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         Christi ab incarnationis vsq[ue] ascensionis gesta succinctim polita omni sacerdoti habenda bene reuisa atq[ue] correcta. Landshut, J. Weissenburger, 1514. 4°. 9 unn. Bll. mit gr. Titelholzschnitt u. (blgr.) Holzschnitt am Titel verso, flex., alter Prgt.-Manuskripteinband.

      - VD 16, B 4629 - BM STC 442 - Proctor 11780 (unter Jan Huss) - Schottenloher, Landshut 6.- Zweite Weissenburger Ausgabe.- Der Titelholzschnitt von Wolfgang Trautum (1482 oder 1487 - 1520) zeigt das Christuskind mit den Marterwerkzeugen, umrahmt von vier Medaillons mit den Porträts der vier Evangelisten und ihren Symbolen. Er wurde bereits in der Ausgabe des "Manuale parocchialium sacerdotum" von 1513 und einer Parallelausgabe dieses Werkes (vgl. Schottenloher 3a u. 3b) verwendet. Der Holzschnitt am Titel verso zeigt den Evangelisten Johannes mit der ihm erscheinenden Mutter Gottes.- Ohne das letze weiße Bl., unterer Rand tlw. gering ausgefranst. Die le. 3 Bll. seitl. leicht wasserrandig. Über dem Titel aufgeklebt ein schmaler Streifen mit der Jahreszahl 1513.- Innendeckel mit Wappenexlibris Dr. Fritz Eberhard, 1964: Fritz Eberhard, 1896-1982, geb. als Adolf Arthur Egon Hellmuth Freiherr von Rauschenplat, deutscher Journalist, sozialdemokratischer Politiker sowie als ISK-Mitglied antifaschistischer Widerstandskämpfer. Eberhard war von 1949 bis 1958 Intendant des Süddeutschen Rundfunks.# The second Weißenburger edition.- A6 B4 (lacking blank B4). Title with woodcut by Wolf Traut of the infant Christ on a cushion surrounded by the four evangelists, title verso with fine full-page cut of John of Patmos.- Title lower margin partly slightly frayed. The last 3 leaves laterally slightly watery. A narrow strip with the year 1513 pasted above the title.- Cover from old manuscript on vellum.

      [Bookseller: Antiquariat Johannes Müller]
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         Undecima Asie tabula continet India extra Gange[m].

      [Anno MCCCCLXXXII augusti vero kalendas XVII impressum Ulme per ingeniosum virum Leonardum Hol. (Ulm, Lienhart Holle, 16 luglio 1482)]. Foglio del "Tolomeo di Ulm" (prima edizione, del 16 luglio) recante la carta geografica della penisola arabica impressa in xilografia a doppia pagina su una facciata e il relativo testo descrittivo, stampato su una pagina dell'altra facciata. Il foglio misura mm. 401x523; l'immagine, misura, al filetto esterno della xilografia, mm. 380x300 (nel punto più corto in larghezza) e mm. 380x372 (nel punto più lungo in larghezza). Coloritura a mano originale. Sulla xilografia sono visibili delle ossidazioni dovute alla presenza al verso del foglio d'una cornice e d'una iniziale a stampa miniate con un colore verde che col tempo ha ossidato la carta. Nel 1482 Lienhart Holle pubblicò ad Hulm una edizione della Geografia di Tolomeo basata sulle carte di Nicolaus Germanus (c. 1420 - c. 1490) che aveva prodotto a Firenze una serie di magnifici atlanti manoscritti su pergamena negli anni 60 e 70 del Quattrocento. Il modello sul quale furono esemplate le carte di Hulm fu l'atlante manoscritto che Nicolaus aveva offerto al papa Paolo II e che pare fosse stato inviato appositamente in Germania (senza essere mai più rispedito a Roma: è conservato allo Schloss Wolfegg). L'edizione di Ulm è il primo atlante pubblicato a Nord delle Alpi e il primo con le carte impresse in xilografia (i due incunaboli precedenti della Geografia di Tolomeo - Bologna 1477 e Roma 1478 - recavano carte incise in rame). L'incisore delle xilografie fu probabilmente Johann Schnitzer di Armsheim (il planisfero reca la sua firma). Una delle mappe più ricercate della penisola indiana, la terza in assoluto, in ordine di tempo, che sia stata impressa in un atlante a stampa. Per quanto riguarda il Tolomeo stampato ad Ulm cfr. Gof P1084; HC *13539; BMC II 538; IC.9309; Schreiber 5031; Sabin 66472; Nordenskiold Collection II, 199.

      [Bookseller: Libreria Antiquaria Gozzini]
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         Sphaerae mundi compendium soeliciter inchoat. [Sphaera mundi; Disputationes contra Cremonensia deliramenta; Theoricae novae planetarum].

      Erhard Ratdolt, Venice 1482 - First printing, rare, of this assembly of basic texts of pre-Copernican astronomy, an exceptional copy in an untouched contemporary binding (this book, and its several fifteenth-century reprints, are almost always found in 19th or 20th century bindings). This is also the first book to use illustrations printed in colour from more than one block, a cornerstone in the history of colour printing (Graff) the book is often catalogued incorrectly as having contemporary hand-colouring. Sacrobosco’s De sphaera mundi (editio princeps 1472) was the first printed astronomical book, a synthesis of Ptolemy and his Arabic commentators, presenting an elegant, accessible Ptolemaic cosmology, and accepted as the most authoritative astronomical textbook of its time. From the time of its composition (ca. 1220), it "enjoyed great renown, and from the middle of the thirteenth century it was taught in all the schools of Europe. In the sixteenth century it gained the attention of mathematicians, including Clavius. As late as the seventeenth century it was used as a basic astronomy text" (DSB). Sacrobosco’s text is accompanied in this edition by two treatises by Regiomontanus (1436-1476) and his teacher Georg Peurbach (1423-1461), who were the outstanding astronomers of their time and their early deaths were "a serious loss to the progress of astronomy, [which] left the technical development of mathematical astronomy deprived of substantial improvement until the generation of Tycho Brahe" (ibid.). The tract by Regiomontanus is a critique of the Theoricae planetarum communis, the anonymous thirteenth-century university textbook usually attributed to Gerard of Cremona. It is followed by Peurbach’s Theoricae novae planetarum, composed around 1454 and first published at Nuremberg in ca. 1473), which became the standard astronomical text for over a century and a half. Following Arab astronomers, Peurbach "added trepidation to Ptolemy's six motions of the celestial spheres and substituted solid crystal spheres for the hypothetical circles employed in Ptolemy’s Almagest" (Stillwell). The full-page woodcut on the verso of a1 (the recto is blank so it forms a frontispiece) features a hand holding an armillary sphere. ABPC/RBH list only four complete copies in the past 50 years: Bonham’s 2015 (modern binding); Dominic Winter 2004 (old vellum, a1 supplied from a shorter copy); Sotheby’s 1989 (modern binding); Sotheby’s 1985 (modern binding).Johannes de Sacrobosco, or John of Holywood, or Halifax, was probably an Englishman, although even his nationality is uncertain. He lived at the end of the twelfth century and the beginning of the thirteenth century, and apparently spent most of his life in Paris, where he was a student and teacher of mathematics and astronomy at the university. "Sacrobosco’s fame rests firmly on his ‘De Sphaera’, a work based on Ptolemy and his Arabic commentators, published about 1220 and antedating the ‘Sphaera’ of Grosseteste. It was quite generally adopted as the fundamental astronomy text, for often it was so clear that it needed little or no explanation. It was first used at the University of Paris. There are four chapters to the work. Chapter one defines a sphere, explains its divisions, including the four elements, and also comments on the heavens and their movements. The revolutions of the heavens are from east to west and their shape is spherical. The earth is a sphere, acting as the middle (or center) of the firmament; it is a mere point in relation to the total firmament and is immobile. Its measurements are also included. Chapter two treats the various circles and their names the celestial circle, the equinoctial, the movement of the ‘primum mobile’ with its two parts, the north and south poles, the zodiac, the ecliptic, the colures, the meridian and the horizon, and the Arctic and Antarctic circles. It closes with an explanation of the five zones. Chapter three explains the cosmic, chronic, and heliacal risings and settings of

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         Sexta Asie tabula continet Arabiam felice[m] [.].

      - [Anno MCCCCLXXXII augusti vero kalendas XVII impressum Ulme per ingeniosum virum Leonardum Hol. (Ulm, Lienhart Holle, 16 luglio 1482)]. Foglio del "Tolomeo di Ulm" (prima edizione, del 16 luglio) recante la carta geografica della penisola arabica impressa in xilografia a doppia pagina su una facciata e il relativo testo descrittivo, stampato su una pagina dell'altra facciata. Il foglio misura mm. 375x580; l'immagine, misura, al filetto esterno della xilografia, mm. 285x403 (nel lato più corto in larghezza) e mm. 285x501 (nel lato più lungo in larghezza). Coloritura a mano originale. Il margine bianco superiore del mezzo foglio di sinistra (guardando la carta geografica) era mancante ed è stato reintegrato ricostruendo il filetto esterno di contorno e 67 millimetri della cornice che reca i gradi dei meridiani. Anche la parte più esterna del margine sinistro del foglio - sempre guardando la carta - è stato reintegrata, con ricostruzione manoscritta delle due lettere iniziali in due dei richiami di testo impressi a lato della carta geografica. Nel 1482 Lienhart Holle pubblicò ad Hulm una edizione della Geografia di Tolomeo basata sulle carte di Nicolaus Germanus (c. 1420 - c. 1490) che aveva prodotto a Firenze una serie di magnifici atlanti manoscritti su pergamena negli anni 60 e 70 del Quattrocento. Il modello sul quale furono esemplate le carte di Hulm fu l'atlante manoscritto che Nicolaus aveva offerto al papa Paolo II e che pare fosse stato inviato appositamente in Germania (senza essere mai più rispedito a Roma: è conservato allo Schloss Wolfegg). L'edizione di Ulm è il primo atlante pubblicato a Nord delle Alpi e il primo con le carte impresse in xilografia (i due incunaboli precedenti della Geografia di Tolomeo - Bologna 1477 e Roma 1478 - recavano carte incise in rame). L'incisore delle xilografie fu probabilmente Johann Schnitzer di Armsheim (il planisfero reca la sua firma). Una delle mappe più ricercate della penisola arabica, la terza in assoluto, in ordine di tempo, che sia stata impressa in un atlante a stampa. Per quanto riguarda il Tolomeo stampato ad Ulm cfr. Gof P1084; HC *13539; BMC II 538; IC.9309; Schreiber 5031; Sabin 66472; Nordenskiold Collection II, 199. [Attributes: First Edition; Hard Cover]

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         NOTRE DAME DE PARIS 1482

      NELSON, 1482. Francese 0,44 Due volumi, con rilegature editoriali in tutta tela color avorio con impressi fregi e titoli verdi ai piatti anteriori e titoli d'oro con fregi verdi ai dorsi, con usura ai bordi, ingialliti e con tracce di umidità, pagine interessate da umidità ai bordi e con lieve fioritura USATO

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         Vita maravigliosa cauata da quella che si hà nelle Opere Latine d'esso B. Padre, e dal molto illustre. Scipion Buri. Diretta à tutte le persone Religiose, & in particolare alle Sacre Vergini. Verona, Bartolomeo Merlo 1625. 8°. 90 (recte 92) num. Bll., Titel mit Holzschn.-Vign., Prgt. d. Zt. mit hs. Rtit.

