostun, approached his female reader as a rider first and a lady second. The Milanese adaptation follows him closely, offering a precise repertory of his precepts while transferring them into the social and cultural world of Restoration Milan.\u003c\/p\u003e\n\n\u003cp\u003eThe book begins with the horse itself (its breeds, coats, and harness), then proceeds to mounting and dismounting for ladies, the walk, trot, and gallop, and finally to the manner of riding, again tailored specifically to the female rider. The author reduces good riding to three combined rules: \"il comodo, la sicurezza e la decenza\" (comfort, safety, and decency).\u003cbr\u003e\nGallo Gallina supplied the six lithographic plates after drawings by Pietro Sajler, illustrating the points of the horse, the construction of a woman's saddle, the various paces, and, finally, a woman correctly seated and mounted - the whole argument of the book condensed into a single image.\u003c\/p\u003e\n\n\u003cp\u003eFinally, women held the reins, literally. Delightful lithographs, practical wisdom, and \"comfort, safety and decency\": Enlightenment or not, a lady is still a lady.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894576363,"sku":"174-1827--1400.00-450.00-2026","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00174_IMG_0494.jpg?v=1788993192"},{"product_id":"fabbroni-dellarte-di-fare-il-vino-1787","title":"Dell'arte di fare il vino","description":"\u003cp\u003e1787 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., 264, [1] folded plate, [1] r.e.\u003cbr\u003e\nFirenze (Florence)\u003cbr\u003e\nGiuseppe Tofani e Comp.\u003c\/p\u003e\n\n\u003cp\u003eHalf plain vellum, over spattered boards. Remains of a torn label at spine. Bumped corners. Signs of a torn ex libris at the front blue paper wrapper; stamp \"Legatoria di Libri - Massimiliano Scacci - Repubblica di San Marino\". Minimal marginal damp stain in the top early pages, not affecting text. The title page carries an ink stamp. Pp. 126 and 127 misnumbered 226 and 227. A sound copy, complete with its folding plate. Fine.\u003c\/p\u003e\n\n\u003cp\u003eFabbroni's prize essay on winemaking, written for the Reale Accademia Economica of Florence, the Georgofili, which in 1785 had proposed a Quesito asking competitors to establish a physical theory of vinous fermentation by analysis and experiment, and to give country people a simple test for judging must. Fabbroni's Ragionamento carried the prize in September 1787 and was printed at Florence by Giuseppe Tofani that same year. Its central move is the \"materia vegeto-animale\", a gluten-like constituent of the grape distinct from sugar, which Fabbroni makes the true agent of fermentation - an idea ridiculed in its own century and only later recognized as a genuine forerunner of ferment theory, in the long prehistory of Pasteur's own work. He argues it twice over: once as a table of elective affinities balancing sugar, acid, and water against phlogiston and heat, and once as an experiment, compounding an artificial must from sugar, gum, tartar, and his own vegeto-animal matter and fermenting it under controlled heat into what he calls a passable cider.\u003cbr\u003e\nThis printing carries a further distinction: a copy of it stood on Thomas Jefferson's own shelves. Sowerby's catalogue of Jefferson's library records the book as a gift from the author's brother, Giovanni Fabbroni, a Florentine correspondent of Jefferson's since at least 1778; Giovanni wrote from Florence in March 1789 wondering whether his brother's theory might earn him admission to the American Philosophical Society (it did not), and Jefferson replied from Paris, thanking him for a book on \"a subject interesting to me, and which had not before been philosophically treated.\"\u003c\/p\u003e\n\n\u003cp\u003eThe argument is arranged in four parts, opening with a preliminary leaf bearing an epigraph from Helvetius in French - \"To attain certain ideas one must meditate: is everyone capable of it? Yes, when a powerful interest animates the soul\" - ahead of Fabbroni's own preface, in which he recounts working against the Academy's deadline, seizing a late vintage to redo his trials.\u003cbr\u003e\nParte Prima develops Fabbroni's physical theory of vinous fermentation. It opens with a notomia of the grape, conceived as a conglobate gland whose separate tissues contain gummy juice, sugar-bearing pulp, acid, coloring matter, and a flour-like materia vegeto-animale. Fermentation begins when these compartments rupture and sugar and acid meet, requiring heat but not free contact with air; Fabbroni expresses the process through a Bergman-style table of elective affinities. Comparative tables analyze some two dozen wines, from Alicante and Champagne to Tokay, Jerez, and the Rhine, alongside Priestley's observations on the air contained in Madeira, Port, Hock, Claret, Tokay, Champagne, and cider. Further tables compare must with finished wine and calibrate Fabbroni's areometer for sugar concentration. Finally, he tests his theory by constructing an artificial must from its supposed constituent parts and, after six days' fermentation, obtains a passable cider-like drink.\u003cbr\u003e\nParte Seconda turns this chemistry into a practical method for judging must, expressly adapted to the limited technical knowledge of country people. Fabbroni considers the soil and situation of the vineyard and the character of the grape, then proposes simple tests of the must itself: an areometer measures the proportion of sugar to water; evaporation reveals tartar through the crystals deposited; spontaneous settling indicates the quantity of feculent matter; and the alkali required to neutralize the must measures its free acid. Taken together, these observations provide a practical criterion for deciding the good or bad qualities of the fermentable liquor.\u003cbr\u003e\nParte Terza turns diagnosis into practice. Discussing concentrated must, Fabbroni recounts a rabbinic legend in which Noah bargains with the Devil over the stolen vine, eventually conceding him two thirds - hence, Fabbroni suggests, the ancient practice of boiling must down by two thirds. On excess tartar, a second table of elective affinities explains the action of gypsum on tartar, placing the plastering of wines on a chemical rather than merely empirical footing.\u003cbr\u003e\nParte Quarta treats winemaking, drawing wine from the vat, its alterations, keeping, and the qualities of good wine. It opens with a lively argument for the relativity of taste, moving from Strabo, Pliny, Juvenal, and Livia to Florentine Verdea and contrasting French and Italian preferences: taste varies with age, nation, and even sex, while generosity and keeping remain essential qualities. Fabbroni finally challenges Rozier's claim that every wine contains the causes of its own destruction: \"with this estimable author's good leave, I cannot share his view, if he means it generally.\"\u003cbr\u003e\nThe apparatus is dense and cosmopolitan: Crescenzio, Baccio, Alstedio, Prefetti, Soderini, Davanzati, Bertoli, Trinci, Villifranchi, Paoletti, and la Valle among the older and Tuscan authorities; among the moderns Rozier - whose Bordeaux dissertation Fabbroni anticipates being accused of plagiarizing, and rebuts, alongside a similar charge touching Villifranchi - Bertholon, the Marchese di Bouillon, Meunier of Limoges, and Padre Landi, crowned at Mantua; Ecclesiastes quoted in Latin, and a Greek gloss on cider and perry in the footnotes. A closing leaf carries the printer's own address to the reader, praising Fabbroni's geometric method, his refusal to advance anything unconfirmed by experiment, and his plain style; an errata leaf follows, in which Fabbroni apologizes for the haste of composition and adds one further recollected experiment, a fermentation trial carried out in a near-perfect vacuum.\u003cbr\u003e\nThe folding plate gives thirteen figures: the anatomy of the berry, an areometer of thin metal foil surmounted by a small thermometer, a graduated cylindrical vessel, sectioned furnaces for warming the must, an oenometer, and two casks fitted with bellows and a leather conduit so wine may be racked without splashing.\u003c\/p\u003e\n\n\u003cp\u003eA treatise arguing on every register at once: chemistry and home-brewed experiment, ancient authorities and practical winemaking, comparative tasting and a public quarrel with Rozier - all built toward a fermentation theory mocked in 1787 and vindicated a century later. Even president Jefferson found it worth a personal reply.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894641899,"sku":"176-1787--1850.00-817.00-2026","price":1850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00176_IMG_0164.jpg?v=1788993270"},{"product_id":"de-jorio-la-mimica-degli-antichi-1832","title":"La mimica degli antichi investigata nel gestire napoletano","description":"\u003cp\u003e1832 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., [4, XXXVI, 380, [4], 21 plates, [2], [1] r.e.\u003cbr\u003e\nNapoli (Naples)\u003cbr\u003e\nStamperia e Cartiera del Fibreno\u003c\/p\u003e\n\n\u003cp\u003eModern half-vellum binding over marbled boards; some rubbing at the edges. Editorial notes and decorations printed on the spine; marbled edges. Original editorial wrappers preserved inside, both front and back. Modern bookplate on the front pastedown, \"Ex Libris Major Bryan Palmes.\" Foxing throughout, except for the plates, which are printed on thicker, higher-quality paper. Wide margins. A sound and attractive copy. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of the first ethnographic study of Italian gesture, and one of the earliest works to use contemporary ethnographic observation as a tool for interpreting antiquity.\u003cbr\u003e\nAndrea De Jorio wrote as a canon of Naples Cathedral and custodian of the Real Museo Borbonico vase collection, where his work included explaining the painted Greek vases to visitors. The book was written in particular Neapolitan moment: classical antiquities were being organized, displayed, and interpreted for scholars and foreign amateurs, while the streets outside the museum supplied a living repertory of signs. De Jorio argues that contemporary Neapolitan gestures preserve forms visible on ancient vases and Roman reliefs, and that modern practice and ancient art can interpret one another. He treats hands, heads, mockery, blessing, insult, and theatrical expression as legible acts with histories. Taken as a whole, the book is an antiquarian grammar of the body, using Naples to read antiquity and antiquity to read Naples.\u003c\/p\u003e\n\n\u003cp\u003eThe book opens with an explanation of the occasion for the work: while describing painted Greek vases in the Royal Museum, De Jorio found gestures depicted on them that were still performed in Naples. It then defines the project as a specimen of \"linguaggio mimico\" (mimicry), while insisting that mimic action is not language in the strict sense. The alphabetic body runs from Abbiccì de' Gesti (ABC of Gestures) through over a hundred headings, including Beffeggiare (Mockery), Corna (Horns), Far le corna (Making the Horns), Danaro (Money), Mano in fica (Fig Hand), Iettatura (Evil Eye), Amuleto (Amulet), and Schioppetto (Pistol). Under Danaro (Money), thumb and forefinger rubbed together become a comparative test: Mason and Thomas Maguire of Quebec perform the same sign and report its use among Indigenous peoples of Canada.\u003cbr\u003e\nFive indices follow, covering titles, plates, gestures, significations, and monuments newly explained.\u003cbr\u003e\nThe first 16 aquatint plates were executed by Gaetano Gigante after drawings by the Baron Clugny de Nuis, as stated in the \"Avis aux lecteurs,\" where the Baron himself describes the scenes as \"Bambocciate,\" thus associating them with the seventeenth-century movement in Rome that specialized in small-scale, often earthy scenes of everyday street life. In fact they show staged Neapolitan street scenes with dialect captions, including \"Chi aggio da servire?\" (Whom shall I serve?), \"Benedica\" (Bless you), and \"Te faccio na fica\" (I'll give you the fig)\"; the remaining 5 plates give outline engravings after antique vase paintings and analytical sheets of isolated hands and heads.\u003c\/p\u003e\n\n\u003cp\u003eDe Jorio does not use antiquity to explain Naples; he uses Naples to explain antiquity, treating the living repertory of the street as evidence for what is happening on a Greek or Roman vase. This fascinating reverse-engineering is why the book became a founding text for the study of gesture - and art.