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Displayed below are some selected recent viaLibri matches for books published in 1502

        Civitas Jherusalem

      Peter Drach, Speier 1502 - Woodblock panoramic view, printed on three joined sheets. Sheet size: 48 1/2 x 11 1/2 inches. Expert restoration at folds and sheet edges. The earliest-printed detailed view of Jerusalem from the famed account of a journey to the Holy Land in the years 1483 to 1484. "The view is very extensive, on the left hand being Damascus, and on the extreme right Cairo and Alexandria. The whole sheet is covered with xylographic inscriptions describing the numerous points of interest, some of which are as follows. Mount Sinai with the Shrine and the Monastery of S. Katherine: the Pilgrims way thither, the Red Sea, Mecca, the Pyramids, the so-called Pompey column &c. The City of Jerusalem occupies the main part, giving views of all the objects of pilgrimage." (Davies). The present woodblock is from the 1502 printing, being the third Latin edition following the editions of 1486 and 1490, identified by the thickening of the letters of Civitas Jherusalem. Davies, Berhard von Breydenbach and his Journey to the Holy Land 1483-84: A Bibliography, III; Laor 129; Proctor 11190; Adams B-2826; Fairfax Murray German 94.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        HORE INTEMERATE VIRGINIS MARIE SECUNDÛ USUM ROMANUM COM PLURIBUS ORATIÔIBUS TUM IN GALLICO & IN LATINO THIELMAN KERVER

      - Paris, Thielman Kerver pour Gillet Remacle à l’enseigne de la Licorne, 1er déc. 1502. Le collophone au verso du dernier feuillet indique: «Les présentes heures a l’usaige de Rôme furent achevees le premier jour de Decembre l’an Mil cinq cens & deuv. Par Thielman Kerver imprimeur et libraire iure de l’universite de Paris / pour Gillet Remacle libraire: demourant sur le pont Saint Michel a l’enseigne de la Licorne». Grand in-8 sur vélin de 14.5 x 20.7 cm: 96 ff. non-chiffrés signés A à M par 8 feuillets (Ai-Aiiii, [Av-Aviii]). Erreur typographique au cahier C signé Ci, Bii, Ciii, Biiii, les ff. sont dans l’ordre. En plus: 2 ff. manuscrits en tête de vol., 1 f. manuscrit en fin de vol. Édition entièrement encadrée de bordures historiées et ornée des 19 grandes pl. grav. à ¾ de page dans le texte, de la pl. «de titre» avec la marque et le nom de Thielman Kerver (A1), et de 35 petites gravures dans le texte. Bien complet de l’almanach sur 24 ans (1497-1520). Texte composé en caractère gothique de Kerver, intégralement surligné à l’encre rouge et très richement enluminé de bandeaux, de points et de lettrines manuscrites en doré sur fond rouge ou bleu. Reliure du XVIIIe siècle, en plein veau marbré. Dos à 4 nerfs avec pièce de titre en maroquin rouge, fers et dentelles en doré. Gardes de papier marbré. Reliure légèrement frottée, notamment aux coupes et aux coiffes, manque de peau à l’entrenerf central. Sinon exemplaire solide. Intérieur très propre en excellent état de conservation. Cette édition compte habituellement seulement 18 grandes pl. grav. à ¾ de page. Nous n’avons pas trouvé d’exemplaires répertoriés présentant 19 pl. En se basant sur les observations de Thierry Claerr, on trouve l’homme anatomique en A2 de l’éd. de 1499, et en A1v – comme nous – dans les éd. de 1503/04, 1505, 1506. L’emplacement des planches de notre exemplaire est similaire à celui qu’il observe pour l’éd. de 1503/04; toutefois la sienne ne comporte pas l’Annonce aux Bergers que nous avons en D3v. D’après Brunet, l’éd. du 1er déc. 1502 reprend, en partie, les planches de l’éd. non-datée de 1497, qui n’en comptait que 16. Les bordures sont également reprises mais distribuées autrement. Toujours selon les mêmes schémas, on y trouve des arabesques, grotesques, scènes de chasses, jeux, sujets des Ecritures, histoire profane, mythologie ou danse des morts. Les 19 gravures à ¾ de page ont pour sujets: Homme anatomique / Martyre de Saint-Jean / Baiser de Judas / Arbre de Jessé / Annonciation / Visitation / Nativité / Annonce aux bergers / Adoration des Mages / Présentation au temple / Fuite en Egypte / Couronnement de la Vierge / Bain de Bethsabée / Triomphe de la mort / Crucifixion / Pentecôte / Trinité / Emblèmes de la Vierge / Instruments de la Passion. A la fin du 15e siècle, Paris est le centre le plus réputé pour les livres d’heures imprimés. L’imprimeur Philippe Pigouchet et le libraire Simon Vostre sont les premiers à en réaliser à Paris. Ces derniers reprennent les modèles de manuscrits à riches bordures illustrées. Arrivent ensuite Antoine Verard, Jean du Pré, Thielman Kerver, les Hardouin pour poursuivre cette tradition d’excellence. Thielman Kerver commence à publier des Heures en 1497. Avant cette date, on ne connait rien de sa vie. Il est vraisemblablement originaire de Koblenz. Dans un premier temps, il se sert des presses de Jean Philippe; très rapidement il devient imprimeur lui-même. Il demeure alors sur le pont Saint-Michel à l’enseigne de la Licorne. En 1500/01, il cède son enseigne et sa boutique à Gillet Remacle, libraire, pour qui il imprime des Heures de 1500 à 1503. En 1506 il est à la Rue Saint-Jacques, ad intersignium Craticulae, où il meurt en 1522. De 1497 à sa mort, Kerver publiera pas moins de 130 livres d’Heures. Ses descendants poursuivront son activité jusqu’en 1556. Les grandes illustrations ainsi que les bordures de notre exemplaire de Kerver rappellent les premiers livres d’Heures qu’a imprimés Pigouchet. Mais la qualité de