      - ICCU 024365 (nur ein Exemplar in Italien: Bibl. Bertoliana Vicenza); nicht im WorldCat.- Erste italienische Übersetzung der Autobiographie des "cantore della mistica tedesca" und "ultimo poeta dell'alto medioevo tedesco" Heinrich Seuse (1295-1366) durch Scippione Buri. Der Dominikaner mußte sich auf einem Generalkapitel in den Niederlanden 1330 gegen den Vorwurf ketzerischer Lehren verteidigen, widmete sich ganz der Seelsorge, besonders in der Schweiz u. am Oberrhein. "Seuse ist der Dichter unter den dt. Mystikern, dessen Schriften einen großen Bilder- u. Gefühlsreichtum bezeugen. Die Kenntnis seiner Werke verdanken wir hauptsächlich seiner geistlichen Tochter Elsbeth Stagel in Töss, die an der Redaktion seiner ,Vita' beteiligt war, Gespräche mit ihm niederschrieb u. seine Briefe sammelte. Seine ,Vita' ist die erste geistliche Selbstbiographie in dt. Sprache." (BBKL IX, 1482).- Tls. leicht fleckig, vorderer Innendeckel mit großer Bezugsfehlstelle, Ebd. fleckig u. etw. knittrig, vord. Ecke mit Bezugsfehlstelle.

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         Sphaerae mundi compendium soeliciter inchoat. [Sphaera mundi; Disputationes contra Cremonensia deliramenta; Theoricae novae planetarum].

      Venice: Erhard Ratdolt, 1482. First printing, rare, of this assembly of basic texts of pre-Copernican astronomy, an exceptional copy in an untouched contemporary binding (this book, and its several fifteenth-century reprints, are almost always found in 19th or 20th century bindings). This is also the first book to use illustrations printed in colour from more than one block, a cornerstone in the history of colour printing (Graff)the book is often catalogued incorrectly as having contemporary hand-colouring. Sacrobosco's De sphaera mundi (editio princeps 1472) was the first printed astronomical book, a synthesis of Ptolemy and his Arabic commentators, presenting an elegant, accessible Ptolemaic cosmology, and accepted as the most authoritative astronomical textbook of its time. From the time of its composition (ca. 1220), it "enjoyed great renown, and from the middle of the thirteenth century it was taught in all the schools of Europe. In the sixteenth century it gained the attention of mathematicians, including Clavius. As late as the seventeenth century it was used as a basic astronomy text" (DSB). Sacrobosco's text is accompanied in this edition by two treatises by Regiomontanus (1436-1476) and his teacher Georg Peurbach (1423-1461), who were the outstanding astronomers of their time and their early deaths were "a serious loss to the progress of astronomy, [which] left the technical development of mathematical astronomy deprived of substantial improvement until the generation of Tycho Brahe" (ibid.). The tract by Regiomontanus is a critique of the Theoricae planetarum communis, the anonymous thirteenth-century university textbook usually attributed to Gerard of Cremona. It is followed by Peurbach's Theoricae novae planetarum, composed around 1454 and first published at Nuremberg in ca. 1473), which became the standard astronomical text for over a century and a half. Following Arab astronomers, Peurbach "added trepidation to Ptolemy's six motions of the celestial spheres and substituted solid crystal spheres for the hypothetical circles employed in Ptolemy's Almagest" (Stillwell). The full-page woodcut on the verso of a1 (the recto is blank so it forms a frontispiece) features a hand holding an armillary sphere. ABPC/RBH list only four complete copies in the past 50 years: Bonham's 2015 (modern binding); Dominic Winter 2004 (old vellum, a1 supplied from a shorter copy); Sotheby's 1989 (modern binding); Sotheby's 1985 (modern binding). Johannes de Sacrobosco, or John of Holywood, or Halifax, was probably an Englishman, although even his nationality is uncertain. He lived at the end of the twelfth century and the beginning of the thirteenth century, and apparently spent most of his life in Paris, where he was a student and teacher of mathematics and astronomy at the university. "Sacrobosco's fame rests firmly on his 'De Sphaera', a work based on Ptolemy and his Arabic commentators, published about 1220 and antedating the 'Sphaera' of Grosseteste. It was quite generally adopted as the fundamental astronomy text, for often it was so clear that it needed little or no explanation. It was first used at the University of Paris. There are four chapters to the work. Chapter one defines a sphere, explains its divisions, including the four elements, and also comments on the heavens and their movements. The revolutions of the heavens are from east to west and their shape is spherical. The earth is a sphere, acting as the middle (or center) of the firmament; it is a mere point in relation to the total firmament and is immobile. Its measurements are also included. Chapter two treats the various circles and their namesthe celestial circle, the equinoctial, the movement of the 'primum mobile' with its two parts, the north and south poles, the zodiac, the ecliptic, the colures, the meridian and the horizon, and the Arctic and Antarctic circles. It closes with an explanation of the five zones. Chapter three explains the cosmic, chronic, and heliacal risings and settings of the signs and also their right and oblique ascensions. Explanations are furnished for the variations in the length of days in different global zones namely the equator, and in zones extending from the equator to the two poles. A discussion of the seven climes ends the chapter. The movement of the sun and other planets and the causes of lunar and solar eclipses form the brief fourth chapter" (DSB). Georg Peurbach received his Bachelor of Arts at Vienna in 1448 and, after spending several years traveling in Italy and elsewhere, his Master's degree in 1453. Apparently self-taught in the subject, Peurbach lectured on astronomy at Vienna, where one of his students was Johannes Regiomontanus (1436-1476). A notebook that Regiomontanus kept at Vienna during 1454-1462 begins with Peurbach's Theoricae novae planetarum, completed 30 August 1454. "Theoricae novae Planetarum is an elementary but thorough textbook of planetary theory written by Peurbach to replace the old, and exceedingly careless, so-called Theorica planetarum Gerardi, a standard text written probably in the second half of the thirteenth century. The original version of the Theoricae novae, completed in 1454, contained sections on the sun, moon, superior planets, Venus, Mercury, characteristic phenomena and eclipses, theory of latitude, and the motion of the eighth sphere according to the Alphonsine Tables. Peurbach later enlarged the work by adding a section on Th bit ibn Qurra's theory of trepidation. Regiomontanus brought out the first printed edition (Nuremberg, ca, 1474) ... A number of printings from the 1480s and 1490s in small quartos (e.g. 1482, 1485, 1488, 1490, 1491), also containing Sacrobosco's De sphaera and Regiomontanus' Disputationes contra Cremonensia in planetarum theoricas deliramenta, seem to represent the standard school edition and common text, which is generally sound. The colored figures in these editions are copied from Regiomontanus' printing ... The diagrams are of considerable importance. Since parts of Peurbach's text would be unintelligible without them. The Theoricae novae contains very careful and detailed descriptions of solid sphere representations of Ptolemaic planetary models that Peurbach based either upon Ibn al-Haytham's description of identical models in his On the Configuration of the world (translated into Latin in the late thirteenth century) or upon some later intermediary work. Peurbach's book was of great importance because his models remained the canonical physical description of the structure of the heavens until Tycho disproved the existence of solid spheres. Even Copernicus was to a large extent still under their influence, and the original motivation for his planetary theory was apparently to correct a number of physical impossibilities in Peurbach's models relating to non-uniform rotation of solid spheres" (DSB). Johannes Müller, called Regiomontanus, was arguably the most important astronomer of the fifteenth century. Born in the Franconian town of Königsberg in 1436, he was educated at the Universities of Leipzig and Vienna, and appointed to the Arts Faculty of the latter institution in 1457. Georg Peurbach was Regiomontanus' astronomical mentor, and the two men collaborated by, among other things, making observations together. On his deathbed, Peurbach charged Regiomontanus with completing an abridgement of Ptolemy's Syntaxis he had begun at the behest of Cardinal Johannes Bessarion. This work was finished by 1463, and printed as the Epitome of the Almagest in 1496; it was later used by such astronomers as Copernicus and Galileo. After Peurbach's death, Regiomontanus went with Bessarion to Rome, and accompanied him on various travels around Italy. Association with the Cardinal, a native of Trebizond in Turkey and a great patron of humanist scholarship, gave Regiomontanus access to other texts, and the opportunity for him to become fluent in Greek. Between 1467 and 1471, Regiomontanus worked in Hungary. With some help from the Hungarian court astronomer Martin Bylica (1433-1493), he compiled various astronomical and trigonometrical tables. In 1471, he relocated to Nuremberg, with the express intention of pursuing the observational reform of astronomy. An important part of his program was the publication of accurate editions of new and ancient texts, for which he obtained his own printing press. Around 1474 he published an ambitious publication catalogue entitled Hec opera fient in oppido Nuremberga Germanie ductu Ioannis de Monteregio. The first two entries were Theorice novae planetarum Georgii Purbachii astronomi celebratissimi: cum figurationibus opportunis and Marci Manlii astronomica. Added to both titles was the following important note: "Hec duo explicita sunt", declaring that these two books had already been printed. In the end Regiomontanus only succeeded in publishing a total of nine items before his own early death in 1476, one of which was the Disputationes contra Cremonensia deliramenta (although this work does not appear in his catalogue). "Regiomontanus's Disputationes originated in a discussion between himself and the astronomer/astrologer Martin Bylica of Olkusch/Ilkusch immediately before the papal election of 1464. At the time, each man was attached to the household of a cardinal - Bessarion and Pietro Barbo, respectively. The conclave passed over Bessarion and eventually selected Ilkusch's patron, who became Pope Paul II. After a brief introductory monologue by Regiomontanus, the Disputationes quickly turns to his critique of the Theorica planetarum attributed to Gerard of Cremona and to the advantages of Peurbach's Theoricae novae planetarum over it. The dialogue began as a manuscript, of course, and at first was probably restricted to the Bessarion circle ... It is significant for both the content of the dialogue and the diagrams in it that Regiomontanus's critique of the Theoricae planetarum communis has some roots in the Viennese astronomical tradition and its Parisian antecedents. Some criticisms and proofs in the Disputationes are silently drawn from the De reprobation ecentricorum et epiciclorum (Paris, 1364) of Henry of Langenstein, who evidently brought it with him when he moved to Vienna to revive the university twenty years later. Regiomontanus knew the work thoroughly, for he not only copied the text during the 1450s in Vienna, but also drew the 18 diagrams that accompany the proofs in which Langenstein criticized the old Theoricae planetarum communis. "Several years after setting up his press in Nuremberg, Regiomontanus still had no intention of printing his dialogue, for it does not appear among the more than 40 editions he announced as forthcoming in his printed broadside advertisement. By late 1474 or 1475, however, he had changed his mind. He printed the work with slight modifications and a new preface sometime before he set off for Italy in the summer of 1475 - and probably in haste because of this trip. The main body of the Disputationes promoted Peurbach's Theoricae novae planetarum, which Regiomontanus had printed c. 1472, whereas his new preface responded to negative reactions elicited by the critical barbs he had included in his recent trade list. An additional incentive to publish his critique may have come from the knowledge that the Theorica planetarum communis was also in print (1472). In the earliest version of the Disputationes, the protagonists are "Johannes" [= Regiomontanus] and "Martinus" [= Bylica of Ilkusch/Olkusch]. In the printed work, each is identified only by his alma mater: "Viennensis" and "Cracoviensis." "Of the seven diagrams in the Disputationes, the first and last concern, respectively, the Sun and the nodes of the epicycles of Venus and Mercury in the zodiac. Regiomontanus uses [the remaining five diagrams] to illustrate his proofs against several of the old Theorica's statements about the geometry of the Mercury model, one of Ptolemy's most complex ... Regiomontanus criticizes the Theoricae planetarum communis for several erroneous statements about, and careless extension of, the basic geometry of the model" (Shank, pp. 28-9). The printer of the present work, Erhard Ratdolt (1442-1528), could have been working for Regiomontanus in his printing shop when the Disputationes and Theoricae novae were first being printed. It is known that he left his native city of Augsburg about 1474, and there is no record of his activities until 1476, when he began printing with two associates in Venice. Because of Ratdolt's preference for printing scientific works, including those by Regiomontanus, some have conjectured that the two years for which there is no record were actually spent with Regiomontanus in Nuremberg. The first book to be issued from Ratdolt's press was the Kalendarium of Regiomontanus, which they published in 1476, three years after the first edition had been printed by Regiomontanus himself. This new edition was a great improvement over the earlier one, and had the distinction of being the first printed book to have an ornamental title page, and for containing the first known experiment in colour printing (his diagrams of the eclipses of the sun and moon have the luminous sections of the disk printed in yellow, the obscured parts in black). The present work is the first three-colour printing in Europe, excepting a woodcut of Bishop Johann II, Count of Werdenburg, which Ratdolt printed six months earlier. Ratdolt soon became well known for the beautiful books he producedso well known that he was eventually induced to return to his native city of Augsburg to establish a press there, which he did in 1486. From 1476 until the time he left Venice he had been the sole proprietor of his printing business and had printed some thirty books, including the present work. His career as a printer at Augsburg lasted for more than forty years, during which he produced a notable group of books, differing considerably in style from the work of other German printers because of his superior craftsmanship and because of the superiority of the woodcut borders, initials, and illustrations that he brought back from Italy. BMC V 286; Goff J405; BSB-Ink I-502; Hain-Copinger 14110; ISTC ij00405000; GW M14652; HC 14110*; Klebs 874.9; Sander 6661. DSB XI, pp. 348-52; XII, pp. 60-63; & XV, pp. 473-78. Graff, 'Alteste Deutsche Farbenholzschnitte', Zeitschrift fur Bucherfreunde, Neu Folge I (1910), pp. 335-40. Shank, 'The geometrical diagrams in Regiomontanus's edition of his own Disputationes (c. 1475),' Journal for the History of Astronomy 43 (2012), 27-56. See Thorndike, The sphere of Sacrobosco and its commentators, 1949. Small 4to (198 x 150 mm), ff. [60], contemporary limp vellum, spine fragile with partial loss, final gathering slighlty browned, numerous annotations. In all a fine and unsophistaced copy in its original binding.