\u003cbr\u003e\nAlso, being La Fenice 100% Italian, we feel seen - they said, moving their hands emphatically...\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894674667,"sku":"177-1832--1500.00-900.00-2026","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00177_IMG_0409_1e4a39e9-e532-4398-87ec-af0452c74356.jpg?v=1789064687"},{"product_id":"biffi-tolomei-saggio-dagricoltura-1804","title":"Saggio d'agricoltura pratica toscana","description":"\u003cp\u003e1804 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. [1] f.e., XV, 263, [2] folded plates, [1] r.e.\u003cbr\u003e\nFirenze (Florence)\u003cbr\u003e\nGiuseppe Tofani e Comp.\u003c\/p\u003e\n\n\u003cp\u003eContemporary cardboard binding, with exposed sewing at the spine. Front joint partially cracked and restored with modern Japanese paper. Traces of an old label at the spine. Stain to the back cover. Toning generally light, but pronounced in quires v-aa. On the verso of the title page, the armorial bookplate of Ricasoli Firidolfi, an oval cartouche with a rampant lion beneath the motto \"Rien sans peine.\" Old marginal tear repair to the first folding plate, almost invisible. Contemporary manuscript figures in red and black ink on both folding plates. A sound copy. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of this Saggio, in which Biffi Tolomei subjects the Tuscan estate to an unusually systematic form of practical and economic analysis, even teaching landowners how to audit its administration from the writing desk (\"dal tavolino\"). In the process, the author dismisses open-vat fermentation outright as \"una barbaria grossolana\" (a crude barbarism), and builds an empirical case for covered brick vats instead: a closed vessel keeps the cap of pomace from drying out and turning acetous, an argument for limiting exposure to air more than half a century before Pasteur supplied the microbiological explanation for acetification.\u003cbr\u003e\nAt the rear, two folding tables designed as blank accounting prospectuses have, in this copy, actually been put to work. A contemporary hand entered figures in black and red ink for ten named Tuscan properties. The tables thus preserve working estate accounts from the agricultural years out of which Biffi Tolomei's system emerged.\u003cbr\u003e\nThe copy carries the engraved armorial bookplate of the Ricasoli Firidolfi, with the motto Rien sans peine beneath a rampant lion, giving it an especially appropriate Tuscan viticultural provenance. The Firidolfi branch was united with Bettino Ricasoli's Brolio line in 1852 through the marriage of his daughter Elisabetta to Alberto di Giovanni Ricasoli Firidolfi, linking the provenance to the family whose name would become inseparable from the nineteenth-century development of Chianti.\u003c\/p\u003e\n\n\u003cp\u003eThe work is arranged in three parts, following the author's analytical index. Parte Prima, Sistema Agrario Toscano generale (Part One, General Tuscan Agrarian System), surveys the Tuscan agrarian system: terre appoderate and non appoderate (lands organized into tenant farms and lands not so organized), the division of labor under mezzadria (sharecropping), correctable errori agrarj (agricultural errors), reclamation, and Tuscan weights and measures. Parte Seconda, Istruzioni per sindacare dal Tavolino l'Amministrazione, e Manutenzione di una Tenuta Toscana (Part Two, Instructions for Auditing from the Writing Desk the Administration and Maintenance of a Tuscan Estate), turns estate management into an accounting exercise, using two folding printed prospectuses, Tavola A and Tavola B (Tables A and B), to audit a property from the writing desk. Parte Terza, Applicazione delli stabiliti principj (Part Three, Application of the Established Principles), puts the system to work through valuation by ledger column (colonnello), vine and olive cultivation, and calculation of the total worth of the fondo colonico (tenant farm).\u003cbr\u003e\nThe wine sections are unusually substantial for a general agrarian manual. The author describes governo (the practice of adding specially prepared grapes or must to wine), adding deeply colored, late-harvested grapes to barreled wine to restart fermentation and increase body and color, while admitting that the practice shortens keeping and encourages spoilage by late summer, and noting that the added must was routinely omitted from recorded yields.\u003cbr\u003e\nThree Tuscan systems of vine cultivation are distinguished: the stony, south-facing vineyard proper; low rows along field margins; and vines trained high on living trees across the plain, the traditional system generally known as piantata or alberata (tree-trained vines). The inverse relationship between yield and quality is treated as established practical knowledge. Named wines include Eleatico, said to derive from Greek cuttings and to have been successfully exported to Moscow; Moscadello from Syracusan stock, lighter and more elegant than its Sicilian parent, as well as another made at the Ginori porcelain works at Doccia; and Vino Santo (holy wine), treated as a method rather than a grape variety. Biffi Tolomei recalls tasting a twenty-year-old Vino Santo which, he claims, surpassed the finest wines of Europe.\u003cbr\u003e\nElsewhere the book treats sovescio (green manuring) with lupins, including the fraud surrounding supposed purchases for that purpose and the necessity of inspecting the fields themselves.\u003cbr\u003e\nThe folding tables mention ten Tuscan poderi (farms): Poggioli, Querceto, Pozzino, Lago, San Donato, Montecchio, Correntaje, Piazza, Castagnolo, and Lutiano. Within the tables, manuscript red ink distinguishes harvest from sowing entries, and other measurements.\u003c\/p\u003e\n\n\u003cp\u003eWe could have stopped at the caustic definition of open-vat fermentation as \"a crude barbarism,\" backing covered vats on empirical observation more than sixty years before Pasteur supplied the microbiological explanation. But the charm of the folding tables, filled with handwritten figures, takes us beyond the author and places the book in the working world of an early nineteenth-century Tuscan estate. And then there is the Ricasoli Firidolfi bookplate, elevating this otherwise unassuming agricultural manual with a noble provenance, and a real wine pedigree.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894740203,"sku":"178-1804--750.00-211.00-2026","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00178_IMG_0501.jpg?v=1788993559"},{"product_id":"gardella-istruzione-teorica-pratica-1871","title":"Istruzione teorica e pratica sulle condizioni dei vini da esportarsi.","description":"\u003cp\u003e1871 Second Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. 167, [1]\u003cbr\u003e\nGenova\u003cbr\u003e\nLuigi Sambolino\u003c\/p\u003e\n\n\u003cp\u003eOriginal wrappers. Signature and oval stamp of the \"Società di Mutuo Soccorso fra gl'Insegnanti di Genova\" (Mutual Aid Society of Teachers of Genoa) at the verso of the title page (the stamp is showing through to recto). Fine\u003c\/p\u003e\n\n\u003cp\u003eA practical chemical manual for preparing and preserving Italian wines for export commissioned by the Comizio agrario di Genova to Gardella, a professor of Pharmaceutical and Toxicological Chemistry at the Royal University. It answered a specific post-Unification problem: Italian wine had to travel as export goods while chemistry was redefining fermentation, preservation, and fraud. Gardella frames that problem nationally as well as technically, using a Tacitean epigraph to recall a time when Italy supplied distant provinces and to argue that the new State could recover that capacity. His oenology is comparative rather than imitative: French experiment, especially Pasteur's, remains central evidence, but Ligurian climate, local varieties, cellar practice, and commercial durability set the terms of judgment.\u003c\/p\u003e\n\n\u003cp\u003eThe first part treats the choice of vineyard sites and grape varieties through climate, soil, annual cultivation, and varietal selection. Gardella compares ripening temperatures through Humboldt's observations on the plateaux of Bogota and Quito, then sets Ligurian summer maxima of 32-35 degrees Celsius against Bordeaux's lower maritime mean. The discussion of dark Ligurian varieties calls them \"più abboccate e più serbevoli\" (more mellow and longer-keeping) when blended from two or three \"vizzati\" (vineyard plots) of a single isolated variety, and turns from local practice to adulteration of the \"mosto\" (must), Della Casa's \"Galateo,\" and the French falsification trade.\u003cbr\u003e\nThe second part treats fermentation, yeast, grape sugar, artificial improvement of the \"mosto\" (must), closed vats, \"svinatura\" (drawing the wine off the skins), and \"affinamento\" (maturation). Gardella accepts Pasteur's experimental caution but rejects oxygen as the proven cause of maturation, invoking Graham's law of gas diffusion to distinguish wood from glass. The section on sulphuring compares hyposulphite, calcium persulphide, and potassium persulphate against oidium.\u003cbr\u003e\nThe third part turns to export practice: \"botti\" (casks), \"cantina\" (cellar), \"colmatura\" (topping up), \"chiarificazione\" (fining), and \"chauffage\" (heat treatment). The \"chauffage\" section slows into a forensic exchange, quoting the Bercy commission's tastings of Chambertin 1859, Tavel, and Bourgogne before answering them point by point.\u003c\/p\u003e\n\n\u003cp\u003ePasteur put to the test in the Italian cellar: Gardella accepts the new microbiology but refuses the new orthodoxy, setting French laboratory theory against Ligurian grapes, export casks, and the evidence of the tasting room. There is a reason we all know Pasteur and Gardella rather less... but on some of it, time proved Gardella remarkably perceptive. Modern oenology being argued almost in real time.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385894969579,"sku":"181-1871--250.00-135.00-2026","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00181_IMG_0097.jpg?v=1788993631"},{"product_id":"pollacci-la-teoria-e-la-pratica-1872","title":"La teoria e la pratica della enologia","description":"\u003cp\u003e1872 Second Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., [6], 244, [1] r.e.\u003cbr\u003e\nFirence (Florence)\u003cbr\u003e\nEugenio e F. Cammelli\u003c\/p\u003e\n\n\u003cp\u003eOriginal printed wrappers, some wear and stains. Occasional light foxing; uncut. Very good.\u003c\/p\u003e\n\n\u003cp\u003eSecond, corrected and enlarged edition of Pollacci's principal enological treatise, issued after the first edition had sold out and now supplied with more than forty figures in the text. Egidio Pollacci, a Pistoian professor of pharmaceutical chemistry at the Royal University of Pavia, wrote the book by commission of the Ministry of Agriculture and Commerce of the Kingdom of Italy. Its moment was early post-Unification Italy, when wine production was being recast as a scientific, commercial, and national question under the pressure of French technical and market dominance. The phrase \"popolarmente esposta\" (explained in accessible terms) signals the program: chemistry, cellar practice, and vineyard observation are to be made usable beyond the laboratory.\u003c\/p\u003e\n\n\u003cp\u003eThe book is a state-minded manual of Italian enology, joining Pasteurian fermentation theory, practical apparatus, grape selection, and quantitative vineyard data to a project of agricultural modernization.\u003cbr\u003e\nIt opens with Cantoni's epigraph on Italy as a land of wine, setting a public rather than specialist aim. It classifies wines as vini da pasto (table wines) and vini di lusso o da dessert (luxury or dessert wines), then divides table wines into secchi, navigabili, fini e durevoli (dry, suitable for shipping, fine and long-keeping) for export, andanti, igienici (ordinary, wholesome) for domestic use, and lower piano (grade) wines. The main sequence moves through Classe Prima, Classe Seconda, and Terzo Gruppo (First Class, Second Class, and Third Group), with instructions on harvest timing, ammostatura (must-making), removal of stems, fermentation after Pasteur, sealed vats, follatura (punching down the cap), racking, barrel care, fining with egg white, sulphurisation, and the new chapter on white table wines.