      [Bookseller: Librairie de l'Univers]
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        Tragediae Septem cum commentariis. (Edited by Aldus Manutius and John Gregoropoulos)

      Venice: Aldus Manutius, August 1502 Editio princeps of the seven surviving complete plays of Sophocles, the greatest of the Greek tragedians. This volume contains the first printing of Oedipus Rex, generally considered the greatest Greek tragedy. This edition served as the fundamental text for more than three hundred years. Sophocles (497-406 BC) was not only a playwright, but also a leading citizen of Athens during the greatest period of its history. This period brought the military supremacy of Athens after the defeat of Persia in 478 as well as the building of the Parthenon, the great Temple of Athena, and the stone theater of Dionysus. Sophocles was a general with Pericles during the revolt of Samosin in 441, a state supervisor of tribute from the Athenian empire, and finally one of the ten (probouloi) commissioners over the Council of Five Hundred of the oligarchy after the coup of 411. Sophocles wrote more than 120 plays; those in this volume probably owe their survival to their selection for use as an educational textbook. These seven plays contain some of the most powerful and timeless dramas ever written, including Oedipus Rex, a work in which "the poet attains the supreme height of dramatic concentration and tragic intensity" (Lewis Campbell). This play, Oedipus Rex, part of the Theban trilogy, is generally considered the greatest of the Greek tragedies. A LANDMARK IN THE HISTORY OF PRINTING. This book, printed in Venice by Aldus Manutius, is the first Greek book issued in the Aldine portable format and the first classical text printed in the smallest and finest Aldine Greek type. "By any standard it is a masterpiece, not only of engraving skill executed with marvelous homogeneity on a minute scale, but also of exquisitely planned letter fit" (Barker, Aldus Manutius and the Development of Greek Script and Type). This editio princeps was issued without the commentaries promised on the title-page. Provenance: two inscriptions on binder's leaf before title: "H. Girdlestone from Francis Turner Inner Temple 1808" and "H. Girdlestone to John Farnham Messenger 1 January 1864." Eighteenth-century red goatskin, spine gilt, borders with double-rule borders, gold fleurons as cornerpieces, gilt inner dentelles, all edges gilt. Joints tender but secure, very minor wormholes at end affecting several leaves, minor stain to title. A very good copy in an attractive eighteenth-century binding. Half morocco case.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        La Sconficta di Monte Aperto