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         Clarissim Viri Hyginii POETICON ASTRONOMICON. Opvs vtilisimvm Foeliciter incipit...

      8. o. Pag. [56 Bll., 34zeilig]. OPp. der Zeit. Vgl. Hain 9065 BM V 318 GW 0373. Mit dem ganzseitigen Sphärenholzschnitt sowie allen 45 Textholzschnitten (nach Ratdolt). - Stärkere Gbrsp., anfangs feuchtigkeitsrandig u. fleckig, tlw. stockfleckig, einige Fraßspuren, R. angeplatzt, einige hds. Anm. im den Marginalien vers. Hände. Zustand im Preis berücksichtigt. - "The De Astronomica was not formally published until 1482, by Erhard Ratdolt in Venice, Italy. This edition carried the full title Clarissimi Viri Hyginii Poeticon Astronomicon Opus Vtilissimum. Ratdolt commissioned a series of woodcuts depicting the constellations to accompany Hyginus's text. As with many other star atlases that would follow it, the positions of various stars are indicated overlaid on the image of each constellation. However, the relative positions of the stars in the woodcuts bear little resemblance to the descriptions given by Hyginus in the text or the actual positions of the stars in the sky. As a result of the inaccuracy of the depicted star positions and the fact that the constellations are not shown with any context, the De Astronomica is not particularly useful as a guide to the night sky. However, the illustrations commissioned by Ratdolt served as a template for future sky atlas renderings of the constellation figures. The text, by contrast, is an important source, and occasionally the only source, for some of the more obscure Greek myths." (Zitat)

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         Discordantiae sanctorum doctorum Hieronymi et Augustini: Sibylla (Sibylle) Samia und Cumana (GW 3387, HCR 2453).

      Rom Georg Herolt und Sixtus Riessinger um Type 2 3 und 4 1482 - Einspaltiges O-Inkunabelblatt mit zwei 3/4seitigen Holzschnitten von Sixtus Riessinger. Blatt mit einigen altkolorierten Schmuckelementen im Holzschnitt, Wasserzeichen: Tuchschere. Blattgröße: 12,4 x 18,7 cm. - - - Sixtus Riessinger erlernte den Buchdruck wohl bei Johannes Mentelin in Straßburg. Als er 1465 nach Rom kam, war er Geistlicher und Drucker. Zwischen 1470 und 1478 druckte er in Neapel und kehrte 1479 nach Rom zurück. Die 13 Holzschnitte zu Discordantiae sanctorum stammen wohl von Riessingers eigener Hand. Der Holzschnitt mit der Sibylle Persica trägt sein Drucker-Signe Pfeil im Bogen. Er starb nach 1502. --- Eine Sibylle weissagt die Zukunft. Die archaischen Ursprünge der Sibylle liegen vermutlich im Orient. Die Wurzeln ihrer Verehrung sind möglicherweise in Kleinasien im Umfeld von Mysterienkulten einer "Erdmutter", wie Kybele, zu suchen. Die ursprüngliche Verbindung der Sibylle mit Erdgottheiten zeigt sich oft an ihrem Aufenthaltsort, an einem Felsblock, Felsspalt oder in einer Felsenhöhle, der Sibyllengrotte. Es gibt zwei archäologisch erfasste Sibyllen-Grotten, wobei diese relativ jüngeren Datums sind, denn sie stammen aus römischer Zeit. Heute noch kann man in Cumae, in der Nähe von Neapel, eine Sibyllen-Grotte besichtigen. In der Orakelstätte zu Delphi in Griechenland findet sich außerhalb des Tempels und Sitz des Orakels, ein Fels, der "Fels der Sibylle". In Rom entwickelte sich der offizielle Kult der Sibyllinischen Bücher als weitere Form der Deutung. Sie sind eine Sammlung von überlieferten Sprüchen in griechischen Hexametern, im Tempel von der Oberaufsicht betrauter Männern verwaltet. Nur einige ursprüngliche Verse aus den sibyllinischen Büchern sind erhalten geblieben; die Bücher verbrannten im Jahr 405. Einige Kirchenväter, wie Augustinus, analysierten die Suche nach "Worten Gottes" bei der Sibylle, wodurch die Sibylle auch Einzug in die schriftliche Tradition des Christentums fand. Durch diese Entwicklung blieben einige Teile, der im hellenischen Umfeld entstandenen Sibyllen-Texte weiterhin im Umlauf, zuerst vor allem im alexandrinischen und dann im byzantinischen Raum; jedoch wurden die Texte christlich überformt und mit prophetischen Vorstellungen verbunden. Daraus entwickelte sich das Konzept der Sibyllen des Mittelalters, in dem die Sibyllen, wie die Propheten, als Künder der Heilsbringung galten und deren Texte in den Klosterbibliotheken der Zeit zu finden waren. Im Spätmittelalter wurden den zehn von Lucius Caecilius Firmianus (Laktanz, Lactantius um 250 bis 320 n. Chr.) genannten Sibyllen manchmal zwei weitere hinzugefügt, um ihre Zahl der sogenannten zwölf kleinen Propheten des Alten Testaments anzugleichen. Dies sind die Sibylla Agrippina und die Europäische Sibylle. --- Written by the 4th-century Proba Falconia, it is one of the earliest works in the medieval tradition Christianizing Vergil. The Sibyls were given great credence during the Midle Ages. Commonly they are 12 to match the 12 minor prophets of the Old Testament. The Sibyls were featured in art, most notably on Michelangelo’s ceiling in the Sistine Chapel.

      [Bookseller: Versandantiquariat Christine Laist]
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         A leaf from William Caxton's Polychronicon printed in 1482

      Westminster : William Caxton, 1482. Single leaf, 274 x 206 mm, rubricated in red with marginalia, further marginalia in black ink, light soiling, else fine. Framed. A specimen leaf from England's first printer, William Caxton. Born in Kent some time between 1415 and 1424, Caxton moved to London in the mid-1430s and was apprenticed to a cloth dealer, Robert Large. Around 1445 he moved to Bruges and became a successful businessman and diplomat for King Edward IV, later moving to Cologne where he translated Lefevre's Recuyell of the Histories of Troy, and, after learning the art of printing, published it as a book in 1473-74, the first book printed in the English language. Caxton returned to England and set up a printing press at Westminster in 1476, where he printed Chaucer's The Canterbury Tales, the first book printed in England. Caxton went on to print over 100 early books, mostly in English, including Higden's Polychronicon, a universal history of the world as known at the time. A fine example of fifteenth century printing in English by England's first printer, presented framed to hang in a library.