\u003cbr\u003e\nThe section on artificial heating traces enological pasteurisation from Appert, Gervais, Vergnette-Lamotte, and Ridolfi to Pasteur, distinguishing gentle heating from forced heating and comparing medal-winning apparatus. Over forty in-text woodcuts show laboratory glassware, a fermenting vat in section, Perret's grilles for submerging grape marc, the chain-suspended bruciamiccie (sulphur-wick burner), and the Vianello-Carpene sulphurisation furnace. The Sienese tables name proprietors, localities, soils, varieties, and must ratios, including Bettino Ricasoli at Brolio and Chianti, with Malvasia, Canaiuolo, Alicante, and Procanico compared across estates.\u003c\/p\u003e\n\n\u003cp\u003eCellar iconography before industrialisation: forty-plus woodcuts catch Italian winemaking at the moment craft was becoming method, from the chain-hung sulphur brazier to Perret's marc grilles, sealed vats, and laboratory apparatus. Pasteur enters the cantina, but the old tools are still on the page: modern enology takes shape before phylloxera changed the vineyard for good.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895035115,"sku":"182-1872--300.00-135.00-2026","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00182_IMG_0089.jpg?v=1788993701"},{"product_id":"manzi-la-viticoltura-e-lenologia-1883","title":"La viticoltura e l'enologia presso i romani.","description":"\u003cp\u003e1883\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. 225, [1]\u003cbr\u003e\nRoma (Rome)\u003cbr\u003e\nEredi Botta\u003c\/p\u003e\n\n\u003cp\u003eIn the original wrappers, with wear at the spine and minor loss there; the front wrapper is intact and legible. The paper is uniformly toned, consistent with age and stock quality, with light foxing throughout, more pronounced on the outer leaves, and some pages show light soiling at the outer margin from handling. No stamps, institutional marks, or ownership inscriptions are visible in the images provided. No restoration is reported. Internally sound.\u003c\/p\u003e\n\n\u003cp\u003eOfficial agricultural monograph issued as number 67 of the Annali di Agricoltura, this study places Luigi Manzi as a compiler of Roman evidence for a modern technical competition rather than as a detached antiquary. He prepared it for the 1881 Concorso internazionale at Conegliano, a forum for vineyard tools, cellar apparatus, and distillation held at the Scuola di Viticoltura ed Enologia di Conegliano, founded in 1876. Its publication followed the endorsement of Giovanni Battista Cerletti, the competition's relatore generale and a leading Italian oenologist. The moment matters: post-Unification agricultural administration was trying to make Italian wine a modern national industry, and Manzi answers by testing Roman practice against contemporary viticulture. Ancient presses, vessels, diseases, remedies, clarifying agents, festivals, and cellar arrangements become technical evidence. Taken whole, the book is an official nineteenth-century reconstruction of Roman viticulture and oenology as usable agricultural knowledge.\u003c\/p\u003e\n\n\u003cp\u003eThe volume opens with Preliminari, setting Roman wine within Mediterranean agriculture and the legal economy of Pliny, Varro, and the Tavole di Eraclea. Chapter II turns to field equipment: aratro semplice, aratro composto, bidente, fossor, rastro, and vine training by pergola. Chapter III treats cultivation and disease, including urine, sea water, bitumen oil, vine ash with vinegar, oak bark, and the insertion of oak pegs into split trunks. Chapter IV follows the vendemmia through the vinalia rustica, the Flamen Diale, and the torculum, with the prelum, arbor, sucula, and funis torculum described as working parts. Chapter V reconstructs the cella vinaria and its vessels: dolium, amphora, culeus, lagena, and seria. Chapters VI-VIII move through wine festivals, named regional wines, adulteration, cervogia, aromatics, distillation, vinegar, conservation, sulphur dioxide, gesso, albumina, and dried blood. The strangest survival is the pissinon or pisselon apparatus, treated as a primitive still for drawing resin from cedar or pine. About forty illustrations, including coins, medals, Pompeian frescoes, Egyptian tomb scenes, reliefs, cellar arrangements, presses, and technical drawings, carry the ancient evidence into the text.\u003c\/p\u003e\n\n\u003cp\u003ePatriotic Roman wine, argued by archaeology and science: Manzi enlists Pliny, Pompeii, and ancient presses to tell new Italy its wine identity was already two millennia old.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895067883,"sku":"183-1883--300.00-135.00-2026","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00183_IMG_0069.jpg?v=1788993777"},{"product_id":"mendola-la-chiarificazione-del-vino-1885","title":"La chiarificazione del vino ed il filtro olandese Carpenè.","description":"\u003cp\u003e1885 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. 13, [3]\u003cbr\u003e\nMilano (Milan)\u003cbr\u003e\nAgenzia Enologica Italiana\u003c\/p\u003e\n\n\u003cp\u003eOriginal wrappers, with traces of an old horizontal fold throughout. The fold has developed into a short tear at the outer margin, affecting the entire pamphlet. General wear to the wrappers, particularly at the spine. Good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of Mendola's technical and promotional treatise on wine clarification by baron Antonio Mendola of Favara, written in 1881 and published in Milan in 1885 by the Agenzia Enologica Italiana, supplier of equipment to the rapidly modernizing Italian wine industry. Its subject is the Filtro Olandese Carpenè, a mechanical wine filter associated with the pioneering Conegliano oenologist Antonio Carpenè.\u003cbr\u003e\nMendola presents clarification as more than a matter of appearance: limpidity is connected with preservation, ageing, commercial value, and the ability of wine to travel. Against traditional artificial fining with egg white, isinglass, blood, and other substances introduced directly into the wine, he advocates mechanical filtration as a cleaner intervention, describing his own practical experiments with the Carpenè apparatus.\u003cbr\u003e\nThe pamphlet reflects the close relationship between scientific instruction and commercial innovation in post-Unification Italian oenology.\u003c\/p\u003e\n\n\u003cp\u003eThe pamphlet opens with an encomium to purità assoluta (absolute purity), treating limpid wine as a visual, commercial, and preservative virtue. Mendola traces clarification from the Greek and Roman geóponoi and poets to the Dutch process.\u003cbr\u003e\nIts polemical center is a rejection of chiarificazione artificiale (artificial fining), including egg white, ox blood, isinglass, albumin, clay powder, and Appert derivatives, on the grounds that these substances remain in prolonged chemical contact with the wine. Mendola instead describes his own trial of the filter apparatus, undertaken after receiving instructions from Ottavio Ottavi of Casale. The filter consists of a perforated copper or tinned upper cylinder and a slightly conical wooden vessel below.\u003cbr\u003e\nFollowing the text is a two-page extract from the Agenzia Enologica Italiana's 1885 equipment catalogue, which illustrates the apparatus and offers for purchase, with prices, several versions of the Carpenè filter, replacement bags, fittings for converting existing cellar vessels, and a Carpenè sulphuring stove, turning this modest pamphlet into an unusually tangible picture of the commercial infrastructure surrounding the modern Italian cellar.\u003c\/p\u003e\n\n\u003cp\u003eScientific essay or sales pitch? Mendola argues against putting foreign substances into wine in favor of the cleaner intervention of mechanical filtration; turn the page, and the apparatus is illustrated, priced, and ready to order. A wonderfully tangible snapshot of the moment the Italian cellar began filling with modern technology.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895166187,"sku":"184-1885--250.00-135.00-2026","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00184_IMG_0109.jpg?v=1788993852"},{"product_id":"papus-la-magia-e-l-ipnosi-1921","title":"La Magia e l'Ipnosi","description":"\u003cp\u003e1930\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. 187, [5]\u003cbr\u003e\nNapoli\u003cbr\u003e\nCasa Editrice Partenopea\u003c\/p\u003e\n\n\u003cp\u003eOriginal printed wrappers, with the spine recently reinforced with Japanese paper. Wrappers chipped, with small losses along the edges; binding somewhat weak. Fading to the front wrapper from sun exposure. Light toning throughout, consistent with the paper quality. Uncut. Good.\u003c\/p\u003e\n\n\u003cp\u003eAn uncommon Neapolitan edition of Papus's wide-ranging survey of hypnosis, suggestion, and occult phenomena, first published in Paris in 1897 as La Magie et l'Hypnose. Published by the Casa Editrice Partenopea, this Italian printing served a popular, Naples-based occultist readership that its own advertisements (at the back of the book) vividly reveal: Éliphas Lévi appears alongside Dale Carnegie's guide to making millions, magic and self-improvement sharing the same bookseller's list.\u003cbr\u003e\nThis book moves in short chapters from the constitution of the astral body through hypnosis and the mechanics of suggestion into the darker reaches of occult phenomena, before closing with practical ceremonial magic.\u003c\/p\u003e\n\n\u003cp\u003eThe opening chapter, L'uomo astrale (The Astral Man), sets out the tripartite occultist anthropology underlying the work: the physical body, a mediating corpo astrale (astral body) that animates the body's cells, and an immortal spirit manifested through intelligence and will. Later chapters move through hypnosis, suggestion, the exteriorization of sensitivity, stigmata, malefizio (malefic magic), and the relationship between physical and astral forces. Albert de Rochas's experiments receive particular attention, including attempts to photograph the exteriorized astral body and an experiment in which a cross-shaped mark scratched onto a sensitized plate was said to produce corresponding stigmata on the hypnotized subject's hand.\u003cbr\u003e\nThe discussion expands into an elaborate correspondence between astral and physical light, drawing upon Barlet's Chimica sintetica (Synthetic Chemistry) and August Strindberg's Sylva Sylvarum. A correspondence table brings together the Sole nero (Black Sun) and Sole bianco (White Sun), electricity and vitality, Reichenbach's Od, X-rays, cathode rays, black light, and heat, before the text turns to a kabbalistic reading of the Sepher Bereschit through the terms AOUR and AOR.\u003cbr\u003e\nThe chapter Del Vampirismo (On Vampirism) has a particularly unusual genealogy. Papus explicitly introduces it as a translation made at his request by Sédir from Eulis (1874), by the American Rosicrucian Paschal Beverly Randolph. Randolph distinguishes three meanings of the vampire: a monstrous tropical leech that drains its prey of blood; an enormous bat whose whistle induces so deep a coma in its sleeping victim that its bite passes unfelt; and the legendary half-human, half-demonic being that rises at night to violate freshly sealed graves and devour the dead. Randolph then turns the supernatural image inward, describing living human beings incapable of love who fascinate and progressively exhaust those to whom they attach themselves, prescribing indifference as the only defense. The following chapter, La stregoneria - La licantropia (Witchcraft - Lycanthropy), returns to Papus's occult framework, interpreting witchcraft phenomena through astral projection and drawing upon Éliphas Lévi, Stanislas de Guaita, and Albert de Rochas.\u003cbr\u003e\nTwo pages at the end of the text and the rear wrapper are given over to the Libreria G. Rocco's advertisements and price list. The present title is itself offered for 600 lire, surrounded by a revealing mixture of occultism and popular self-improvement.\u003c\/p\u003e\n\n\u003cp\u003eNowadays we all know what an \"energy vampire\" is. Papus was talking about it a century ago. To be fair, he was also talking about the vampire as leech, as bat, as corpse-devouring demon, and finally as the person who fascinates and slowly exhausts everyone around them without ever drawing blood. Elsewhere, hypnotized subjects sprout stigmata, astral bodies are photographed, curses rebound upon their makers, and witchcraft becomes astral projection. We wouldn't quote Papus as our best scientific source, but we are fascinated by experimental occultism, and we don't challenge what we don't know!