      Symeon Nicolai Nardi, 1502 - In- 4 (208 x 137 mm). Collation : 56 ff. n. ch. (a-f8 g6). Titre orné d'un grand bois; vélin ivoire, dos lisse avec titre manuscrit (reliure italienne du XVIIe siècle). Adams C-1097 ; Brunet IV, 719 ("ouvrage rare") ; Sander 5806 et ill. pl.700. Édition originale. Lancelloto Politi (1483-1553), également connu sous son nom religieux d'Ambrosius Catharinus, est originaire de Sienne. Déjà à l'âge de seize ans il obtint le degré de docteur es droit (droit civil et droit canonique). Après des années d'aprentissages en France et en Italie il obtint la chair de professeur à sa ville natale et compta parmi ses élèves Giovanni del Monte, puis le futur pape Jules III ainsi que Sixte de Sienne, un juif converti établie dans cette même ville. Son ouvrage La Sconficta di Monte Aperto relate la victoire sanglante des siennois sur les florentins pendant la bataille de Montaperti en septembre 1260. Cette célèbre bataille dans laquelle s'affrontèrent les Guelfes et les Gibelins fut immortalisé dans la Divine Comédie de Dante composée quelques soixante ans plus tard. La Sconficta di Monte Aperto est le premier livre issu des presses de Symeon Nardi ; il réutilisa le grand bois figurant la belle vue de Sienne pour une édition de la Brevissima introductio ad litteras graecas en 1505 (voir Mortimer, Harvard Italian, n° 89). Le grand bois montre la sainte Vierge, protegeant la ville de Sienne, accompagnée de la devise "Salva Nos No Pereamus". Petites traces de mouillures. Légèrement déboîté. [Attributes: Hard Cover]

      [Bookseller: CLAVREUIL]
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        Antique Master Print-MARY-VIRGIN-CHILD-Ben. Montagna after-Bar. Montagna-ca 1502

      - Antique print, titled: 'La Vierge a l'enfant', The Virgin Mary, seated on a rock, with the infant Christ on her lap. In the background lies a city on a lake's edge. Rare. engraving Description: Artists and Engravers: Made by Benedetto Montagna after Bartolomeo Montagna. Bartolomeo Montagna (ca 1450-1523). Benedetto Montagna (ca 1481-1558) Condition: Excellent, given age. Margins cropped to the platemark. Staind from insect droppings at bottom and in the bottom margin. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: Q2-266 TPC The overall size is ca. 5 x 7.8 inch. The image size is ca. 5 x 7.8 inch. The overall size is ca. 12.7 x 19.8 cm. The image size is ca. 12.7 x 19.8 cm.

      [Bookseller: ThePrintsCollector]
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        Expositio in libro de celo & mundo. Cum questione Domini Egidii de materia celi nuperrime impressa & diligentissime Emendata.