      [Bookseller: Douglas Stewart Fine Books]
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         ELEMENTA GEOMETRIAE

      Venice: Erhard Ratdolt, 25 May 1482. EDITIO PRINCEPS. This is a ground-breaking work both for its pioneering content and its innovative printing. PMM notes that "Elements" is "the oldest mathematics textbook in the world still in common use today"; Sir Thomas Hearne, editor of the modern edition, attests, "No work presumably, except the Bible, has had such a reign, and future generations will come back to it again and again as they tire of the variegated substitutes for it, and the confusion arising from their bewildering multiplicity." PMM recognizes it as "an outstandingly fine piece of printing," observing that "the care and intelligence with which diagrams are combined with the text made it a model for subsequent mathematical books." One of the great innovations of this work is Ratdolt's method for printing diagrams, a problem that had stymied the production of scientific works. According to Norman, "Ratdolt used printer's 'rules,' i.e. thin strips of metal, type high, which he bent and cut and adjusted and set into a substance that would both hold them (and pieces of type) in place." Euclid's third-century B.C. writings are contained in the first 13 books here, which provide much of the basis for mathematics as we know it. The first four books are concerned with plane geometry, and set forth 10 basic assumptions (axioms) that underpin everything else, among them "Given two points there is one straight line that joins them," "Things equal to the same thing are equal," and "The whole is greater than a part." The proof for the Pythagorean theorem is set out here. Euclid then proceeds to cover ratios and proportions, number theory (defining such familiar concepts as even, odd, and prime numbers), algorithms, geometric progression, and three-dimensional figures. Supplementing that text is the apocryphal book XIV by Hypsicles of Alexandria (second century B.C.) and book XV, attributed to the school of Isidore of Miletos, architect of Hagia Sophia, both continuing the discussion of three-dimensional objects. According to Britannica, "Almost from the time of its writing, the 'Elements' exerted a continuous and major influence on human affairs. It was the primary source of geometric reasoning, theorems, and methods at least until the advent of non-Euclidean geometry in the 19th century. . . . Euclid may not have been a first-class mathematician, but he set a standard for deductive reasoning and geometric instruction that persisted, practically unchanged, for more than 2,000 years.". 292 x 210 mm. (11 5/8 x 8 1/8"). [136] (of 138) leaves (lacking the final blank and the dedication leaf, the latter replaced by a very convincing facsimile done by Flora Ginn on matching paper from the period).Translated by Adelardus Bathoniensis. Edited by Johannes Campanus. EDITIO PRINCEPS. Attractive early 20th century honey brown morocco, gilt, by Riviere & Son (stamp-signed on front turn-in) covers with frame of five gilt rules, strapwork heptagram at center, raised bands, compartments framed by four gilt rules, gilt titling, turn-ins with five gilt rules, all edges gilt. Ornate woodcut three-quarter border and 11-line white-vine initial on opening page of text, and more than 400 geometric diagrams in the margins of the text. Front pastedown with glue stains from now-loose engraved armorial bookplate; occasional neat ink marginalia in an early hand. Goff E-113; BMC V, 285; PMM 25; Norman 729. A touch of rubbing to extremities, leaves lightly pressed (but not washed), occasional small marginal stains or smudges, otherwise A FINE COPY, clean and crisp internally, in a binding with few signs of wear.This is a ground-breaking work both for its pioneering content and its innovative printing. PMM notes that "Elements" is "the oldest mathematics textbook in the world still in common use today"; Sir Thomas Hearne, editor of the modern edition, attests, "No work presumably, except the Bible, has had such a reign, and future generations will come back to it again and again as they tire of the variegated substitutes for it, and the confusion arising from their bewildering multiplicity." PMM recognizes it as "an outstandingly fine piece of printing," observing that "the care and intelligence with which diagrams are combined with the text made it a model for subsequent mathematical books." One of the great innovations of this work is Ratdolt's method for printing diagrams, a problem that had stymied the production of scientific works. According to Norman, "Ratdolt used printer's 'rules,' i.e. thin strips of metal, type high, which he bent and cut and adjusted and set into a substance that would both hold them (and pieces of type) in place." Euclid's third-century B.C. writings are contained in the first 13 books here, which provide much of the basis for mathematics as we know it. The first four books are concerned with plane geometry, and set forth 10 basic assumptions (axioms) that underpin everything else, among them "Given two points there is one straight line that joins them," "Things equal to the same thing are equal," and "The whole is greater than a part." The proof for the Pythagorean theorem is set out here. Euclid then proceeds to cover ratios and proportions, number theory (defining such familiar concepts as even, odd, and prime numbers), algorithms, geometric progression, and three-dimensional figures. Supplementing that text is the apocryphal book XIV by Hypsicles of Alexandria (second century B.C.) and book XV, attributed to the school of Isidore of Miletos, architect of Hagia Sophia, both continuing the discussion of three-dimensional objects. According to Britannica, "Almost from the time of its writing, the 'Elements' exerted a continuous and major influence on human affairs. It was the primary source of geometric reasoning, theorems, and methods at least until the advent of non-Euclidean geometry in the 19th century. . . . Euclid may not have been a first-class mathematician, but he set a standard for deductive reasoning and geometric instruction that persisted, practically unchanged, for more than 2,000 years."

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         Libellus ysagogicus.

      Venice, Erhard Ratdolt, 16. I. 1482. - 4to. 32 ff. Title page printed in red and black. With 2 woodcut diagrams and 8 tables in the text; white-vine initials in two sizes, lombardic initials (many coloured in red). Rubricated. Recent full vellum. Second edition of the author's principal work, originally published at Mantua in 1473. Al-Qabisi (also known as "Alchabitus" in the Latin tradition) flourished in Aleppo, Syria, in the middle of the 10th century. Although his education was primarily in geometry and astronomy, his principal surviving treatise, "Madkhal" (here in the Latin translation of Joanis Hispalensis prepared in 1144), is an introductory exposition of some of the fundamental principles of genethlialogy (the astrological science of casting nativities, or divination as to the destinies of newborns). The "Madkhal" in its Latin version was published many times in the fifteenth and sixteenth centuries. - Bookplate of joint collectors Rudolf Hugo Driessen (1873-1957) and Caroline E. F. Kleyn (1883-1933). Outer margin of first leaf slightly frayed; marginal annotation in red ink on its verso (slightly trimmed by binder's knife). Very rare; last sold at an international auction in 1996. HC 616*. Goff A-362. GW 843. Essling 294. Sander 216. Sajó-Soltész 120. Walsh 1804. Oates 1747. Proctor 4382. BMC V 285, XII, 19. BSB-Ink A-232. Cf. Scientific Treasures, p. 31 (ed. 1512). [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         Das EPU-Labor: Einführung in die invasive elektrophysiologische Untersuchung [Gebundene Ausgabe] von Christine Schneider (Autor) Das EPU-Labor Kardiologie Angiologie Assistenzpersonal EKG Elektrophysiologie Herzrhythmusstörungen Kardiologisch Katheterablation Rhythmologie Kardiologe EPU HumanMedizin Klinische Fächer AllgeminMedizin Kliniken Facharzt Klinik und Praxis Innere Medizin Diese Einführung in die invasive elektrophysiologische Untersuchung (EPU) ist sowohl als Nachschlagewerk als auch zur Unterstützung bei der Einarbeitung des Assistenzpersonals und junger Ärzte im EPU-Labor konzipiert. Sie führt den Leser in verständlicher Sprache und mit vielen farbigen Abbildungen - insbesondere anhand zahlreicher EKG-Beispiele - schrittweise an die einzelnen Komponenten einer elektrophysiologischen Untersuchung heran. Das Buch vermittelt Praxistipps zu allen gängigen Methoden einschließlich der kurativen Katheterablation. Kapitel zu den technischen und personellen Voraussetzungen im EPU-Labor sowie wichtigen Gesetzen, Verordnungen und Leitlinien runden die Information ab. Dieser Leitfaden bietet damit dem Assistenzpersonal die Möglichkeit, sich das notwendige Wissen anzueignen, um die diagnostischen und therapeutischen Eingriffe im EPU-Labor optimal vorbereiten und durchführen zu können.Christine Schneider, Stuttgart (BW), ist Diplom-Biologin mit Schwerpunkt Botanik und Lektorin für Naturführer und Fachbücher. Inhalt: Allgemeines über die EPU.- Das Herz.- Oberflächen-EKG.- Intrakardiales EKG.- Interpretation des EKG und Vermessen der Leitungszeiten im Sinusrhythmus.- Stimulationsprotokoll.- Rhythmusstörungen.- Mapping.- Katheterablation.- Komplikationen und Notfallausrüstung.- Technische Voraussetzungen für eine EPU.- Vorbereitungen zur EPU.- Aufgabenfelder und Arbeitsvoraussetzungen für das EPU-Assistenzpersonal Sprache deutsch Maße 193 x 270 mm Einbandart gebunden Klinik und Praxis Innere Medizin Kardiologie Angiologie Assistenzpersonal EKG Elektrophysiologie EPU HumanMedizin Klinische Fächer AllgeminMedizin Kliniken Facharzt Herzrhythmusstörungen Kardiologisch Katheterablation Rhythmologie Kardiologe ISBN-10 3-7985-1482-8 / 3798514828 ISBN-13 978-3-7985-1482-9 / 9783798514829 Das EPU-Labor: Einführung in die invasive elektrophysiologische Untersuchung [Gebundene Ausgabe] von Christine Schneider (Autor) Das EPU-Labor

      Steinkopff. Diese Einführung in die invasive elektrophysiologische Untersuchung (EPU) ist sowohl als Nachschlagewerk als auch zur Unterstützung bei der Einarbeitung des Assistenzpersonals und junger Ärzte im EPU-Labor konzipiert. Sie führt den Leser in verständlicher Sprache und mit vielen farbigen Abbildungen - insbesondere anhand zahlreicher EKG-Beispiele - schrittweise an die einzelnen Komponenten einer elektrophysiologischen Untersuchung heran. Das Buch vermittelt Praxistipps zu allen gängigen Methoden einschließlich der kurativen Katheterablation. Kapitel zu den technischen und personellen Voraussetzungen im EPU-Labor sowie wichtigen Gesetzen, Verordnungen und Leitlinien runden die Information ab. Dieser Leitfaden bietet damit dem Assistenzpersonal die Möglichkeit, sich das notwendige Wissen anzueignen, um die diagnostischen und therapeutischen Eingriffe im EPU-Labor optimal vorbereiten und durchführen zu können.Christine Schneider, Stuttgart (BW), ist Diplom-Biologin mit Schwerpunkt Botanik und Lektorin für Naturführer und Fachbücher. Inhalt: Allgemeines über die EPU.- Das Herz.- Oberflächen-EKG.- Intrakardiales EKG.- Interpretation des EKG und Vermessen der Leitungszeiten im Sinusrhythmus.- Stimulationsprotokoll.- Rhythmusstörungen.- Mapping.- Katheterablation.- Komplikationen und Notfallausrüstung.- Technische Voraussetzungen für eine EPU.- Vorbereitungen zur EPU.- Aufgabenfelder und Arbeitsvoraussetzungen für das EPU-Assistenzpersonal Sprache deutsch Maße 193 x 270 mm Einbandart gebunden Klinik und Praxis Innere Medizin Kardiologie Angiologie Assistenzpersonal EKG Elektrophysiologie EPU HumanMedizin Klinische Fächer AllgeminMedizin Kliniken Facharzt Herzrhythmusstörungen Kardiologie Katheterablation Rhythmologie Kardiologe ISBN-10 3-7985-1482-8 / 3798514828 ISBN-13 978-3-7985-1482-9 / 9783798514829 Das EPU-Labor: Einführung in die invasive elektrophysiologische Untersuchung [Gebundene Ausgabe] von Christine Schneider (Autor) Das EPU-Labor

