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Displayed below are some selected recent viaLibri matches for books published in 1490

        Octava Europe Tabula

      [Rome: Petrus de Turre, 4 November 1490]. Copper-engraved map, in very good condition apart from a repair to the lower right corner, light old dampstain to centre fold, centre fold expertly re-backed. 16 1/8 x 22 inches. A highly important and elegant map from the second edition of the 'Rome Ptolemy' This map is one of the earliest and most important printed maps of Crimea and the Caucasus ever produced, being one of the trapezoidal tabulae, or regional maps of the Classical world, contained in the 1490 Rome edition of Ptolemy's Cosmographia. The map embraces the Crimean peninsula, the eastern Black Sea and all of the Caucasus Mountains over into the Caspian Sea. It includes parts of modern Ukraine, Russia, Turkey, Georgia, Armenia, Azerbaijan and Iran. The depiction of the region around the Crimea is geographically well assured, highly detailed with rivers and typonomic details, while the regions on the other side of the Caucasus Mountains are shown to have been something more of a mystery to the Classical mind. Finely engraved ribbons of mountain ranges flow through the centre of the image, marking the boundary between the European and Asian continents. As part of the 1490 'Rome Ptolemy', this map was printed from the same plates used for the first edition of 1478. R.A. Skelton stated that the 1490 edition was issued 'in response to the geographical curiosity aroused by the Portuguese entry into the Indian Ocean', with Bartholemew Diaz's rounding of the Cape of Good Hope in 1488 (Skelton, p.X), and, appropriately, Christopher Columbus heavily annotated a copy of the 1478 edition. The 'Rome Ptolemy' maps occupy an extremely important place in the history of early printing, and the story of their genesis is most fascinating. It begins with Conrad Swenheym, who is widely thought to have been present at the birth of printing while an apprentice of Johann Guttenberg. After Mainz was sacked in 1462, Swenheym fled south to Italy and arrived at the Benedictine monastery of Subiaco, likely at the suggestion of the great humanist and cartographer Cardinal Nicholas of Cusa. In 1464-5, Swenheyn, in partnership with another German émigré, Arnold Pannartz, introduced the first printing press to Italy. Over the next few years, Pope Paul II was to become so enthusiastic about the new medium that he liquidated scriptoria and commissioned several newly established printers to publish vast quantities of religious and humanist texts. In 1467, Swenheym and Pannartz moved to Rome under the Pope's patronage where they printed over fifty books from their press at the Massimi Palace. Unfortunately, when the pope died in 1471, the new pontiff Sixtus IV disavowed the numerous unpaid orders of his predecessor. In this new climate, Swenheym and Pannartz elected to move away from mass printing and to rededicate their efforts to creating the first printed illustrated edition of Ptolemy's Cosmographia, a work which was one of the greatest sensations of the Italian renaissance. By 1474 this immensely challenging endeavor was well under way, and Swenheym is recorded as having trained "mathematicians" to engrave maps on copper. They did, however have competition in the form of Taddeo Crivelli of Bologna, who was determined to be the first to the goal, even allegedly poaching one of Swenheym's employees who was privy to the project in Rome. Crivelli raced to complete the project, while Swenheym painstakingly guided the quality of his work, an endeavor slowed by the death of Pannartz in the plague of 1476. Crivelli's work was finally published on June 29th, 1477, making it the first printed Cosmography and the first ever set of engraved maps. Swenheym died in 1477, and the project was taken up by Arnold Buckinck, originally from Cologne, who saw the project to completion on October 10, 1478. While it may not have been the first printed edition, Rodney Shirley notes that 'The copper plates engraved at Rome ... [were] much superior in clarity and craftsmanship to those of the 1477 Bologna edition ... Many consider the Rome plates to be the finest Ptolemaic plates produced until Gerard Mercator engraved his classical world atlas in 1578' (Shirley p.3). Swenheym's close supervision of his engravers saw that 'The superior craftsmanship of the engraved maps in the Rome edition, by comparison with those of the [1477] Bologna edition, is conspicuous and arresting. The cleanliness and precision with which the geographical details are drawn; the skill with which the elements of the map are arranged according to their significance, and the sensitive use of the burin in working the plates - these qualities ... seem to point to the hand of an experienced master, perhaps from North Italy' (Skelton, p.VIII). A number of authorities have suggested a principal engraver from either Venice or Ferrara. Another aspect of these maps which stands out is the fine Roman letters used for the place names on the plates. In an apparently unique experiment, these letters were not engraved with a burin but punched into the printing plate using metal stamps or dies. These fine prints represent a milestone in the medium, being some of the earliest successful intaglio engravings, quite apart from their undeniable cartographic importance. While the artists who carried out Swenheym's vision will likely never be known, they produced the most important and artistically virtuous printed maps of the fifteenth-century. Upon the publication of the Rome Ptolemy, a frustrated Crivelli saw potential clients abandon his edition in favour of its superior rival. Petrus de Turre (Pietro de la Torre) purchased these same plates and on November 4th, 1490 first used them to print a second Rome edition, of which this map was a part. The plates had remained in excellent condition and the original sharpness and quality was preserved. This map remains one of the most historically important and visually striking images of the Crimea and the Caucasus available to collectors. Cf. BMC IV, p.133; Campbell, The Earliest Printed Maps, pp.131-133; Destombes, Catalogue des Cartes gravées au XVe siècle, 41(1); cf. Goff, P-1086; cf. Hain, 13541; Indice Generale, 8128; cf. Klebs, Incunabula, 812.7; cf. Proctor, 3966; cf. Sabin, Ptolemy, 66474; cf. Sander, 5976; Shirley, The Mapping of the World, 4; cf. Skelton, Claudius Ptolomaeus Cosmographia Rome 1478, p.XIII; cf. Stevens, Ptolemy's Geography, 42; cf. Stilwell, P-992