\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895198955,"sku":"186-1930--70.00-25.00-2026","price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00186_IMG_0496.jpg?v=1788993907"},{"product_id":"barla-iconographie-des-orchidees-1868","title":"Iconographie des Orchidées","description":"\u003cp\u003e1868 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn Folio. Pp. [1] f.e., [8], 83, [3], 63 plates\u003cbr\u003e\nNice\u003cbr\u003e\nImprimerie Caisson et Mignon\u003c\/p\u003e\n\n\u003cp\u003eContemporary green cloth over marbled paper boards; spine lettered in gilt. General rubbing to marbled boards, especially at the corners. An ink presentation inscription on the half-title. Blind stamp at the bottom of the first three plates \"Colorié par M.me Lemaitre\". A beautiful copy in an unassuming binding. Fine.\u003c\/p\u003e\n\n\u003cp\u003eThe first French-language monograph devoted specifically to the orchid family. Jean-Baptiste Barla, primarily known as a naturalist and mycologist, brought the same exhaustive rigor to this book: each of the sixty-three hand-colored lithographed plates comes with a full citation trail through Linnaeus, Tournefort, Reichenbach fil., Grenier and Godron, and Parlatore, and instead of a vague range map, gives the plant's exact local station and the month it flowers.\u003cbr\u003e\nBarla chose his subject for a reason: as his own preface explains, the Alpes-Maritimes compress an unusual cross-section of Europe's orchid flora into one stretch of coastline and mountains, and nearly every species found across France, Italy, and Germany turns up somewhere within it.\u003cbr\u003e\nVincent Fossat, Barla's regular collaborator for decades, rendered every species at natural size rather than reducing it to fit the page - not a decorative flourish but the science itself, since distinguishing closely related orchids by variety depended on exactly this kind of precision.\u003cbr\u003e\nThis copy carries an authorial presentation at the half-title: the inscription opens with \"Hommage\" and closes with what reads as Barla's own signature, evidence of a gift copy from the naturalist himself - but the one name that would identify who received it has been erased, leaving only the gesture of the author's gift and not its object.\u003cbr\u003e\nThe title page enumerates Barla's long list of appointments and nominations, testifying to his respectability - among them the directorship of the Musée d'Histoire Naturelle de la Ville de Nice. In hindsight, this note is particularly interesting: Barla's collections became foundational to the Muséum d'Histoire Naturelle de Nice. He housed the museum of the Niçois naturalist Jean-Baptiste Vérany on his own premises beginning in 1863, and on his death bequeathed his own buildings, collections, and library to the city. Today's museum, with more than a million specimens, grew from the collections assembled by Barla and Vérany together.\u003cbr\u003e\nNice had become French only eight years before this book appeared, but Barla treats the Alpes-Maritimes as a botanical crossroads rather than a political boundary: Mediterranean and alpine orchids, French and Italian botany, local specimens and an international scientific network, all rendered at natural size across sixty-three hand-colored plates.\u003c\/p\u003e\n\n\u003cp\u003eIn his preface, Barla explains what drew him specifically to the Alpes-Maritimes: within an unusually narrow stretch of coast and mountains, the region brings together plant life otherwise scattered across much of Europe. Mediterranean orchids grow wild in its coastal hills and valleys, alpine species take over at higher elevations, and Barla remarks that nearly every orchid native to France, Italy, Germany, and the neighboring regions can be found somewhere within this single territory.\u003cbr\u003e\nThe work is a systematic account of the wild orchids of Nice and the Alpes-Maritimes, organized by tribe and genus according to the classification adopted by Lindley, Endlicher, and Reichenbach fil. Each species entry combines an extensive international synonymy with a French morphological description and records of the plant's local stations and flowering season.\u003cbr\u003e\nThe tribe Arétusées opens the systematic text with the genus Limodorum Tourn., whose generic characters are given in full: monandrous flowers, a free and operculate terminal anther, powdery or granular pollen masses, and a unilocular, three-valved capsule. The first species, Limodorum abortivum Swartz, is cited to Tournefort, Linnaeus, Swartz, Reichenbach fil., Grenier and Godron, Parlatore, Boissier, Koch, Gussone, Bertoloni, and Ardoino's own Flore analytique du département des Alpes-Maritimes, and is described as bearing four to twenty large, strikingly colored flowers, violet shaded with yellow. The volume proceeds in this manner through a further 62 species, with abundant detail and careful observation.\u003cbr\u003e\nThe beautiful plates completing the volume combine a colored study of the full habit of each plant with a numbered array of dissected floral and anatomical details; the finer analytical figures are left uncolored, and each species is rendered at natural size rather than reduced to fit the page. On many plates, traces of fine hand-finishing are visible over the colored lithographs.\u003c\/p\u003e\n\n\u003cp\u003eSurely Barla's fungi could have entered a beauty contest, but his orchids would have made the podium: sixty-three plates, drawn from life and delicately hand-retouched, with every petal and spur gorgeous enough to prove it.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895362795,"sku":"187-1868--3500.00-1335.00-2026","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00187_IMG_0475.jpg?v=1788993975"},{"product_id":"traite-d-equitation-1778","title":"Traité d'équitation","description":"\u003cp\u003e1778 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. [2] f.e., xvi, 198, v, [1], IX folding plates, [2] r.e.\u003cbr\u003e\nParis\u003cbr\u003e\nImprimerie Royale\u003c\/p\u003e\n\n\u003cp\u003eNineteenth-century black morocco; spine with five raised bands, gilt ruling, and author, title, and date gilt-lettered. Light rubbing to corners and spine edges. Red edges. Marbled pastedowns within a refined gilt-ruled border; small bookseller's label of Libraire Fl. Tulkens, Bruxelles, to the front pastedown. Scattered foxing, most noticeable at the beginning of the volume, with occasional light pencil underlining throughout. Plates complete and clean. Fine.\u003c\/p\u003e\n\n\u003cp\u003eFirst, posthumous edition of the only treatise written by an écuyer of the royal riding school at Versailles, and the sole contemporary work known to set down its doctrine in writing. In fact, of every écuyer (equerry, or in the past \"squire\") who ever taught at the royal riding school of Versailles, Montfaucon de Rogles is, by the Institut français du cheval et de l'équitation's own account, the only one known to have set the school's doctrine down in a treatise: everyone else taught by demonstration only. He died before the book reached print, and his brother, a colonel of infantry and écuyer to Madame Adélaïde, wrote the dedication to the king and brought the manuscript into print at the Imprimerie Royale.\u003cbr\u003e\nThe nine folding plates, engraved by La Gardette and completing the book, show floor-plans of the manège traced with the fine line of a horse's own path, building to a final plate with a complex choreography. The dedication states plainly that the work distills more than thirty years of the author's reflection and practice, a working life folded into fewer than two hundred pages of prose. The principles set out here, building a horse's training on straightness rather than the lateral flexion La Guérinière had required even in the piaffer and the passage, were carried forward through the École d'Auvergne to Baucher, and, by the École de Cavalerie's own account, into the manual drawn up when the cavalry school was founded at Saumur in 1814.\u003c\/p\u003e\n\n\u003cp\u003eThe treatise is divided into two principal parts, the instruction of the rider, and the instruction of the horse. The first progresses from correct seat and posture and the coordinated use of the aids to the principal movements and exercises of the classical manège, concluding with instruction on jumpers and mounted martial exercises.\u003cbr\u003e\nThe second concerns the training of the horse, from elementary work on the longe and under saddle to more advanced schooling, including straightening, work with the bit, passage, work at the pillars, elevated movements, and the development of balance on the haunches. Particular attention is given to correcting physical limitations, resistance, and acquired faults. The work concludes with the training appropriate to horses intended for different military, sporting, and carriage uses, followed by an alphabetical glossary of the principal terminology of classical horsemanship, including the natural gaits and the low and elevated airs.\u003cbr\u003e\nThe nine folding plates engraved by La Gardette illustrate manège floor plans for straight work along the wall, passing the corner, doubling, the volte, changes of hand on the haunches and shoulders, the figure-eight, and work at the pillars. The final plate depicts mounted ring-tilting and head-tilting courses, including a lance thrust at the figure called the tête de Méduse and a pistol shot at the tête du More.\u003c\/p\u003e\n\n\u003cp\u003eA school that taught through practice rather than books, and finally the one master who decided to write its doctrine down. But he died before it went to print and - suspense! - his brother took care of the manuscript, allowing us to enjoy it centuries later. We especially like the nine folding plates: technical diagrams of the manège in which the horse itself disappears, leaving only its path across the floor; by this we really mean the cute little traces of its hoofprints. They are beautiful (and a little funny) as abstractions, but what gets us is how strangely legible they remain: nearly 250 years later, without being an eighteenth-century écuyer, you can still follow the horse around the room.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895493867,"sku":"188-1778--1200.00-523.60-2026","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00188_IMG_0421.jpg?v=1788994052"},{"product_id":"marie-isabelle-dressage-par-le-1858","title":"Dressage par le surfaix-cavalier des chevaux de cavalerie, d'attelage et de course en six et douze leçons","description":"\u003cp\u003e1858 Second Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e., [10], 284, [4], [8] plates, [1] r.e.\u003cbr\u003e\nParis\u003cbr\u003e\nHenri Plon; J. Dumaine\u003c\/p\u003e\n\n\u003cp\u003e20th-century half calf over marbled paper boards; five raised bands at the spine, with gilt lettering. Moderate rubbing at the corners. Marbled pastedowns; two ex-libris on the front pastedown, both associated with Paul Couturier de Royas. Usual edition irregularity in pagination, jumping from p. 80 to p. 118 (with seven unnumbered leaves between), confirmed against digitized copies. Very clean, with no foxing. Fine.\u003c\/p\u003e\n\n\u003cp\u003eSecond edition (often miscatalogued as the first) of the first method for the education of horse and rider published by a woman, in a literature until then the province of écuyers such as La Broue, La Guérinière, and Baucher. The daughter of a Parisian shoemaker and herself a milliner before becoming a horse trainer, inventor, and businesswoman, Marie Isabelle had an extraordinary path into the traditionally male world of equitation. The book presents and shows in pictures her own device, the surfaix-cavalier (rider's surcingle), as both a technical proposition and the culmination of that improbable career: she carried her method from Vienna to Saint Petersburg, where Emperor Nicholas I entrusted her with two of his own horses, and on to the cavalry barracks at Maidstone in England. The results appear as printed endorsements on the book's own title page (approval and purchase by the French Minister of War for every army riding school, and adoption by Nicholas I for the Russian cavalry), while the volume is dedicated to his successor, Alexander II. Reception was not universally kind, and Isabelle's claims to technical authority met considerable resistance from the overwhelmingly male military and equestrian establishment. Whatever the verdict on the device itself, the curriculum taught here runs well past ordinary dressage, into flag, drum-and-pistol, music, and sabre drill: the training of a cavalry mount, not simply a riding-school horse.