      [Bookseller: LLU-Bookservice]
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         An Original Leaf from the Polycronicon Printed by William Caxton at Westminster in the Year 1482

      San Francisco: Grabhorn Press for the Book Club of California,, 1482, 1938. First edition. Hardcover. Near Fine/very good. San Francisco: Grabhorn Press for the Book Club of California,, 1482, 1938. First edition. Near Fine/very good. Lovely copy still in the un-printed plain dust wrapper. Contents fine, fresh and free of markings, no foxing at all. The leaf from 1482 is complete, no tears and has some edge staining (as mounted in 1938), hinged mounts still holding nicely. Quarter cream cloth boards, brown paper sides decorated with Caxton's device on front and back, printed paper title label on spine. All near fine (minor depressed spot on front board, no bumps, very fresh looking, including the paper label spine which looks about as new). The dust wrapper (plain white, no lettering) is age toned and has a couple of small closed tears, still doing a fine job protecting the book. Printed in Deepdene Text typeface on mould-made paper. No bookplates or signs of previous ownership, very clean. Nice copy, desirable both as a Grabhorn and as a Leaf Book. Hamel and Silver, Disbound & Disbersed 76.

      [Bookseller: Blue Sky Rare Books]
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         BIBLIA LATINA (CUM POSTILLIS NICOLAI DE LYRA ET EXPOSITIONIBUS GUILLELMI BRITONIS IN OMNES PROLOGOS S. HIERONYMI ET ADDITIONIBUS PAULI BURGENSIS REPLICISQUE MATTHIAE DOERING)

      Venice: Franciscus Renner, de Heilbronn, 1482-83. n. This item is a major achievement for a printer whose work was distinguished by the production of a number of important Bibles. Renner was responsible for at least two biblical firsts. In 1475, his folio edition was the first Latin Bible printed in Venice, and his 1480 Bible was the first quarto Venetian printing (it seems from Goff to be only the second Bible to be printed anywhere in that format). The present set is of considerable interest as a very well preserved incunabular Bible, and it is textually important as being only the second Bible with the "Postillae Literales" of Nicholas of Lyra, originally printed by Sweynheym and Pannartz in 1471. But apart from its condition and text, our Bible is of extraordinary interest because of the striking rubrication and especially the elaborate pious drawings seen here. The two illustrations of bleeding crosses constitute rare and striking manifestations of the tradition of what is known as the affective piety movement of the late Middle Ages, when there was an increased identification among mystics with the pain felt by Christ on the cross, and an attempt to experience the stigmata through meditation. Many of these mystics were women, often nuns. The devotion to Christ's passion evinced by our illustrations, combined with the naïve style, which argues that the artist had not received as much formal training in painting as men received in monasteries, make it not unlikely that they are the work of a cloistered woman. The decoration here is closely related to a group of German colored pen drawings of the same period that, because they are either known, or presumed, to have been made by nuns, are commonly called "Nonnenarbeit," or "nuns' work." Our drawings and this corpus of German nuns' art reflect contemporaneous feminine spirituality with its emphasis on the wounds and suffering of Christ, as well as a devotion to the heart of Jesus. In the German-speaking world, the latter was particularly associated with 13th century mystics in the convent of Helfta in Saxony; the work of one of its number, Mechthild of Hackeborn, circulated in vernacular versions in German convents by the 15th century. The relationship between the probable decoration of our Bible by a nun and this larger cultural context is reflected especially by the more elaborate of the two drawings, an emblematic, rather than a narrative, representation of the Crucifixion. Although the instruments of the passion (the nails, crown of thorns, sponge soaked in vinegar, soldier's spear) are present, only the heart and blood, which so expressionistically drips from the cross itself, relate to Christ's humanity. The flowers beneath the cross, irrigated, as it were, by the Savior's blood, are also found in other drawings attributed to nuns. Finally, these images made by nuns are thought to have had a devotional function, and that appears to be the case with our Bible as well, for the marginal decoration of the creation account at the beginning of Genesis ends with a banderole inscribed with a prayer that is touching in its simple faith: "May he who created heaven and earth grant me eternal life. Jesus and Mary, my hope." Most known examples of "Nonnenarbeit" are found on single sheets of vellum or paper or, more rarely, as an integral part of a manuscript written by a nun. The presence of such images in an incunable, especially a scholar's Bible like the present item, is apparently very unusual. (For another 15th century drawing very similar in style and iconography, see the exhibition catalogue "Die Graphiksammlung des Humanisten Hartmann Schedel," Munich, 1990, cat. #21, pl. 8; for these drawings by nuns in general, see Jeffrey F. Hamburger, "Nuns as Artists," Berkeley, 1997.). 337 x 229 mm. (13 1/4 x 9"). 1,211 leaves, complete, collating as the British Museum copy, but without the "Additiones" of Paulus de Sancta Maria included in some copies (see GW 4287). Double column, headlines, text surrounded by commentary, gothic type. Three volumes. Excellent contemporary blind-stamped calf over thick wooden boards, recently and expertly rebacked and with edges skillfully renewed, 25 ORIGINAL ELABORATELY DECORATED BRASS BOSSES and six original catch plates (five other less decorative bosses, all on the same cover, probably made in the 17th century), covers panelled with triple rules, the first volume with a broad outer frame and center saltire enclosing lozenge stamps with floral or spread eagle tools, the central triangular compartments with an all-over pattern of small, linked quatrefoils; the second volume similarly decorated, but with fewer stamps, the third volume with an all-over field of widely spaced horizontal, vertical, and diagonal rules; raised bands, lacking clasps and thongs, original endpapers. First few quires of each volume with hand painted red initials of three or four lines (several with trailing scrollwork), 15 LARGE MULTI-COLORED INITIALS (predominately in green, red, and yellow), SEVERAL WITH TRAILING DECORATION, TWO WITH DECORATIVE PANELS THE LENGTH OF THE PAGE (the first initial with a charming man's face, a few additional later, probably 17th century, initials done in brown ink), TWO ELABORATE PEN DRAWINGS IN THE SAME GREEN, RED, AND YELLOW, EACH ILLUSTRATING A ROUGH CROSS, PIERCED AND BLEEDING AT STIGMATA POINTS, the larger (on two-thirds of a page) with a heart pierced by a lance and a rod and with a skull and cathedral (no doubt representing Jerusalem) at the base, the second (on a quarter page) with a motto, the rubrication and illustration all in an untutored but sincere hand. First page of each volume with ownership inscription of Lateran Canons Regular associated with a church dedicated to St. Benignus, dated 1652, and with other manuscript additions made almost certainly at the same time, including (1) the name B. P. Bormon neatly written over a portion of an inscription (that is part of one of the elaborate pen drawings), and (2) a pair of drawings in brown ink of the ark of the covenant and its cover executed in the blank spaces left in Exodus for illustrations to accompany Nicholas' discussion of the Temple furnishings. Notes in at least two early hands on blanks and pastedowns, an index to the location of biblical books in a neat 15th century hand at the back of each volume, occasional marginal annotations. Goff B-612; BMC V, 197. One board with loss of about six square inches of leather, covers a little soiled and crackled, other abrasions and minor flaws, but THE BINDINGS ENTIRELY SOUND AND EXTREMELY APPEALING, particularly with their brass hardware. Some leaves in third volume slightly yellowed, first and last leaves and one other opening a little soiled, a few quires slightly affected by light dampstaining in margins, terminal leaf in two volumes with expert repair of lower corner, two leaves with a closed tear as long as three inches (into text but without loss), other defects, but all these imperfections quite minor: A FINE COPY, ESPECIALLY PLEASING INTERNALLY, THE TEXT REMARKABLY CLEAN, FRESH, AND BRIGHT. This item is a major achievement for a printer whose work was distinguished by the production of a number of important Bibles. Renner was responsible for at least two biblical firsts. In 1475, his folio edition was the first Latin Bible printed in Venice, and his 1480 Bible was the first quarto Venetian printing (it seems from Goff to be only the second Bible to be printed anywhere in that format). The present set is of considerable interest as a very well preserved incunabular Bible, and it is textually important as being only the second Bible with the "Postillae Literales" of Nicholas of Lyra, originally printed by Sweynheym and Pannartz in 1471. But apart from its condition and text, our Bible is of extraordinary interest because of the striking rubrication and especially the elaborate pious drawings seen here. The two illustrations of bleeding crosses constitute rare and striking manifestations of the tradition of what is known as the affective piety movement of the late Middle Ages, when there was an increased identification among mystics with the pain felt by Christ on the cross, and an attempt to experience the stigmata through meditation. Many of these mystics were women, often nuns. The devotion to Christ's passion evinced by our illustrations, combined with the naïve style, which argues that the artist had not received as much formal training in painting as men received in monasteries, make it not unlikely that they are the work of a cloistered woman. The decoration here is closely related to a group of German colored pen drawings of the same period that, because they are either known, or presumed, to have been made by nuns, are commonly called "Nonnenarbeit," or "nuns' work." Our drawings and this corpus of German nuns' art reflect contemporaneous feminine spirituality with its emphasis on the wounds and suffering of Christ, as well as a devotion to the heart of Jesus. In the German-speaking world, the latter was particularly associated with 13th century mystics in the convent of Helfta in Saxony; the work of one of its number, Mechthild of Hackeborn, circulated in vernacular versions in German convents by the 15th century. The relationship between the probable decoration of our Bible by a nun and this larger cultural context is reflected especially by the more elaborate of the two drawings, an emblematic, rather than a narrative, representation of the Crucifixion. Although the instruments of the passion (the nails, crown of thorns, sponge soaked in vinegar, soldier's spear) are present, only the heart and blood, which so expressionistically drips from the cross itself, relate to Christ's humanity. The flowers beneath the cross, irrigated, as it were, by the Savior's blood, are also found in other drawings attributed to nuns. Finally, these images made by nuns are thought to have had a devotional function, and that appears to be the case with our Bible as well, for the marginal decoration of the creation account at the beginning of Genesis ends with a banderole inscribed with a prayer that is touching in its simple faith: "May he who created heaven and earth grant me eternal life. Jesus and Mary, my hope." Most known examples of "Nonnenarbeit" are found on single sheets of vellum or paper or, more rarely, as an integral part of a manuscript written by a nun. The presence of such images in an incunable, especially a scholar's Bible like the present item, is apparently very unusual. (For another 15th century drawing very similar in style and iconography, see the exhibition catalogue "Die Graphiksammlung des Humanisten Hartmann Schedel," Munich, 1990, cat. #21, pl. 8; for these drawings by nuns in general, see Jeffrey F. Hamburger, "Nuns as Artists," Berkeley, 1997.).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 15.   Check availability:     IOBABooks     Link/Print  