      B. Locatellus pour O. Scotus 1502 - In-folio (310 x 205 mm) de 84 ff.; daim naturel, double encadrement de filets à froid sur les plats (reliure moderne, genre ancien). Adams G-1033 (sous Gratia Dei). Quatrième édition (l'originale publiée à Padoue en 1476). Gaetano da Thiene (1387-1465), de Vicence, fut élève de Paolo Nicoletti à Venise. Il fut l'un des principaux propagateurs de la doctrine d'Averroès en Italie et a abondamment commenté les œuvres scientifiques d'Aristote. “Books I and II of the De caelo treat of astronomical theories; III and IV, of the elements. Drawing upon theories advanced by his predecessors, Aristotle's theories in general may be summarized as representing the earth as fixed at the center of a spherical universe, with the spheres of the moon, Mercury, Venus, the sun, Mars, Jupiter, and Saturn in orbit around the earth, and beyond them the sphere of the fixed stars and the realm of the primum movens or force which, every twenty-four hours, caused the planetary spheres to complete their revolutions, while each planet with an individual motion moved at times slightly retrograde.” (Stillwell, The Awakening Interest in Science during the First Century of Printing, pp. 11-12). En fin de volume se trouve le De materia coeli d'Egidio Colonna († 1316), connu aussi sous le nom de Giles de Rome, “especially noteworthy.[it] takes the position -against Aristotle, Thomas Aquinas, and the majority of contemporary scholars- that celestial matter is identical to that of the sublunary world.” (D.S.B., V, p. 403). Quelques figures dans le texte et belles initiales à fond noir. Bon exemplaire. [Attributes: Hard Cover]

      [Bookseller: CLAVREUIL]
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        Tragwdéiai 'epta metexhghséewn sicTragaediae septem cum commentariis etc ed Joannes Gregoropoulos   Venice Aldus Manutius August 1502

      Aldus' device on verso of final leaf, Greek type.    8vo (148 x 91mm.) 196 leaves (including the 3 blanks). 19th century vellum over pasteboard, gilt spine, early title lettered in ink on lower edge.                         

      [Bookseller: Maggs Bros. Ltd.]
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        ALBERT' MAGNUS DE SECRETIS MULIERUM ET VIRORUM.

      Leipzig, Melchior Lotter, 1502.. Early edition 1502, Latin text, small 4to, approximately 205 x 145 mm, 8 x 5¾ inches, single column, large clear black letter, many paragraphs in smaller font, space for initial capitals empty, 36 leaves including title page, collation: A-F6, F6 blank, colophon on F5v, bound in later vellum rebacked, old handwritten paper label to spine. Boards lightly marked and lightly soiled, spine browned, modern bookplate of A. Bernardes de Oliveira on front pastedown plus a tiny bookseller's label, many pages browned, many pale mostly neat early marginal Latin annotations in more than 1 hand, some discreet underlining, occasional vertical lines and pointing hands in the margins, a little light soiling to lower margins of A1v-Aiir, small ink spot on Aiiiv, no loss, otherwise clean. A good tight copy with browning to many pages (see images). An early popular medical book on human reproduction, women's health and childbirth. It was composed in the late 13th or early 14th century by a disciple of theologian and scientist Albertus Magnus, known as the pseudo Albertus Magnus. Goff, A-316; Polain 88-89 earlier editions; Krivatsy 85, 1500 edition. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Ambrosii Calepini bergomatis eremitani dictionarium

      Reggio: Bertochus, 1502. Calepino, Ambrogio (1440-1510/11). Ambrosii Calepini bergomatis eremitani dictionarium. Folio. [444]ff. Rhegii Lingobardiae [Reggio]: Dionysius Bertochus, 1502 (colophon). 312 x 208 mm. 19th century half calf, paste paper boards, rubbed, corners worn. First and last leaves remargined, marginal repairs to a number of other leaves, minor worming and staining, but on the whole a good copy. Letter tabs added by an early owner. Sheet with former owner?s notes tipped to inside front cover; notes in another hand on front free endpaper.Rare First Edition of the most successful and widely reprinted reference book of the early modern period, which went through an astonishing 166 editions in the sixteenth century, followed by 32 in the seventeenth and 13 in the eighteenth. Calepino, an Augustinian monk, ?devoted some thirty years to composing his dictionary, which focused on classical Latin usage and on encyclopedic information and literary examples from ancient culture. In the years after his death many, mostly anonymous editors made modifications, corrections, and especially additions, often borrowing from other dictionaries . . . In the early modern period the Calepino not only became the most widely recognized brand of dictionary, still active in the early twentieth century, but it also came to stand for the entire dictionary genre . . . At the same time the success of the Calepino solidified the association of the title ?dictionarium? with the dictionary genre?only a few major dictionaries were called by another title? (Blair, Too Much to Know: Managing Scholarly Information before the Modern Age [2010], p. 122).The Dictionarium?s enormous success as a reference work meant that copies were ?read to death?; also, the many revisions that the work underwent during its long publishing history?particularly the addition of vernacular translations beginning in the mid-sixteenth century?suggests that the earlier editions might not have been retained in scholarly libraries. The first edition of the Dictionarium is now quite rare: OCLC and the Karlsruhe Virtual Catalogue cite 11 copies in libraries, only one of which (the Indiana State University copy) is in the United States. Our copy shows signs of heavy use, but it is complete.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        TERZE RIME (Lo 'Nferno E'L Purgatorio E'L Paradiso Di Dante Alaghieri)