\u003cbr\u003e\nThis substantially enlarged second French edition was published jointly by Henri Plon and the military bookseller J. Dumaine in 1858 and expanded to 284 pages. An earlier French edition, published by H. Plon alone in 1857, comprised only 128 pages; the BnF preserves an exemplar of this rare first edition, which appears to have largely escaped subsequent bibliography and scholarship, with modern accounts commonly identifying 1858 as the first French publication.\u003c\/p\u003e\n\n\u003cp\u003eThe book moves from the horse's foundational training under saddle, in harness, and at the gallop, through chapters correcting particular faults, into a long sequence of individual lessons that carries the surfaix-cavalier method from its earliest aids (the crop, lunge whip, and spur) to the full repertoire expected of a trained cavalry mount. By the fifth lesson, the horse is introduced to drum, pistol, music, and sabre, alongside pirouettes, two-track work, rein-back, and work at the spur.\u003cbr\u003e\nThe section on training racehorses sets out a detailed regimen: eight days of two-hour morning and evening walks before faster work begins, a snaffle bridle and exercise sheet, and a graduated program of trotting and cantering. It includes a pointed passage on stable safety, insisting that a young thoroughbred be ridden only by a very light, gentle-tempered rider and warning at length against allowing the boys exercising racehorses to play with the colts, attributing the resulting danger to the animal's own playfulness rather than vice.\u003cbr\u003e\nEight lithographed illustrations accompany the text: an equestrian portrait of the author, sidesaddle, in riding habit and top hat, astride a piaffing horse, serving as the frontispiece; a plate of six horses shown fitted with the \"surfaix-cavalier\" apparatus from different angles; a plate of a two-horse carriage with its driver; and a diagram plate showing the harness fitted to a horse alongside a dressage crop and a vignette of a groom leading a horse, accompanying a table of rein settings for the twelve lessons of stable training.\u003c\/p\u003e\n\n\u003cp\u003eWe are big fans of interesting, eclectic lives, especially when they belong to women who found their way into places not particularly designed to admit them. Marie-Isabelle began fitting hats in a Paris shop, not horses in a manège. By 1858 she had trained horses entrusted to her by Emperor Nicholas I himself and become the first woman to publish her own method for training both horse and rider. Where the era's other écuyers wrote from a single court or riding school, she arrived at hers by way of Vienna, Saint Petersburg, and an English cavalry barracks. We would gladly have been among her pupils, sabre drill included.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385895592171,"sku":"189-1858--550.00-265.00-2026","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00189_IMG_0446.jpg?v=1788994175"},{"product_id":"zampini-cenerentola-1940","title":"Cenerentola","description":"\u003cp\u003e1940 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to, oblong. Ff. [6] pop-up plates\u003cbr\u003e\nMilano (Milan)\u003cbr\u003e\nGrafitalia (già Pizzi \u0026amp; Pizio); Officine Grafiche Sagdos\u003c\/p\u003e\n\n\u003cp\u003ePictorial card boards, with a tan linen spine lettered in brown. Leather closures present but broken. Boards rubbed at the margins. Small splits at the fold hinges of the pink \"proscenium panels,\" some repaired in the past with common tape, others more recently with archival tape; all pieces complete. Wanting the booklet and instruction leaflet issued with the carousel; the card pocket on the front pastedown survives. Presentation inscription in ink on the front board, in Italian: \"Rita e Ivo alla Signora [illegible] con l'augurio di un bel bambino\" (Rita and Ivo to Mrs. [illegible], with wishes for a fine baby), dated 21-12-44; one word, possibly a location, struck through. A second inscription, in another hand, on the front pastedown, in English: \"To 'Jamie' or 'Judy' from 'dad' Italy, 1944\" (quotation marks sic). A sound copy of a delicate artifact typically handled by children. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of Hoepli's extraordinary Libroteatro (Book-Theater) a book\/carousel\/miniature stage designed by La Scala scenographer Mario Zampini. Hoepli had published fourteen movable books between 1879 and 1910, all imported from German houses, and then nothing for thirty years. The Libriteatro productions of 1940 broke that silence with an Italian production, designed by Zampini, painted by Raimondo Centurione, and printed and bound in Milan.\u003cbr\u003e\nZampini built the fairy tale as he built opera. Each of the six scenes is a proscenium, its curtain raised and its scenery receding on cut-card planes; swing the boards completely around and fasten them together, and the book becomes a carousel, six theatrical wedges standing open at once. Hoepli intended it to be installed rather than merely shelved, supplying instructions for mounting it on a wooden block with a spindle so that the theaters could revolve, illuminated from directly above through a cone of card. The instruction leaflet is not preserved with this copy (hardly unusual for an ephemeral piece accompanying a children's book).\u003cbr\u003e\nTwo inscriptions place this copy within a single wartime Christmas. On 21 December 1944, Rita and Ivo wished a pregnant acquaintance \"un bel bambino\" (a fine baby). Inside, in English and in another hand, what appears to be a father's inscription addresses a child yet to be born by either of the names it might need, Jamie or Judy, not yet knowing which. These two wartime notes give this little paper theater an unexpectedly tender context.\u003c\/p\u003e\n\n\u003cp\u003eSix scenes carry Perrault's Cinderella from the fairy at the pumpkin to the wedding, each built as a stage: a pleated rose proscenium with its curtain up, the action set back on cut-card planes so that the depth is real rather than drawn, and a caption printed in white across the apron beneath, handing the story on to the scene that follows. They range from the cottage door, where Cinderella stands in white brocade shot through with silver and geese scatter under the wheels of the waiting coach, to a hall of scrolled rococo boxes, with a double stair climbing behind to a garden pavilion; elsewhere, a herald and his six trumpeters proclaim the King's word. The sequence closes on the wedding, celebrated with great pomp and great gladness.\u003cbr\u003e\nThe front pastedown is printed in red on rose, with an open book framing a proscenium lettered \"C'era una volta\" (Once upon a time), the whole cast of the fairy tales streaming out of it on horseback and on foot. The rear board carries the device of the series, an open book framing a proscenium lettered \"Libro Teatro Hoepli,\" with Ulrico Hoepli's UH monogram below it and the published price, \"Netto L. 40\" (Net L. 40), blind-stamped at the foot.\u003cbr\u003e\nAs issued, two further pieces accompanied the carousel, neither preserved with this copy: a booklet setting out the tale in prose; and a leaflet giving the publisher's instructions for staging the book, mounting the Libroteatro on a wooden block pierced by a small spindle so that the six theaters could revolve around it, and lighting it from directly above through a cone of card.\u003c\/p\u003e\n\n\u003cp\u003eFor centuries Cinderella stayed flat on the page; in 1940 Hoepli handed her to a La Scala scenographer and she came back standing up, six paper-stages deep. Maybe we like it because we would have wanted it as children, or because it takes us straight back there. But it is also wonderfully operatic - and we do love opera (yes, stereotypical Italians here). Then there are those two sweet wartime notes, which gave us exactly the feel-good reason we needed to make it part of our collection. We all need fairy tales and good vibes these days, don't we?\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385896902891,"sku":"190-1940--450.00-145.00-2026","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00190_IMG_0508.jpg?v=1788994266"},{"product_id":"joubert-de-l-hiberderie-le-1765","title":"Le Dessinateur, pour les fabriques d'etoffes d'or, d'argent et de soie","description":"\u003cp\u003e1765 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [2] f.e., xlviii, 218, [6], [2] r.e.\u003cbr\u003e\nParis\u003cbr\u003e\nSebastien Jorry; Bauche; Brocas\u003c\/p\u003e\n\n\u003cp\u003eContemporary full calf, gilt fillets with floral cornerpieces to the boards; spine with gilt-ruled compartments and gilt-lettered leather label; all edges gilt. Binding worn, particularly at the spine, which is darkened with a chipped head. Front board a little weak but not loose. Pastedowns and free endpapers of beautiful, delicate block-printed paper with a gilt checkered pattern on a pink ground; silk page-marker detached but present. A light pencil drawing of a face to the verso of the second front free endpaper. Some pages misnumbered (xxxv, 129-144, 131, 36). Fine decorative engraving opening the \"Épître\"; woodcut head- and tailpieces, together with five woodcut textile diagrams. A sound and attractive copy of a trade manual. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of the first published description in French of the profession of silk designer, issued in Paris by Sébastien Jorry, Bauche, and Brocas in 1765. Until then, much of the specialized knowledge of the Lyon silk designer belonged to the workshop rather than the printed page. Joubert, himself a Lyon silk designer admitted to the guild by special dispensation, published the book despite the reservations of the city's silk-weaving guild, which feared that it would disclose its techniques to competing manufacturers abroad and argued that the manuscript should be kept from publication. Joubert took it to Paris regardless. Part trade manual, part artistic education, and part guide to the capital, the book was also something of a curriculum vitae for an author newly bankrupt and petitioning the state for a pension on the strength of his expertise.\u003c\/p\u003e\n\n\u003cp\u003eA historical and philosophical preface opens the work, tracing the development of Lyon's silk-design trade through its leading practitioners, foremost among them Jean Revel, and offering practical advice to parents on recognizing artistic aptitude worth cultivating in a child. Fourteen numbered chapters follow, each devoted to a named category of patterned silk: a remarkably detailed catalogue of luxury fabrics, from satin, damask, taffeta, and velvet to figured and brocaded textiles woven with gold and silver thread.\u003cbr\u003e\nThe fourteenth and longest chapter is devoted to moires, the watered silks that were Joubert's own specialty. Five woodcut figures show point-repeat and comber-repeat arrangements for brocaded moire, including diagrams distinguishing designs worked \"à pointe\" from those worked \"à chemin,\" and a four-part floral silk pattern intended for a moire five-thirds of an ell wide. The illustrations are technical rather than decorative: they translate the designer's repeat into a form that could be understood in relation to the loom.\u003cbr\u003e\nA fifteenth chapter, \"Le Voyage de Paris,\" takes the young designer out of the workshop and through the capital, directing him toward its sights, shops, collections, and artistic resources as part of his professional education.\u003cbr\u003e\nThe volume closes with Joubert's translation of six \"tables raisonnées\" from Pellegrino Antonio Orlandi's \"Abecedario pittorico,\" taken from the enlarged Naples edition of 1733, which was dedicated to the painter Francesco Solimena. The section expands the silk designer's education into the fine arts, combining a bibliography of works on architecture and perspective with practical instruction and a canon of Old Masters. Particular artists are recommended for particular qualities worth studying: Correggio for softness, Raphael for grace and contour, Titian for composition, Veronese for invention, Claude Lorrain for landscape, and Michelangelo and Bernini for modeling.