         Promontorium malae spei: impiis periculose navigantibus propositium. Sive, signum & nota reprobationis: procrastinatio poenitentiae, scripta cautelae hominum, emendatione[m] vita[e] cunctantium, spe aliquando resipiscendi.Graz, [heirs of Georg] Widmanstetter for Sebastian Haupt, 1643. Large 4to (25.5 x 19 cm). With an engraved allegorical frontispiece and a richly designed armorial and emblematic dedication plate, both by David Tscherning. Contemporary, richly gold-tooled black morocco, each board in a panel design of rolls and stamps with a large built-up centrepiece in a double frame of multiple decorative rolls (the diagonals connecting the inner and outer frames possibly intended to give the effect of a three-dimensional niche), and the spine treated as a single field with built-up decorations in a frame of multiple rolls, gold fillets on turn-ins, the whole with hundreds of impressions of dozens of stamps and rolls, gilt edges, traces of 2 pair of ties.

      De Backer & Sommervogel VIII, col. 1482 (Zehentner 3); VD17, 12:108154N (8 copies); WorldCat (5 copies). First and only edition of a Latin edifying text on moral and religious issues by the Jesuit Paul Zehentner (1589-1648), preacher at the Graz court of the widow of the Holy Roman Emperor Ferdinand II and teacher of grammar, the humanities and the Holy Scripture at Millestadt in Austria. It was intended to highlight the dangers of licentious behaviour and provides our first known reference to the tragedy of Leontius, a play Zehentner saw at the Jesuit University in Ingolstadt in 1615, and which was to serve as a prototype for the Don Juan legend (Keefe, Mozart studies , p. 140). Zehentner dedicated the book to Leonardus Helfridus, Count at Maggau, 26 October 1643, and received a privilege from the Holy Roman Emperor Ferdinand III. Of special interest is the beautiful contemporary binding, probably made in Austria, but inspired by French bindings of the period.With an early owner's inscription and a 19th-century library stamp and bookplate. With occasional minor browning and in the last few pages some marginal worm holes and stains, none approaching the text. With a small chip at the head of the spine and a small hole restored in the front board, and lacking the ties, but the binding is still in good condition, with the tooling crisp and clear. A beautifully bound copy of a rare Jesuit work warning of the consequences of licentiousness.

      [Bookseller: Antiquariaat FORUM BV]
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         TEXT FROM CHAPTER 12

      [Westminster: William Caxton, 1482]. The "Polycronicon" of Ranulf Higden (or Higdon, ca. 1299-1363), a monk of Chester, is a world history, based principally on the Bible. This popular work, originally in Latin, was first rendered into English by our translator, John of Trevisa, and his version is of considerable interest to scholars for its English usage. Our leaf, from the fourth book, chapter 12, relates the time of of the Emperor Domitian, who was suceeded by the "mylde prynce" Nerva. This chapter also notes that John the Baptist was able to return to Ephesus from Patmos under the latter's rule.. 275 x 210 mm. (11 x 8 1/4"). 40 lines and headline, gothic type. With rubrics in red, red paragraph flourishes, and two two-line initials in red. A few marginal notes in brown ink, in a contemporary hand. Duff 172; Goff H-267; STC 13438. Lightly toned and with some light marginal stains, quarter-inch tear to fore-edge, but still a very pleasing specimen with nice, wide margins. The "Polycronicon" of Ranulf Higden (or Higdon, ca. 1299-1363), a monk of Chester, is a world history, based principally on the Bible. This popular work, originally in Latin, was first rendered into English by our translator, John of Trevisa, and his version is of considerable interest to scholars for its English usage. Our leaf, from the fourth book, chapter 12, relates the time of of the Emperor Domitian, who was suceeded by the "mylde prynce" Nerva. This chapter also notes that John the Baptist was able to return to Ephesus from Patmos under the latter's rule.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         Prospectiva co(mmun)is.

      [Milan]: Petrus de Corneno, 1482. Hardcover. Near Fine. Small folio [27.4 x 19.1 cm]. (30) ff, with (77) woodcut diagrams in margins. Bound in later vellum, black leather spine labels, marbled endpapers, all edges gilt, in a modern slipcase covered with block-printed paper. Handsoiling to covers, signature of Henry de Cessole (from Nice, a bibliophile and friend of Jacques-Charles Brunet) on front flyleaf. Occasional minor marginal spotting, otherwise remarkably preserved. $125,000 Rare first edition of the first publication on perspective, and a crucial text that was studied by Leonardo da Vinci. Johannes de Peckham's (England c. 1230-1292) Perspectiva communis is illustrated with 77 woodcut diagrams depicting the human eye, the nature of vision, and the eye's role in the representation of space. Published in Milan by Petrus de Corneno in the first years of the 1480s, this first edition is of particular importance in the history of art for its close connection to Leonardo da Vinci (1452-1519) during the artist's period of activity in Milan. "Leonardo owned Pecham's book, which is listed in the book list in the Madrid Codex II" (Azzolini, p. 171): "I here record the books I keep locked up in a chest" (fol. 2v). Indeed, his friend, Fazio Cardano, "edited John Peckham's Perspectiva communis ... which Leonardo had the opportunity on many occasions to study and discuss with him. Leonardo, who arrived in Milan in 1482, just as the present volume was being published, frequently refers to Cardano in his notebooks. It was through these readings and conversations with Cardan that Leonardo expanded his thinking about perspective, mathematics, and the function of the eye. The eye was of particular importance to him, not only as an object of study in itself, but because it was the means by which all visible phenomena are brought into the mind" (Sherwin Nuland, Leonardo da Vinci: A Life). Leonardo even translated into Italian Peckham's famous paean to vision from the opening of Perspectiva communis (in the Codex Atlanticus, f. 542r). The artist's writings on the 'visual pyramid' as a symbolic form useful for constructing the illusion of three dimensions on a two-dimensional surface seems also to have owed much to Peckham's diagrams (see Kemp, p. 47). Leonardo's sojourn in Milan lasted from 1482 to 1499 and during this period he is famously known to have collaborated with Luca Pacioli on the De divina proportione (written in 1496-98 but not published until 1509), one of the richest sources for studying the interplay of mathematics, vision, art, and perspective in the High Renaissance. In his notebooks in 1495-99, Leonardo several times reminded himself to ask Cardano for this or that book "on proportions," suggesting that their discussions easily ranged from theories of optics and vision to more concrete matters of artistic practice and representation [see Azzolini, pp. 171-2]. Pacioli's De divina proportione contains 60 figures drawn by Leonardo representing geometrical solids and includes his famous proportion of the body inspired by Vitruvius. A casual comparison between the layouts of Peckham's text and the two texts Pacioli was producing in the 1490's (i.e., the Summa Arithmetica and De Divina Proportione) with their substantial use of marginal diagrams, suggests a stylistic connection between them difficult to ignore, especially given Leonardo's considerable relationship with these works. .............

      [Bookseller: Martayan Lan, Inc.]
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         Decima Europe Tabula

      Ulm 1482 - Xilografia, 1482. Magnifica prova, impressa su carta vergata coeva, in splendida coloritura coeva, minimi restauri alla piega centrale perfettamente eseguiti, per il resto in ottimo stato di conservazione. Rarissima carta a proiezione trapezoidale, tratta dall’edizione del 1486 della Geographia di Ulm. Donnus Nicolaus Germanus era un cartografo di origine tedesca attivo a Firenze nella seconda metà del XV secolo. Sconosciute sono le sue origini, ma il nome Donnus, diminutivo di Dominus, lascia intendere che si tratti di un monaco benedettino probabilmente originario di Reichenbach. Pioniere della cartografia, si dedicò allo studio della traduzione latina della Geographia di Tolomeo curata da Jacopo Angelo. Nel 1466 il Germanus (Nicolaus Laurentii), che lavorava a Firenze come cosmografo presentò in visione a Borso d’Este, duca di Ferrara, il manoscritto di una Geographia, come visto a base dell’edizione di Bologna del 1477. Nel 1468 Nicolaus produsse la sua terza edizione della Geographia, questa volta spostando la Groenlandia a nord della Scandinavia e l’Islanda a Nord Ovest, alla stessa latitudine. A partire dalle mappe di questa terza versione di Nicolaus, furono realizzate le edizioni a stampa della Geographia di Ulm del 1482 e 1486. Si tratta della prime edizioni stampate al di fuori dell’Italia. Il lavoro contiene 32 carte, delle quali cinque non di derivazione tolemaica, tutte realizzate, a differenza delle versioni italiane, in silografia. Le incisioni su legno sono di Johannes Schnitzer di Arnheim. L’opera è considerata come la più elaborata ed importante edizione della Geographia, proprio perché per la prima volta erano aggiunte alcune carte geografiche di fattura moderna, che servivano da paragone con quelle tolemaiche. La successiva ristampa del 1486, fu edita dal Reger, che acquisì le matrici nel 1484 da Holle. Le matrici in legno furono ristampate senza variazioni sostanziali; unico cambiamento è il testo al verso delle carte (dove è tralasciata la decorazione) ed il titolo di ognuna, aggiunto nella parte superiore della mappa. L’edizione del Reger per la prima volta introduce il Registrum alphabeticum e il De locis et mirabili bus mundi, che diverranno molto popolari tanto da essere inseriti nelle successive edizioni del Tolomeo di Roma del 1490 e 1507/8. Magnifico esemplare di questa importante carta. Dimensioni 550/520x365. Woodcut, 1482. Magnificent proof, printed on contemporary laid paper, in beautiful contemporary colouring, minimal restoration at center fold perfectly executed, otherwise in excellent condition. Very rare map on trapezoid projections, from the edition of 1486 of the Geographia of Ulm. Donnus Nicolaus Germanus was a cartographer of German origin active in Florence in the second half of the fifteenth century. Its origins are unknown, but the name Donnus, short for Dominus, suggests that it is probably a Benedictine native of Reichenbach. A pioneer in cartography, he devoted himself to the study of the Latin translation of Ptolemy's Geographia curated by Jacopo Angelo. In 1466 Germanus (Nicolaus Laurentii), who worked in Florence as cosmographer, appeared in a vision to Duke of Ferrara Borso d'Este, the manuscript of a Geographia. In 1468 Nicolaus produced his third edition of the Geographia, this time moving to the north of Scandinavia, Greenland and Iceland in the North West, at the same latitude. Starting from the maps of this third version of Nicolaus, were made the printed editions of the Geographia of Ulm in 1482 and 1486. This is the first editions printed outside Italy. The work contains 32 maps, of which five are not derived from the Ptolemaic, all made, unlike the Italian versions, in woodcut. The woodcuts are by Johannes Schnitzer of Arnheim. The work is considered as the most elaborate and important edition of the Geographia, because for the first time were added some maps of recent construction, which served as a comparison with the Ptolemaic. The next reprint of 1486, was publis [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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         Sexta Asie Tabula.