      [Bookseller: Donald Heald Rare Books]
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        Missale secundum morem Sancte Romane Ecclesie

      [Colophon on T9v:] Venice: Giovanni Battista Sessa, ‘1490’ [1493-1498]., 1498. 8vo. 176 x 120 mm. ff. [8], 280 [ie. 281], [1]. printed in in red & black throughout. roman type, title in gothic. 34 lines. 2 columns. Sessa’s cat and mouse device (Kristeller 289) printed in red on title, with a different device (Kristeller 288) at the end, also printed in red. woodcut initials & red-printed Lombards. musical notes on red printed staves. full-page woodcut of the Crucifixion on q4v. contemporary Venetian dark brown calf over thin wooden bds, blind-stamped side panels enclosing 2 gilt fleurons & gilt roundel with the Holy Monogram, spine compartments filled with blind diagonal intersecting triple fillets, two ornamental brass clasps with catches, edges gilt & gauffered (head & foot of spine worn away, a few minor abrasions elsewhere, small piece cut out & replaced from lower blank margin of title not affecting any printing, old stamp deleted from lower margin of penultimate leaf verso - marginal repair on recto, neat repairs to bottom margins of a few leaves, overall an excellent tall and fresh copy). in modern quarter calf felt-lined drop-back box. An elegantly produced small format Roman missal in its original Venetian binding: the gilt roundel with the Holy Monogram appears to be identical with that used on another liturgical book of the same period illustrated by De Marinis (No. 2199; repro. facing II, p. 120). For a discussion of the beautiful full-page woodcut of the Crucifixion, see Rivoli, Missels, p. 61, where a German influence is noted (cfSander). The colophon date of 1490 is incorrect, as Alexander VI became Pope in 1492 and his bull on the feast of Saint Augustine belongs to the following year. The type used (83 R) is here in its earliest state, which does not appear to have persisted after 1498. This sets the actual date of printing between 1493 and 1498. According to Kristeller the present work marks the earliest appearance of the famous Sessa cat and mouse device. Incunable missals are often defective and in poor condition owing to extensive use. This is a fine complete example in its first binding. The missal itself is rare, with Goff citing only the Huntington copy; the BM copy lacks a total of 28 leaves, including the title and the cut of the Crucifixion. BMC V 480-81. Duggan 113. Goff M-703. Hain-Copinger 11395. IGI 6693. Rivoli 157:35. Sander 4755. Weale p. 138. Weale-Bohatta 943.. Hardcover.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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