\u003cbr\u003e\nThroughout the book Joubert invokes the authority of men within both the Lyon textile industry and the Parisian art world: the silk manufacturer and Deputy of Commerce Louis Pernon, designer and manufacturer Jean-Victor Geneve, and veteran designer Pierre Ringuet, alongside the King's engraver Charles-Nicolas Cochin and the painter Jean-Jacques Bachelier. The result is an unusual record of a profession at the moment its guarded workshop knowledge began to become public knowledge.\u003c\/p\u003e\n\n\u003cp\u003eLyon had secrets worth stealing: its silk designers carried the knowledge of Europe's most coveted fabrics from workshop to workshop, and the guild wanted it kept that way. But, as in the best spy stories, our man Joubert put the trade into a book. The guild wanted the manuscript suppressed; he took it to Paris and printed it anyway: patterns, techniques, professional tricks, even the artists a young designer should study. Industrial espionage, eighteenth-century style - except the man leaking the secrets signed his name to the title page with pride.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385896935659,"sku":"191-1765--2500.00-647.36-2026","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00191_IMG_0394.jpg?v=1788994340"},{"product_id":"alvares-de-queiroz-historia-da-1762","title":"Historia da creação do mundo conforme as ideas de Moizes, e dos filozofos","description":"\u003cp\u003e1762 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. [2] f.e., [20], 308, [2] r.e., [1] folded plate\u003cbr\u003e\nPorto\u003cbr\u003e\nFrancisco Mendes Lima\u003c\/p\u003e\n\n\u003cp\u003eRestored and rebound incorporating portions of the original binding; the original spine partially preserved and remounted. The restoration is well executed. Mottled calf boards with a blind fillet border; spine with five raised bands with gilt floral tooling and a gilt-lettered piece. Modern marbled pastedowns; edges sprinkled in red. Early ink inscriptions on the title page \"Francisco Joze da Costa Boticario\" (meaning apothecary). Internally very clean, with wide margins. Woodcut headpiece with astronomical subject at the beginning of part I. Folding plate outside pagination in perfect condition. A sound copy, well restored. Very good.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of this Portuguese essay, belonging to the long European effort to reconcile Genesis with scientific discoveries and the astronomy of its own century, written by a presbyter of the Oratory of Porto. The Gazeta Litteraria reviewed the book in the same year as its publication and judged it among the works that did honor to the Portuguese nation, establishing its importance among contemporary works.\u003cbr\u003e\nAlvares organizes his work into chapters and dissertations rather than as a continuous narrative, debating Creation under two main aspects. The first is how the world was made, drawing from the Bible but also reporting modern scientific and astronomical theories, to which he adds his own contribution. The second aspect analyzed is how long the world has lasted, in what season it was created, and how many years have passed since. Here Alvares folds in Ussher's \"Annals of the World\" (1650), which counted the biblical generations backward to fix Creation at 4004 BC, with its chronology corrected in this edition by P. Hadriano Daude. That chronology runs straight into the book's sharpest argument, \"Dissertação VII\": a direct rebuttal of Isaac de la Peyrère, whose 1655 Pre-Adamite thesis (i.e. that men existed before Adam) had been burned and whose author was forced to recant in Rome. The rebuttal was not aimed at a dead controversy: Enlightenment writers across Europe were reviving Pre-Adamism as a challenge to biblical chronology, and Alvares felt compelled to answer the argument.\u003cbr\u003e\nInocêncio 5, 353 confirms that this is the first and only edition: the work was intended to continue beyond this first volume, but no further volume is recorded as having been published.\u003c\/p\u003e\n\n\u003cp\u003eThe book opens with Part I, which begins by explaining the mechanics of Creation, moving through Moses, the ancient philosophical schools, Descartes, and Newton. Alvares adds a \"new system\" of his own, which has been already contested (he admits in the preface) after an earlier extract had drawn fire from unnamed critics. An astronomical excursus at pp. 76-77 tabulates the distance from the Earth to the fixed stars according to seven authorities: Lansberge, Hortensius, Galileo, Kepler, Herigone, and Wolff, whose calculations are given in two competing figures, with Tycho's determinations cited alongside them. The same pages quote at length, and in the original Latin, Christiaan Huygens's account from the \"Cosmotheoros\" of an experiment measuring the apparent diameter of Sirius against the Sun through a perforated lens.\u003cbr\u003e\nThis section is completed by a folding plate showing seven numbered figures keyed to the Huygens passage quoted in the text: concentric planetary systems, elliptical orbits with a sun symbol, and a geometric construction for measuring apparent stellar diameter.\u003cbr\u003e\nPart II turns to chronology, presenting an \"Extracto das Tabellas Chronologicas de Usserio\": Archbishop Ussher's chronology of the world from Adam to Sarug, corrected by P. Hadriano Daude, and reconciling sacred history with the profane record down to the birth of Christ. Dissertação VII argues directly against the Pre-Adamites, naming Isaac de la Peyrère and his 1655 thesis that men existed before Adam, and answering him through citations of Maimonides's \"More Nevochim\" and Dom Augustin Calmet's biblical commentary.\u003c\/p\u003e\n\n\u003cp\u003eHalf science nerd, half churchman, Alvares is a perfect portrait of his age. He invokes Moses, then geeks out with Galileo, Newton, and Huygens, only to turn around and condemn the idea of men before Adam. We love what, to modern eyes, feels like a contradiction.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385897328875,"sku":"192-1762--900.00-560.00-2026","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00192_IMG_0383.jpg?v=1788994429"},{"product_id":"forsyth-a-treatise-on-the-culture-1803","title":"A Treatise on the Culture and Management of Fruit Trees","description":"\u003cp\u003e1803 Second American Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [4] f.e., xii, 13-280, XIII plates, [4] r.e.\u003cbr\u003e\nAlbany\u003cbr\u003e\nD. \u0026amp; S. Whiting\u003c\/p\u003e\n\n\u003cp\u003eContemporary full calf, with gilt-lettered label at the spine. Corners bumped; head of the spine chipped, with some wear at the hinges. Top corners of pp. 221 and 223 torn, with no loss of text. Light foxing throughout, heavier on the plates. A sound copy. Very good.\u003c\/p\u003e\n\n\u003cp\u003eSecond edition of William Forsyth's wound-dressing composition for fruit and forest trees, which was significant enough in its day to be examined by Parliament and used on Royal Navy timber during the Napoleonic Wars - genuine period stakes for what might otherwise read as a routine pruning manual.\u003cbr\u003e\nThis Albany edition is the second American, following the Philadelphia one of one year prior. William Cobbett supplied the introduction and notes adapting Forsyth's English rules for American climates, addressed as a personal letter to James Paul, Senior, of Bustleton, Pennsylvania, and written, Cobbett says, having withdrawn from the \"noise and strife\" of politics.\u003cbr\u003e\nThe transplantation of Forsyth's English horticulture to America is particularly interesting in the chapter on vines. Forsyth recommends a repertoire of classic European wine and dessert grapes (the Royal Muscadine (Chasselas Blanc), Malmsey Muscadine, Black Muscadine, July Grape, and others) all Vitis vinifera, cultivated in England against warm walls or in vineries. Cobbett's adaptation carried that advice across the Atlantic to growers for whom vinifera cultivation would prove notoriously difficult over the following century, as the eastern United States' climate, native pests, and diseases frustrated European varieties and encouraged increasing reliance on native and hybrid vines. Cobbett's own notes already engage with American uncertainty on the subject, correcting a belief he attributes to American growers that vines are short-lived by pointing to their evident longevity in Britain.\u003cbr\u003e\nDistinctive to this Albany printing is an eight-page letter from Peter W. Yates, dated September 1803, recounting his own experience grafting, inoculating, and pruning fruit trees according to Forsyth's methods since 1796. It provides an unusually appropriate conclusion to the American edition: an Albany grower's practical testimony bound directly into an English treatise already adapted by Cobbett for American conditions.\u003c\/p\u003e\n\n\u003cp\u003eForsyth's Treatise, first published in London in 1802, combines his celebrated and controversial wound-dressing composition for hollow and damaged fruit and forest trees with a new system of pruning and training. The text proceeds in numbered chapters through the orchard, treating individual fruits and their cultivation alongside practical problems of pruning, grafting, disease, and damaged wood.\u003cbr\u003e\nCobbett's \"Introduction\" occupies the front on the volume, while his \"Notes\" appear as footnotes scattered throughout the main text, intervening where English horticultural practice requires explanation or adaptation for American readers.\u003cbr\u003e\nSpecifically chapter VIII, \"Of Vines,\" covers the different sorts of vines cultivated in England, their propagation, training and pruning (including the application of Forsyth's composition), watering, protection of grapes from flies, wasps, and birds, and gathering and keeping grapes through winter. Named varieties include the July Grape (Morillon Noir Hatif), Royal Muscadine (also called D'Arboyce or Chasselas Blanc), Malmsey Muscadine, Black Muscadine, and White or Common Muscadine. Other chapters include \"Of Apricots\" and \"Of the Canker and Gum,\" each opening with a descriptive argument line.\u003cbr\u003e\nThirteen engraved plates illustrate the practical instruction, including the Apricot, Green Gage Plum, Duke Cherry, Standard Apple, St. Germain Pear, a vine-training plate, and a plate showing sixteen numbered pruning and grafting tools.\u003cbr\u003e\nA concluding Supplement is Forsyth's defense of his composition through named case studies. A hollow lime tree, its trunk decayed from top to bottom, had filled entirely with sound new wood fifteen years after treatment; an old elm, twice emptied of cart-loads of rotten wood, had grown twenty feet in six years; and an elm on Palace Green, headed twenty feet from the ground, produced a shoot forty-six feet high and nearly six feet in circumference.\u003cbr\u003e\nThe text proper is followed by Peter W. Yates's letter of September 1803, describing his experience since 1796 with grafting, inoculating, and pruning fruit trees according to Forsyth's methods.\u003c\/p\u003e\n\n\u003cp\u003eWe love that this book crossed the Atlantic and kind of changed in the process: Cobbett began arguing with American assumptions in the footnotes, the Albany publishers added a local grower's testimonial, and Forsyth's European vines found themselves recommended to a country where vinifera would struggle for the next century.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385897427179,"sku":"194-1803--400.00-136.00-2026","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00194_IMG_0314.jpg?v=1788994454"},{"product_id":"peckham-cuttings-1877","title":"Cuttings","description":"\u003cp\u003e1877 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [2] f.e., [1] mounted photographic portrait with protective leaf, 71, [2] r.e.\u003cbr\u003e\nSan Francisco\u003cbr\u003e\nAmanda M. Slocum\u003c\/p\u003e\n\n\u003cp\u003ePublisher's terracotta cloth over boards, blind-stamped in bands, with gilt lettering to the upper cover and spine. Boards rubbed at the extremities and spine ends. Mounted albumen frontispiece present. The front endpaper carries two presentation inscriptions: in ink, \"Seattle W.T., July 10, 1879, Presented with the compliments of the author to the Rev. and Mrs. D. Bagley,\" signed \"A. Peckham\"; and, in pencil, \"Seattle W.T., August 1910, Presented to my niece Mrs. [illegible] by her aunt S. R. Bagley.