      Venice: in Aedib. Aldi. Accuratissime men. Aug MDII., (Venezia. Aldo Manuzio, 1502). The first Aldine printing of The Divine Comedy and the Aldine ?pocket book? format and the first use of the anchor device. With the famous Aldine anchor device on the final leaf. 8vo; 160mm x 95mm, in a beautiful antique binding of full polished vellum, the spine decorated with gilt ruled raised bands separating the compartments, two of the compartments with lettering labels of dark maroon morocco gilt lettered, the covers with triple gilt fillet rules at the borders, marbled endleaves, red edges. [244] leaves, and with the f.82 blank present. A very handsome and desirable copy, very nicely bound. Internally crisp and and quite bright and clean throughout, four of the leaves a bit shorter than the others, but with the same edge colour and clearly part of the text-block for a great time, last leaf with small restoration to the upper outside corner. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus by which books became available to the general publis. This then is a book of the greatest importance. Printed in characteristic Aldine cursive type, this is a well margined and finely impressed copy. It was Aldus who provided the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); it was the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. Printed in characteristic Aldine cursive type, this is a well margined and finely impressed copy. ?Dante?s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the ?Ethics? of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante?s own political prejudices, and his language never falls short of what he describes.? PMM

      [Bookseller: Buddenbrooks, Inc.]
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        Privilegia et indulgentie Fratrum Minorum Ordinis S[an]c[t]i Francisci.

      [colophon: Impressa Venetiis: Cura [et] impensis Luccantonii de Giunta, 1502]. Small 8vo (15.8 cm; 6.25"). [28] ff.; illus. Early post-incunable Giunta publication covering Franciscan ecclesiastical immunities and privileges. Lucantonio Giunta, originally trained as a stationer, quickly saw the entrepreneurial potential of selling mass-produced religious, legal, and medical texts in the early days of printing and began funding printing projects as early as 1489, eventually taking on his brothers as partners. The Giunti went on to have a powerhouse of a publishing business with bookstores and printing houses in several Italian cities, most notably Florence — and even some in Spain!    Preceding the text, which is printed in gothic type as is appropriate for a law book, on title-page verso is a full-page woodcut of Saint Francis receiving the stigmata with a castle in the background and Saint Michael in the sky. Lucantonio's printer's mark, a fleur de lis with a few extra flourishes and the letters L and A, appears on the title-page. The format would suggest this was meant to be a vade mecum or handy reference on the subject of privileges and exemptions    Provenance: Various notes, some more legible than others, of 17th-century users; among these, "Di Bartolomeo Pieroti," "Ex Libris Paul[u]s Pierotti," and one date "Die xx Janu[a]rii 1640."    An uncommon book with searches of WorldCat, NUC, and COPAC revealing only one U.S. institution in possession, that being the Folger Shakespeare Library.         EDIT16 CNCE 19644; not in Adams; on Lucantonio, see: Pettas, The Giunti of Florence, pp. 2–4. Modern boards covered with a => medieval vellum manuscript leaf, its text surrounded by commentary, all in a gothic hand, and with red and blue initials and annotations. Inscriptions as above, and pen trials to verso of colophon leaf; light age-toning, light to almost-"moderate" waterstaining to leaves' top thirds and a few margins elsewhere; a few leaves with minute pin-type wormholes or a small stain or chip. Last leaf lacking lower corner, well away from colophon on its recto. => An uncommon book from "the original Giunta.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Arconciel (Canton de Fribourg). Parchemin manuscrit. Prononciation du Conseil de la ville de Fribourg pour régler une dispute entre les villages d?Arconciel et de Treyvaux concernant un ancien droit et une coutume de paturage pour le bétail de tous les habitants des deux villages ensemble au lieudit ?Prassaxon?. Ceci est l?exemplaire executé pour la commune d?Arconciel.