      Ulm, Lienhart Holle, 1482. - Double-page woodcut map, fine original hand-colour, with near-contemporary manuscript vignette illustrations of an Ababeel bird, Makkah and Kaaba in pen and wash heightened in gold. 414 by 572 mm. The first-ever printed woodcut map of the Arabian peninsula, here in original hand colour and adorned with unique, hand-drawn illumination added by a contemporary artist. The map was published in the first atlas printed outside Italy; it was the first atlas to be illustrated with woodcut maps. Remarkably, the hand-drawn vignette illustrations include a depiction of the relief of Makkah, besieged by Abrahah, through the Ababeel birds, who pelted the attacking army of war elephants with burning stones from the pits of the fires of hell. The image shows a gigantic blue-and-gilt Ababeel bird above the city, engulfed in flames - not only one of the earliest depictions of Makkah but also an amazing example of cross-cultural exchange of narratives during the early Renaissance, proving a Western illustrator's familiarity with a Middle Eastern tradition famously referenced in the Qur'an (sura 105, known as al-Fil, The Elephant): "Wa 'arsala 'Aalayhim tayran 'Ababeel, Tarmeehim bihijaratin min sijjeel" ("And He sent against them birds in flocks, Striking them with stones of burning clay"). No other example with these illustrations of Makkah is known, nor are they contained in any printed edition of Ptolemy. Campbell, Earliest Printed Maps, p. 179-210. Schreiber 5032. Tibbetts 8 (p. 37). The Heritage Library, Islamic Treasures, s. v. "Maps". Cf. Heritage Library, Qatar, p. 8f (illustration). Carter, Robert A. Sea of Pearls, p. 21. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         Pomponij Mellae Cosmographi geographia : Prisciani quoq[ue] ex Dionysio Thessalonicensi de situ orbis interpretatio. Pomponij Mellae de orbis situ Liber primus. Prooemium

      Venice: Erhard Ratdolt, 1482. Small quarto, 28 leaves, later vellum over boards, 205 x 147 mm. One of the first books to be printed in two colors (red and black). Final leaf stained and repaired, but a very good copy. Marginal annotations in an early hand. With the rare (frequently lacking) woodcut map of the world "Novellae etati ad geographie...." This is the first printed map to show information from the 15th century European voyages of discovery, and the first woodcut map printed in Italy. Goff M-452. "Pomponius Mela, (born ad 43) author of the only ancient treatise on geography in classical Latin, De situ orbis ("A Description of the World"), also known as De chorographia ("Concerning Chorography"). Written about ad 43 or 44, it remained influential until the beginning of the age of exploration, 13 centuries later. Though probably intended for the general reader, Mela's geography was cited by Pliny the Elder in his encyclopaedia of natural science as an important authority. Though the work was largely a borrowing from Greek sources and contained information that was frequently obsolete, it was unique among the ancient geographies in that it divided the Earth, which Mela placed at the centre of the universe, into five zones: a northern frigid zone, a northern temperate zone, a torrid zone, a southern temperate zone, and a southern frigid zone. The two temperate zones were habitable, but only one, the northern, was known. The southern was unattainable by people of the north because of the necessity of passing through the unbearable heat of the intervening torrid zone in order to reach it. According to Mela, the ocean surrounding the Earth cut into it in four seas, the most important being the Mediterranean. He avoided technical details, such as distances, but usually included short phrases describing the places mentioned. Less was said of familiar regions than of distant countries, where even fabulous material was included." (Ency. Britt.).

      [Bookseller: Thomas A Goldwasser Rare Books]
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         Das EPU-Labor: Einführung in die invasive elektrophysiologische Untersuchung [Gebundene Ausgabe] von Christine Schneider (Autor) Das EPU-Labor Kardiologie Angiologie Assistenzpersonal EKG Elektrophysi

      Diese Einführung in die invasive elektrophysiologische Untersuchung (EPU) ist sowohl als Nachschlagewerk als auch zur Unterstützung bei der Einarbeitung des Assistenzpersonals und junger Ärzte im EPU-Labor konzipiert. Sie führt den Leser in verständlicher Sprache und mit vielen farbigen Abbildungen - insbesondere anhand zahlreicher EKG-Beispiele - schrittweise an die einzelnen Komponenten einer elektrophysiologischen Untersuchung heran. Das Buch vermittelt Praxistipps zu allen gängigen Methoden einschließlich der kurativen Katheterablation. Kapitel zu den technischen und personellen Voraussetzungen im EPU-Labor sowie wichtigen Gesetzen, Verordnungen und Leitlinien runden die Information ab. Dieser Leitfaden bietet damit dem Assistenzpersonal die Möglichkeit, sich das notwendige Wissen anzueignen, um die diagnostischen und therapeutischen Eingriffe im EPU-Labor optimal vorbereiten und durchführen zu können.Christine Schneider, Stuttgart (BW), ist Diplom-Biologin mit Schwerpunkt Botanik und Lektorin für Naturführer und Fachbücher. Inhalt: Allgemeines über die EPU.- Das Herz.- Oberflächen-EKG.- Intrakardiales EKG.- Interpretation des EKG und Vermessen der Leitungszeiten im Sinusrhythmus.- Stimulationsprotokoll.- Rhythmusstörungen.- Mapping.- Katheterablation.- Komplikationen und Notfallausrüstung.- Technische Voraussetzungen für eine EPU.- Vorbereitungen zur EPU.- Aufgabenfelder und Arbeitsvoraussetzungen für das EPU-Assistenzpersonal Sprache deutsch Maße 193 x 270 mm Einbandart gebunden Klinik und Praxis Innere Medizin Kardiologie Angiologie Assistenzpersonal EKG Elektrophysiologie EPU HumanMedizin Klinische Fächer AllgeminMedizin Kliniken Facharzt Herzrhythmusstörungen Kardiologie Katheterablation Rhythmologie Kardiologe ISBN-10 3-7985-1482-8 / 3798514828 ISBN-13 978-3-7985-1482-9 / 9783798514829 Das EPU-Labor: Einführung in die invasive elektrophysiologische Untersuchung [Gebundene Ausgabe] von Christine Schneider (Autor) Das EPU-Labor

      [Bookseller: Buchservice Lars Lutzer]
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         An Original Leaf from the Polycronicon Printed by William Caxton at Westminster in the Year 1482

      Grabhorn Press for the Book Club of California, 1482, 1938, San Francisco - San Francisco: Grabhorn Press for the Book Club of California, 1482, 1938. First edition. Near Fine/very good. Lovely copy still in the un-printed plain dust wrapper. Contents fine, fresh and free of markings, no foxing at all. The leaf from 1482 is complete, no tears and has some edge staining (as mounted in 1938), hinged mounts still holding nicely. Quarter cream cloth boards, brown paper sides decorated with Caxton's device on front and back, printed paper title label on spine. All near fine (minor depressed spot on front board, no bumps, very fresh looking, including the paper label spine which looks about as new). The dust wrapper (plain white, no lettering) is age toned and has a couple of small closed tears, still doing a fine job protecting the book. Printed in Deepdene Text typeface on mould-made paper. No bookplates or signs of previous ownership, very clean. Nice copy, desirable both as a Grabhorn and as a Leaf Book. Hamel and Silver, Disbound & Disbersed 76. [Attributes: First Edition; Hard Cover]

      [Bookseller: Blue Sky Rare Books]
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         Büchlein der Ordnung [Pest Regiment]

      Full-page woodcut on verso of first leaf & woodcut initials throughout. Rubricated throughout in red. Gothic type, 27 lines. [33] leaves, lacking the final blank. Small 4to (195 x 131 mm.), cont. pigskin-backed wooden boards (some relatively minor staining & soiling), one orig. metal catch (one catch & two clasps missing). [Ulm: J. Zainer, about 1482]. Third edition of one of the two earliest printed books on public health and the plague, along with Valescus de Taranta's Tractatus de Epidemia et Peste (ca. 1474). This is a very nice copy in a contemporary binding. The first edition of Steinhöwel's text was printed in Ulm, by Zainer in 1473; the second printing appeared in Esslingen in 1474. Like the earlier editions, ours is of great rarity; ISTC locates only four complete copies (three in Bavaria and the Huntington copy). Steinhöwel (1412-79), was a Swabian humanist, physician, and translator, much inspired by the Italian Renaissance. He was at the center of a circle of German humanists and his translations of Aesop, Petrarch, and Boccaccio and his medical writings were important contributions to early Renaissance humanism in Germany. Steinhöwel took his Bachelor and Master's degrees at Vienna and moved to Padua in 1438 where he devoted himself to medicine. He took his medical degree there in 1443. In 1449 he became a doctor in Esslingen and a year later in Ulm, where he served as town physician. While there he became fascinated by the new art of printing, which he learned from Zainer. Sometime after 1460 he became the personal physician of Eberhard I, Duke of Württemberg. Steinhöwel wrote this text about 1444 in response to a recent epidemic; it remains the model for all early accounts of plagues and the recommended cures. He begins by describing the spread of the plague, how it spreads through the air, and its symptoms. The author then makes a series of recommendations regarding which foods to eat or avoid: meats, milk, fish, fruits, wines, etc. This is followed by recommendations that ill people should remain in bed and be washed with vinegar, a series of sanitary precautions in the house and throughout the towns, quarantines, medicines, etc. The fine full-page woodcut depicts Saints Sebastian and Roch, the two patron saints of the plague. A very nice example of an important book; the fifth known copy. ❧ Garrison-Morton 5114-"This is a famous book." Goff S-763. ISTC is00763000. Klebs 933.3.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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         Lavacrum conscientiae omnium sacerdotum.