\" Fine.\u003c\/p\u003e\n\n\u003cp\u003eFirst edition of this collection of verse and prose from P. Annetta Peckham's earlier writings, printed in San Francisco in 1877, two years after her first book, Welded Links. Its centerpiece is Wine is a Mocker, an evangelical attack on drink that extends its warning as far as the wedding feast, where wine conceals a terrible outcome inside its promise of pleasure. Within eight months of the book's December 1877 dedication, newspaper reports place Peckham on a Pacific Northwest lecture platform preaching Gospel Temperance: more than ninety people signed her pledge of total abstinence before she departed on a temperance lecture tour through Eastern Oregon and Washington Territory. In Wine is a Mocker, Peckham was attacking the very industry San Francisco was helping to build.\u003cbr\u003e\nThe imprint names Amanda M. Slocum, who was a Spiritualist, suffragist, and independent printer who had previously published the reform newspaper Common Sense with her husband William N. Slocum and continued in the printing trade under her own name after their divorce, making her one of a small number of women then running presses in California, at a time when printing remained overwhelmingly a male trade.\u003cbr\u003e\nThis copy carries an unusually evocative provenance. Peckham presented it in 1879 to the \"Rev. and Mrs. D. Bagley\" of Seattle, almost certainly the pioneer Methodist minister Daniel Bagley and his wife Susannah Rogers Bagley. Daniel, who had arrived in Seattle with Susannah in 1860, established the city's Methodist Protestant church and was instrumental in securing the Territorial University for Seattle. A second inscription, dated August 1910, records the book being given by \"Mrs. S. R. Bagley\" to a niece: almost certainly Susannah Rogers Bagley herself, then ninety-one years old, passing on a book presented to her and her husband thirty-one years earlier. Remarkably, she still dates the inscription \"Seattle, W.T.\" (i.e. Washington Territory) twenty-one years after Washington had become a state.\u003c\/p\u003e\n\n\u003cp\u003eCuttings opens with a dedication, dated San Francisco, December 1877, addressed not to a patron but to the memory of reformers who labored for truth and the advancement of mankind's interests without regard for personal glory. Most of the collection is short devotional and moral verse: Destiny, Memory, Man, Nature's Offering, Hope, Envy, Truth, Nothing But Ashes, Happiness Defined, and Cast Your Bread Upon the Waters move across a shared register of faith, conscience, and reflection on human nature.\u003cbr\u003e\nA smaller group of prose essays argues more directly. Wine is a Mocker attacks alcohol in evangelical terms, extending its warning from the individual drinker to the wedding feast, where wine conceals a terrible outcome inside its promise of pleasure. Is Man Intrinsically Evil?, Harmony of Spirit and Matter, and Has Revelation Ceased? take up theology and human nature directly; Our Country as It Was and Is turns to national character; and Art considers painting, poetry, and oratory as reflections of a divine order.\u003cbr\u003e\nThe collection closes with occasional verse, including the elegy In Memory of H. C. Kibbe and two further poems, Poem dedicated to - and Faithful dedicated to -, the dedicatee left blank in each. A final section reprints four newspaper notices of the book, from the San Jose Daily Mercury, Los Angeles Evening Express, Daily Evening Republican, and Los Angeles Daily Star, identifying Peckham as the author of Welded Links and praising the freedom and terseness of her style. The mounted albumen frontispiece portrays the author in a high-necked dress with lace collar, captioned with her name and the credit of the San Francisco studio Bradley \u0026amp; Rulofson, one of the leading photographic studios of nineteenth-century San Francisco. Henry W. Bradley and William H. Rulofson operated their celebrated Montgomery Street gallery from 1863, producing portraits of many of the city's prominent figures.\u003c\/p\u003e\n\n\u003cp\u003eA temperance tract doesn't often turn up on a wine-book dealer's shelf, so this must be special. Peckham's Wine is a Mocker attacks the very trade San Francisco was helping to build in 1877, while her idea of women's public power remained rooted in moral influence over home and family: she addressed male voters on liquor-licensing votes rather than asking for the ballot herself - and the Eighteenth Amendment was still more than forty years away. Then there is the woman who printed it. Amanda M. Slocum belonged to a more radical corner of the same reform world - a Spiritualist, suffragist, and independent printer who had recently published a reform newspaper of her own. And finally there is this particular copy: presented by Peckham to the Rev. and Mrs. Daniel Bagley in Seattle in 1879, then passed on by Susannah Rogers Bagley to her niece thirty-one years later. And although we remain firm believers in the goodness of wine, this much women's power, political passion, and fascinating local history is enough to win our hearts.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385897623787,"sku":"195-1877--1000.00-136.00-2026","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00195_IMG_0256.jpg?v=1788994529"},{"product_id":"armour-and-company-pork-cuts-1910","title":"Pork Cuts","description":"\u003cp\u003e1910\u003c\/p\u003e\n\n\u003cp\u003eIn 16mo, oblong. Ff. [1] f.e., [2], 90, [4], [1] r.e.\u003cbr\u003e\nChicago\u003cbr\u003e\nArmour and Company\u003c\/p\u003e\n\n\u003cp\u003eOriginal wallet-style binding in brown leather over flexible boards, with rounded corners and a gilt-ruled panel lettered in gilt script on the front. Light rubbing and a small nick at the extremities. Decorative floral-patterned endpapers in green, gold, and cream; front free endpaper wanting. Ink stamp reading \"Please return to A. de Visser.\" Very good.\u003c\/p\u003e\n\n\u003cp\u003ePocket-sized trade specification booklet, issued by one of Chicago's largest meatpacking houses to make an increasingly complex vocabulary of cuts, trims, and cures commercially exact.\u003cbr\u003e\nArmour and Company built its business in the shadow of the Union Stock Yards and by 1910 stood among the handful of firms that dominated American meatpacking. Its vast distribution system depended not simply on processing animals but on selling precisely standardized products across enormous distances. An unlikely witness to that sales culture was Dale Carnegie: before becoming famous for anything else, he sold bacon, soap, and lard for Armour across a western South Dakota territory, traveling by freight train, stagecoach, and horseback. His experience, recalled decades later in the introduction to \"Public Speaking and Influencing Men in Business,\" gives a vivid picture of the commercial world for which working trade literature like this was produced.\u003cbr\u003e\nThat overseas reach is the booklet's real fascination. Its cuts are named for the markets that received them as much as for the animal they came from: Wicklow Side and Dublin Middles for Irish curers, Cumberland Middles and English Belly for England, Antwerp Backs for Belgium, and Hamburg hams cured explicitly for the German market, alongside American terms such as Boston Butts and Chicago Shoulders. Read end to end, its index becomes a small map of international commerce: Chicago pork cut, cured, and named to specifications set an ocean away.\u003cbr\u003e\nA stamp on the front endpaper, \"Please return to A. de Visser,\" provides an appropriate trace of its working life: a small technical reference meant to be consulted, circulated, and returned.\u003c\/p\u003e\n\n\u003cp\u003eThe booklet ppens with a diagram of a hanging hog carcass, its outline divided and numbered into nine named primal sections - hind foot, ham, rib belly, fat back, pork loin, cala ham butt, California ham, fore foot, and neck - establishing the vocabulary the individual cut entries that follow depend on. The work proceeds cut by cut, each entry pairing a halftone photograph of the finished cut with a short paragraph of exact butchering specification.\u003cbr\u003e\nA closing compound specification, Mess or Extra Mess, is built by formula rather than cut fresh from the carcass, from portions of light canning carcasses: Plates in five styles at twenty to thirty pounds average, Chuck in four styles, Rump Butt, and Flank, ordinarily two pieces of each kind to the barrel. A separate diagram elsewhere among the leaves divides a lamb or mutton carcass into leg, loin, rack, and stew rather than pork, its relation to the surrounding content not established.\u003cbr\u003e\nAn alphabetical index of cuts and their locations closes the volume, mixing American house terms with export specifications for the Irish, English, Belgian, and German markets.\u003c\/p\u003e\n\n\u003cp\u003eArmour's ambitions stretched far beyond Chicago, cutting and curing pork to suit markets from Dublin to Antwerp and Hamburg. And somewhere inside that enormous sales machine was a young Dale Carnegie, selling Armour's bacon and lard across South Dakota by freight train and stagecoach. We can't know whether he ever carried this particular booklet, but we rather like imagining it tucked into his coat pocket as he crossed the Dakota plains, learning the art of persuasion one sale at a time.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385897689323,"sku":"197-1910--200.00-60.00-2026","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00197_IMG_0059.jpg?v=1788994573"},{"product_id":"sammelband-royal-oporto-wine-1824","title":"The Wine Question (1824)","description":"\u003cp\u003e1824 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. I. pp. [4], 65, 15. II. pp. [2], 5, [4], 40. III. pp. viii, 125. IV. pp. 24, [2].\u003cbr\u003e\nLondon; Porto\u003cbr\u003e\nWilson. Richardson. Booth. Ridgway\u003c\/p\u003e\n\n\u003cp\u003e19th-century half brown calf over marbled boards; spine with four raised bands, a red morocco lettering-piece, and gilt decoration. The spine is rubbed and worn at the head and tail and along the joints; board margins rubbed as well. Front free endpaper loose, with a small archival-tape repair at the top partially securing it. The text block carries sparse pencil annotations. The title page of the first work bears an early ink ownership inscription at its head, reading \"Robt Cockburn - Leith.\" The binding bears the signs of a well-used working copy, but remains sound overall. Good.\u003c\/p\u003e\n\n\u003cp\u003eA remarkable contemporary sammelband documenting the Anglo-Portuguese controversy over the regulation of the Port wine trade and the Royal Oporto Wine Company, bringing together British mercantile arguments, a Portuguese response, and the Company's own proposed program of reform.\u003cbr\u003e\nThe four works trace a single, datable exchange. James Warre, a prominent London Port shipper, opened the pamphlet war in 1823, arguing from parliamentary duty-and-revenue figures that lower wine duties would raise, not lower, the Treasury's take - a case aimed as much at the Company's regulatory powers as at the Exchequer. Fleetwood Williams answered him the following year. The Wine Question Considered, published anonymously \"By a Portuguese\" in December 1824 and bound first in this volume, is the Portuguese-side rebuttal to both men, defending the Company's authority over demarcation, pricing, and blending on the Douro. Warre himself reissued his pamphlet within months as this volume's Second Edition, with Supplementary Observations, bound third here - answering his critics almost as quickly as they had answered him. The Companhia's own proposed reform plan of 1822, submitted to the Portuguese Cortes and bound fourth, and the London Association of Wine and Spirit Merchants' institutional report of 1826, bound second, extend the dossier on either side of the exchange proper. An early owner's ink inscription, \"Rob.t Cockburn - Leith,\" opens the volume - a name shared with the port and sherry house Cockburn founded in that same Scottish port in 1796, though the connection is not established.