      1502, 1502 - 37x50 cm, manuscrit en français bien lisible sur parchemin, signé Lambert Joseph Goberstein, notaire; le sceau de la ville de Fribourg apposé à l?origine à ce parchemin manque aujourd?hui, enroulé. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. [Attributes: Signed Copy]

      [Bookseller: Harteveld Rare Books Ltd.]
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        Le terze rime.

      [Venice: Aldus, 1502]. 8vo (15.2 cm; 6"). [244] ff. First Aldine printing of the Divine Comedy, the first printing of Bembo's restoration of Dante's original text, the first printing of Dante in octavo format, and, on the verso of the colophon leaf, => the first appearance of the Aldine printer's device.    In at least one copy, the new Aldine device is surrounded by a double-line woodcut border. Here, that border has largely been removed from the wood block used — but not entirely, for small regularly spaced "dots" of it are still visible. In yet other copies, all traces of the border have been removed, and in some others there is no anchor device at all, indicating differing states of the edition. => Clearly the press was "tweaking" its logo!    The text is from a manuscript that Pietro Bembo, the greatest Dante scholar of the Italian Renaissance, supplied to Aldus for this edition specifically. It is radically different from the Landino version that circulated in manuscript in the 15th century and was used for the incunable editions. This Bembo version held sway until the end of the 19th century.    Binding: 19th-century full crushed red morocco by Duru, dated 1853. Round spine with raised bands and gilt floral devices in four of the six spine compartments, the other two having author and title gilt in one and place and date of publication in other. Boards ruled in blind with a double fillet forming a center panel bearing a gilt filigree center device and with gilt floral corner devices matching those in the spine compartments; single gilt rule on board edges. Wide turn-ins tooled in gilt with a floral vine roll, a roll of dots, and a dentelle roll; marbled endpaper of a combed pattern. All edges gilt over marbling. Green silk place marker.    Provenance: 19th-century bookplate of Ambroise Firmin Didot. Most recently in the library of American collector Albert A. Howard (sans indicia).         Renouard, Alde, 34.5; Adams D83; Olschki, Le livre en Italien, 37; Index Aurel. 149.817; The Aldine Press: Catalogue of the Ahmanson-Murphy Collection 59.5; . Bound as above, spine slightly darkened. Light, limited stain to verso of title-page. => A very, very nice copy.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Relazione di Gio. Rondinelli sopra lo stato antico e moderno della città di Arezzo al sereniss. granduca Francesco I l'anno MDLXXXIII. Illustrata con note, e corredata con l'aggiunta di due racconti del 1502 e del 1530, spettanti alla medesima città.

      1502. In Arezzo, per Michele Bellotti stampatore vescov., 1755, in-8 grande, cartonatura rustica coeva, titolo manoscritto al dorso, pp. 248. Contiene anche: a c. G7r "Racconto di messer Arcangelo Visdomini dei fatti della citta di Arezzo dell'anno MDII"; a c. N8r "Racconto d'anonimo autore dei fatti della citta di Arezzo dell'anno 1529 e 1530". Ex-libris calcografico di Giuseppe Pelli [Bencivenni?, direttore degli Uffizi dal 1775 al 1793] sul contropiatto anteriore e alcune note manoscritte nl XVIII secolo, probabilmente dello stesso Pelli sul frontespizio e al margine bianco di diverse carte. Ottimo esemplare, a pieni margini.