      4. 86 num. Bll., Blindgepr. Kalbldr.-Bd. a. 3 Bünden im Stil d. Zt. Leipziger Inkunabelausgabe dieses zu seiner Zeit bekannten Werkes, das anhand zahlreicher moralisch-belehrender Geschichten die Nichtigkeit der weltlichen Freuden beweisen soll, und das heute dem deutschen Kartäusermönch Jakob von Gruytode zugeschrieben wird, der Prior im Kloster von Lüttich war und dort 1482 starb (vgl. ADB X, 71). - Papierbedingt leicht gebräunt, nur erstes und letztes Bl. geringfügig stärker. Vereinzelt gering fleckig bzw. min. wasserrandig. Vereinzelt kl. Tintenkleckse. - Insgesamt gutes Exemplar in einem dekorativen Einband. - Hain/C. 9961 BSB-Ink. L 73 Goff L-101 nicht in der British Library u. bei Oates.

      [Bookseller: Antiquariat Wolfgang Friebes]
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         Oldenburgisches Urkundenbuch Band I-VIII. Herausgegeben von Dietrich Kohl [I] und Gustav Rüthning [II-VIII].

      Quartbände (29 x 21,5 cm). Private dunkelbraune Leinenbände mit auf den Deckeln montierten Titeln der Orig.-Umschläge. Vollständige Serie des grundlegenden Urkundenwerks für Stadt und Land Oldenburg in einem qualitativ hochwertigen und professionellen, für die intensive wissenschaftliche Nutzung besonders geeigneten Einband und in sehr gutem Zustand (die broschierten Exemplare wegen der nicht unempfindlichen Einbände ja zumeist mit deutlichen Alters- und Gebrauchsspuren). - Gering gebräunt, Fehlstelle im Titelblatt von Band VI sauber hinterlegt (kein Textverlust). Ganz tadellos frisch und außen wie innen sauber und wohlerhalten. - Aufteilung des Werks: [I] Urkundenbuch der Stadt Oldenburg, [II] Urkundenbuch der Grafschaft Oldenburg bis 1482, [III] Urkundenbuch der Grafschaft Oldenburg von 1482 bis 1550, [IV] Urkundenbuch der Grafschaft Oldenburg - Klöster und Kollegiatkirchen, [V] Urkundenbuch von Süd-Oldenburg, [VI] Urkundenbuch von Jever und Kniphausen, [VII] Urkundenbuch der Kirchen und Ortschaften der Grafschaft Oldenburg, [VIII] Urkundenbuch der Kirchen und Ortschaften von Südoldenburg.

      [Bookseller: Antiquariat-Kretzer]
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         Libellus ysagogicus. Venice, Erhard Ratdolt, 16. I. 1482.

      1482. 4to. 32 ff. Title page printed in red and black. With 2 woodcut diagrams and 8 tables in the text; white-vine initials in two sizes, lombardic initials (many coloured in red). Rubricated. Recent full vellum. Second edition of the author's principal work, originally published at Mantua in 1473. Al-Qabisi (also known as "Alchabitus" in the Latin tradition) flourished in Aleppo, Syria, in the middle of the 10th century. Although his education was primarily in geometry and astronomy, his principal surviving treatise, "Madkhal" (here in the Latin translation of Joanis Hispalensis prepared in 1144), is an introductory exposition of some of the fundamental principles of genethlialogy (the astrological science of casting nativities, or divination as to the destinies of newborns). The "Madkhal" in its Latin version was published many times in the fifteenth and sixteenth centuries. - Bookplate of joint collectors Rudolf Hugo Driessen (1873-1957) and Caroline E. F. Kleyn (1883-1933). Outer margin of first leaf slightly frayed; marginal annotation in red ink on its verso (slightly trimmed by binder's knife). Very rare; last sold at an international auction in 1996. HC 616*. Goff A-362. GW 843. Essling 294. Sander 216. Sajó-Soltész 120. Walsh 1804. Oates 1747. Proctor 4382. BMC V 285, XII, 19. BSB-Ink A-232. Cf. Scientific Treasures, p. 31 (ed. 1512).

      [Bookseller: Antiquariat Inlibris]
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         Septima Asie Tabula.

      1482-86. Woodcut, mm 320x540, original colour. One of the earliest printed maps ever produced. Claudius Ptolemaeus (known as Ptolemy) was a roman cartographer of the II century a.C. He records the Roman World and his maps are best displayed in the famous maps engraved for Leonhardt Holle's edition of "Geographia" published, in two editions in Ulm, southern Germany. The atlas was the first published outside Italy, the first in woodblock. This map shows the area east of the Caspian and north of India, identified by their ancient names - Scithia, Bactriana, Sogdiana and Sacha Regio. Restoration at centerfold, otherwise a very good example of the earliest period of cartographic history.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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         An Original Leaf from the Polycronicon Printed by William Caxton at Westminster in the Year 1482

      San Francisco: Grabhorn Press for the Book Club of California,, 1482, 1938. First edition. Hardcover. Near Fine/very good. San Francisco: Grabhorn Press for the Book Club of California,, 1482, 1938. First edition. Near Fine/very good. Lovely copy still in the un-printed plain dust wrapper. Contents fine, fresh and free of markings, no foxing at all. The leaf from 1482 is complete, no tears and has some edge staining (as mounted in 1938), hinged mounts still holding nicely. Quarter cream cloth boards, brown paper sides decorated with Caxton's device on front and back, printed paper title label on spine. All near fine (minor depressed spot on front board, no bumps, very fresh looking, including the paper label spine which looks about as new). The dust wrapper (plain white, no lettering) is age toned and has a couple of small closed tears, still doing a fine job protecting the book. Printed in Deepdene Text typeface on mould-made paper. No bookplates or signs of previous ownership, very clean. Nice copy, desirable both as a Grabhorn and as a Leaf Book. Hamel and Silver, Disbound & Disbersed 76.

      [Bookseller: Blue Sky Rare Books]
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         Elementorum libri XV ex Theonis colloquiis. In primum librum commentariorum Procli libri IV [in Greek.] Adiecta praefatiuncula in qua de disciplinis mathematicis nonnihil.

      EDITIO PRINCEPS (the first edition in the original Greek) of the 'Elements of Geometry' of Euclid (fl. c. 300 B.C.). This work is the oldest mathematical textbook in the world still in common use today, and the one that has had the most long-lasting influence on the entire history of science; it ?has exercised an influence upon the human mind greater than that of any other work except the Bible? (DSB). No other work of science can claim such importance combined with such antiquity.Much of the contents of the Elements was already known by Euclid's time, but its synthesis and an absolutely rigorous and inflexibly logical arrangement that defies improvement ensured its success and made the Elements a model for future generations.The first edition of 1482 is an outstanding piece of printing and an example for subsequent mathematical books, but it is textually flawed, being a translation into Latin from the Arabic and representing Euclid ?very inadequately? (Ency. Brit., 1911). The present edition of the original Greek is therefore a very valuable text, edited by Simon Grynaeus from two manuscripts and dedicated to Cuthbert Tunstall, Bishop of Durham. It is also the first edition to print Euclid's diagrams inset in the text.Following the Elements are 115 pages containing the commentary on the first book of the Elements by Proclus (412-485 A.D.). This commentary ?is of considerable value for the study of ancient Greek geometry because of the historical information which it contains, derived from the lost works of Eudemosand Geminos? (Sarton, I, p. 403), and it is the authority for most of our information about Euclid.See Stillwell, The awakening interest in science, II, 163. Thomas-Stanford 7. Norman catalogue 730.Folio, pp. (xii), 268, 115, (1). Greek type, printer's woodcut device on title and last page, first page of text within woodcut border, woodcut initials and headpieces, diagrams in the text throughout. Seventeenth century vellum over boards, red morocco label on spine, modern bookplate. Inscription erased from front pastedown, also from lower margin of title and very neatly repaired, small ink blot in lower margin of 3 leaves, a few leaves very slightly browned, but a fine and fresh copy.

      [Bookseller: Nigel Phillips]
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        Tabula Moderna Terre Sancte.

      Leonardus Holle Ulm 1482 - Double-page woodcut map, 33.6 x 55.2 cm, original hand colour with blue finishing on the sea area and rivers; traces of centre fold, with some abrasion, paper beginning to split at border of brown areas through ink properties. The first "modern" map of Palestine printed in an atlas – a fine example with rich original colour. The great Greek geographer, mathematician, astronomer, astrologer and poet Ptolemy compiled in his Geographia in AD 150, according to what was known about the world's geography at the time of the Roman Empire. Although none of his original maps survived with the text, printed editions of his work were published with various maps from 1477 until 1730. In 1482, Lienhart Holle in Ulm printed a revised edition of Ptolemy's Geographia after the cartographer 'Donnus' (Dominus) Nicolaus Germanus had reworked the Ptolemaic corpus. The atlas would be the first book printed by Lienhart Holle, the first atlas printed outside Italy, the first with woodcut maps instead of copper-engraved, and the first with a signed datable map (see below). Holle presumably over-extended himself with its production and, two years later, his type and remaining printed sheets passed to Johann Reger, who reissued the work in 1486. The atlas included five additional "modern" maps of non-Ptolemaic design: Italy, Spain, France, Scandinavia and the Holy Land. In its greatest departure from the Ptolemaic model, the latter map shows the land of Palestine divided among the 12 Jewish tribes. It also differs from Lucas Brandi's 1475 map of the Holy Land through its use of the geographical knowledge of the time, as opposed to Brandi's religious approach. The first edition of Ptolemy's atlas to include maps, published in 1477, did not include maps of countries in particular, but only groupings of several countries. This map is based on a manuscript produced around 1320 in Venice by Pietro Vesconte and inserted into the Liber secretorum fidelium crucis by Marino Sanuto. It provided the basic image of the Holy Land until the 18th century. For this first printed version, Vesconte's map was updated by Germanus to include more cities and textual information. It is oriented to the southeast as indicated by the lines of latitude in the top margin. The 1482 maps were cut by Johannes of Armsheim, who signed the world map, and incorporated as his sign a backwards N (?) into the woodcut text on each map – as seen here in the name of the Mediterranean sea. Another important feature of this Ulm edition is the introduction of a publisher's colouring upon the maps: a rich blue colour in the sea that was made using lapis lazuli, as is the case here. This was replaced with a soft brown colour in 1486. According to its description in Eran Laor's collection, "The map is orientated to the east [as was often the case with maps of the Holy Land], and shows the whole of Palestine on both sides of the Jordan divided into the 12 Tribes. The shore line runs from Sidon to Gaza. South of a fantasy Carmel Mountain there is a big island, called the Castle of the Pilgrims (Atlit of today), and a similar but smaller island north of Jaffa called Assur. The Carmel Mountain is misshapen. The Jordan River in its wide meanderings is shown as a thin line". Laor: 603. [Attributes: First Edition; Signed Copy]

      [Bookseller: Shapero Rare Books]
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