\u003c\/p\u003e\n\n\u003cp\u003eI. The Wine Question Considered; or, Observations on the Pamphlets of Mr. James Warre \u0026amp; Mr. Fleetwood Williams, Respecting the General Company for the Agriculture of the Vineyards, on the Upper Douro, Known in England, under the Name of the Royal Oporto Wine Company (Anonymous, \"By a Portuguese\", 1824). Argues directly against Warre and Fleetwood Williams's published complaints about the Royal Oporto Wine Company, defending the Company's regulatory authority over demarcation, pricing, production, and blending on the Upper Douro. An appendix reprints a series of supporting documents: the first, headed \"No. I,\" is a translated circular letter the English factors at Oporto sent to their brokers on the Douro in September 1754 - a document the factors themselves called their \"New Instructions\" - together with the brokers' own answer to it, the two letters described as the origin of, and introduction to, the Wine Company's charter. Further documents follow in the same appendix, including the Douro wine brokers' own response to the circular.\u003cbr\u003e\nII. Report of the Proceedings of the London Association of Wine and Spirit Merchants, for the Year Ending 25th March, 1826. The London trade association's own annual report, printed by Charles Skipper, recording the Association's lobbying on behalf of the London wine and spirit trade. Particular attention falls on the Portuguese wine trade: the committee reports on negotiations between Britain and Portugal, cooperation with the London merchants trading with Oporto, and representations to the government over grievances arising from the Portuguese system. An appendix reproduces correspondence with the Chancellor of the Exchequer and the President of the Board of Trade, a memorial from Oporto merchants resident in London, and a notarized translation of an official edict published at Oporto.\u003cbr\u003e\nIII. James Warre, The Past, Present, \u0026amp; Probably the Future State of the Wine Trade; Proving that an Increase of Duty Caused a Decrease of Revenue; and a Decrease of Duty, an Increase of Revenue. Second Edition, with Supplementary Observations (1824). Founded on parliamentary and other authentic documents and addressed to the President and Members of the Board of Trade, the text argues that reducing wine duties increases Treasury revenue and raising them decreases it, opening with the epigraph \"Authority is sacred when Experience affords parallels and analogies,\" from D'Israeli on Predictions. Two extensive statistical appendices support the argument: Appendix B recapitulates British wine-duty rates and annual average consumption broken down by country of origin - Portugal, Spain, France, Madeira, the Rhineland, the Cape, and all other sources - across each period in which the duty changed; Appendix N tabulates British wine imports by country, year by year, from 1696 to 1785.\u003cbr\u003e\nIV. Plano para a Reforma da Companhia Geral da Agricultura das Vinhas do Alto Douro: Remettido ao Soberano Congresso Nacional, pela Junta da mesma Companhia (Porto, 1822). The Companhia's own proposed reform plan, submitted to the Portuguese Cortes Geraes. Opens with the Cortes's order of 1 September 1821 and the Secretaria de Estado's covering letter of 5 September 1821 directing the Company's Junta to be heard on the plan, followed by the Junta's own representation on an additional article to the draft decree, dated 5 January 1822. Closes with a further representation dated Porto, 19 January 1822, signed by seven members of the Junta: P. Francisco de Sousa Cirne de Madureira, Manoel de Albuquerque de Mello Pereira Caceres, Gaspar Cardoso de Carvalho e Fonseca, Joao Ribeiro de Faria, Braz d'Abreu Aranha e Araujo, Jose de Sousa e Mello, and Antonio Bernardo de Brito e Cunha.\u003c\/p\u003e\n\n\u003cp\u003eA Port wine trade war fought in print: British merchants against Portuguese protectionism, answered pamphlet for pamphlet, with duties, monopoly, free trade, and the quality of Port itself all at stake. Four works bound together while the argument was still raging.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385897754859,"sku":"198-1824--1200.00-42.00-2026","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00198_IMG_0226.jpg?v=1788994625"},{"product_id":"hoare-a-practical-treatise-on-the-1841","title":"A Practical Treatise on the Cultivation of the Grape Vine on Open Walls","description":"\u003cp\u003e1841 Third Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 8vo. Pp. [1] f.e. [8], 210, [2], 32 (advertisement), [1] r.e.\u003cbr\u003e\nLondon\u003cbr\u003e\nLongman, Brown, Green, and Longmans\u003c\/p\u003e\n\n\u003cp\u003eOriginal publisher's cloth over boards, with blind-stamped decorative panels on both covers and gilt lettering and decoration at the spine. Some discoloration; spine edges chipped. Ink ownership inscription on the front pastedown, \"Tho.s. R. Davis, 1857,\" and a separate armorial bookplate of Julius Charles Hare. Rear hinge partially cracked and water-stained, with a Japanese-paper repair at the free endpaper. Good.\u003c\/p\u003e\n\n\u003cp\u003eThird edition of the practical manual that Clement Hoare turned into a twenty-acre experiment. The book grew out of years of pruning trials (near Chichester), which begun in the 1820s to find a method by which grapes might ripen reliably on unheated open walls rather than under the glass then considered necessary for English-grown fruit. Hoare was persuaded to publish his findings, by his own account decidedly against his wishes, by a fellow member of the Chichester Grape Society he had co-founded; John Claudius Loudon's enthusiastic notice in the \"Gardener's Magazine\" helped turn the book into a genuine success.\u003cbr\u003e\nThis third edition was printed in July 1841, at the height of the ambition that success had bought Hoare. Three years earlier he had begun Shirley Vineyard on the edge of Southampton, a twenty-acre commercial attempt to prove his methods on an unprecedented scale. Three years later, borrowed money, adverse seasons, and an untested method of growing vines without soil brought the venture down in bankruptcy.\u003cbr\u003e\nThis copy bears the armorial bookplate of Julius Charles Hare (1795-1855), theologian, scholar, and notable bibliophile. After Hare's death, a substantial portion of his celebrated library passed to Trinity College, Cambridge; a letter from his widow dated 4 March 1855 records a first consignment of some 4,000 books. Other volumes from Hare's library entered private hands, as surviving copies bearing his armorial bookplate attest. This volume evidently followed that path: an ink ownership inscription, \"Tho.s R. Davis, 1857,\" places it in new hands only two years after Hare's death.\u003c\/p\u003e\n\n\u003cp\u003eSixteen chapters follow a systematic course from aspect, soil, manure, and wall construction through propagation, pruning, and training, closing with a descriptive catalogue of twelve grape varieties suited to open-wall culture.\u003cbr\u003e\nAt its heart is Hoare's practical system: a serpentine method of training intended to check the too-rapid ascent of sap while maximizing fruiting wood; a year-by-year regimen for the vine's first five years; and a \"Weekly Calendarial Register,\" guiding its management week by week from spring bud burst to autumn leaf fall, calibrated to a latitude of 50¾° north. A separate chapter proposes planting vines along the public thoroughfares of towns. Eight numbered woodcut diagrams illustrate the training methods throughout.\u003cbr\u003e\nBound at the rear is a 32-page Longman, Brown, Green, and Longmans catalogue dated February 1844. An identically bound copy of the third edition, containing the same catalogue, is preserved in the University of Southampton's Perkins Agricultural Library (BHL Title ID 97512), suggesting that at least part of the 1841 edition remained in the publisher's hands for later binding and sale.\u003c\/p\u003e\n\n\u003cp\u003eA decade of trial and error behind every diagram: a horse-tack maker turned Sussex schoolmaster spent years proving that English grapes could ripen without glass at all, then bet everything on a twenty-acre vineyard and went bankrupt trying. The vineyard failed, but Hoare earned his place in history, and even the great bibliophile Julius Charles Hare wanted his book on the shelf. This was his copy.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49385899131115,"sku":"200-1841--250.00-42.00-2026","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00200_IMG_0241.jpg?v=1788994640"},{"product_id":"vilar-contribucion-al-estudio-1909","title":"Contribución al Estudio de los Vinos de la Provincia de Mendoza","description":"\u003cp\u003e1909 First Edition\u003c\/p\u003e\n\n\u003cp\u003eIn 4to. Pp. 98, [2] folded plates, 99 -104, [3]\u003cbr\u003e\nBuenos Aires\u003cbr\u003e\nA. Molinari\u003c\/p\u003e\n\n\u003cp\u003eOriginal front printed paper wrapper (used at title page) toned and dust-soiled, with damp and water staining toward the foot and chipping to the extremities and spine; rear wrapper absent. The last page is missing a bottom right corner, not affecting the text. Library notation at the half title. Ownership note at teh title page \"Victor Bernada\". Internally clean. The copy notably preserves the terminal printed leaf of Bibliografia, although with a tear to the lower corner, not affecting text. The two folding tables are intact. Overall discreet conditions for a publication to be considered ephemera. Fair.\u003c\/p\u003e\n\n\u003cp\u003eThe work is a doctoral thesis submitted to the Facultad de Ciencias Exactas, Físicas y Naturales of the Universidad Nacional de Buenos Aires in partial fulfillment of the degree of Doctor en Química. Beyond its academic purpose, the thesis captures a pivotal moment in Argentine viticulture. Mendoza wine, still establishing its modern identity, enters the analytical laboratory; chemistry becomes the arbiter of quality, authenticity, and legal compliance. The vineyard is no longer judged solely by the cellar master's experience, but by measurable composition, regulated practice, and scientific authority.\u003c\/p\u003e\n\n\u003cp\u003eThe thesis stands as one of the earliest documentary records of the chemistry of Mendoza's emerging red-wine industry: by 1908 Malbec had already established itself as the leading cepage fino, the Cabernet family occupied second place, while most of the province's vineyards still consisted of criolla, descended from the sixteenth-century Listán Prieto introduced by the Spanish colonists.\u003cbr\u003e\nAfter an opening chapter, La Uva, introduced by Guyot's maxim that good winemaking rests on \"una simplicidad primitiva,\" the work proceeds through Correcciones del Mosto (with reference to Argentine wine law no. 4663, Art. 3), Cubación and Descubación (illustrating the Cambon fermentation apparatus with an engraving of the vat, ca. p. 48, together with Andrieu's method), Residuos de la Vendimia, Las Heces, and Correctivos de los Vinos. A substantial section on La Vinificación en la Provincia de Mendoza records the region's principal grape varieties, with Malbec already dominant, followed by the Cabernet group, distinguished as gros Cabernet and Cabernet Sauvignon, while Pinot, Merlot, and criolla appear in smaller proportions. It also describes the Garolla grape crusher, open-vat fermentation, and the Andrieu process as employed at the La Germania winery. The analytical portion of the thesis examines dry extract, potassium bitartrate (cremor tártaro), tartaric acid, glycerine, and volatile acidity, the latter illustrated by a second wood engraving of an Erlenmeyer flask after Fleurieu (p. 88).\u003cbr\u003e\nLas Relaciones Enológicas reproduces the standards of the Comité Consultatif des Arts et Manufactures, while three folding tables present complete chemical analyzes of the 1908 harvest for Cabernet, Malbec, and other red grape varieties.\u003c\/p\u003e\n\n\u003cp\u003eWe'll happily snoop through a hundred-year-old doctoral thesis if it means witnessing history in the making. Behind the formulas and laboratory analyzes lies a fascinating snapshot of Mendoza just as Malbec was claiming its future throne.\u003c\/p\u003e","brand":"La Fenice Antiquaria","offers":[{"title":"Default Title","offer_id":49386139549931,"sku":"150-1909--400.00-160.00-2026","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/files\/00150_IMG_9013.jpg?v=1788994893"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0766\/2000\/5611\/collections\/00171_IMG_0437.jpg?v=1788993480","url":"https:\/\/fenicebooks.com\/en-kr\/collections\/coming-soon.oembed","provider":"La Fenice Antiquaria","version":"1.0","type":"link"}