      [Bookseller: Libreria Antiquaria Gozzini]
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        Privilegia et indulgentie Fratrum Minorum Ordinis S[an]c[t]i Francisci.

      [colophon: Impressa Venetiis: Cura [et] impensis Luccantonii de Giunta, 1502]. Small 8vo (15.8 cm; 6.25"). [28] ff.; illus. Early post-incunable Giunta publication covering Franciscan ecclesiastical immunities and privileges. Lucantonio Giunta, originally trained as a stationer, quickly saw the entrepreneurial potential of selling mass-produced religious, legal, and medical texts in the early days of printing and began funding printing projects as early as 1489, eventually taking on his brothers as partners. The Giunti went on to have a powerhouse of a publishing business with bookstores and printing houses in several Italian cities, most notably Florence — and even some in Spain!    Preceding the text, which is printed in gothic type as is appropriate for a law book, on title-page verso is a full-page woodcut of Saint Francis receiving the stigmata with a castle in the background and Saint Michael in the sky. Lucantonio's printer's mark, a fleur de lis with a few extra flourishes and the letters L and A, appears on the title-page. The format would suggest this was meant to be a vade mecum or handy reference on the subject of privileges and exemptions    Provenance: Various notes, some more legible than others, of 17th-century users; among these, "Di Bartolomeo Pieroti," "Ex Libris Paul[u]s Pierotti," and one date "Die xx Janu[a]rii 1640."    An uncommon book with searches of WorldCat, NUC, and COPAC revealing only one U.S. institution in possession, that being the Folger Shakespeare Library.         EDIT16 CNCE 19644; not in Adams; on Lucantonio, see: Pettas, The Giunti of Florence, pp. 2–4. Modern boards covered with a => medieval vellum manuscript leaf, its text surrounded by commentary, all in a gothic hand, and with red and blue initials and annotations. Inscriptions as above, and pen trials to verso of colophon leaf; light age-toning, light to almost-"moderate" waterstaining to leaves' top thirds and a few margins elsewhere; a few leaves with minute pin-type wormholes or a small stain or chip. Last leaf lacking lower corner, well away from colophon on its recto. => An uncommon book from "the original Giunta.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Le terze rime.

      First Aldine printing of the Divine Comedy, the first printing of Bembo's restoration of Dante's original text, the first printing of Dante in octavo format, and, on the verso of the colophon leaf, => the first appearance of the Aldine printer's device. In at least one copy, the new Aldine device is surrounded by a double-line woodcut border. Here, that border has largely been removed from the wood block used -- but not entirely, for small regularly spaced "dots" of it are still visible. In yet other copies, all traces of the border have been removed, and in some others there is no anchor device at all, indicating differing states of the edition. => Clearly the press was "tweaking" its logo! The text is from a manuscript that Pietro Bembo, the greatest Dante scholar of the Italian Renaissance, supplied to Aldus for this edition specifically. It is radically different from the Landino version that circulated in manuscript in the 15th century and was used for the incunable editions. This Bembo version held sway until the end of the 19th century. Binding: 19th-century full crushed red morocco by Duru, dated 1853. Round spine with raised bands and gilt floral devices in four of the six spine compartments, the other two having author and title gilt in one and place and date of publication in other. Boards ruled in blind with a double fillet forming a center panel bearing a gilt filigree center device and with gilt floral corner devices matching those in the spine compartments; single gilt rule on board edges.Wide turn-ins tooled in gilt with a floral vine roll, a roll of dots, and a dentelle roll; marbled endpaper of a combed pattern. All edges gilt over marbling. Green silk place marker. Provenance: 19th-century bookplate of Ambroise Firmin Didot. Most recently in the library of American collector Albert A. Howard (sans indicia).

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        Privilegia et indulgentie Fratrum Minorum Ordinis S[an]c[t]i Francisci.

      Cura [et] impensis Luccantonii de Giunta, 1502. Early post-incunable Giunta publication covering Franciscan ecclesiastical immunities and privileges. Lucantonio Giunta, originally trained as a stationer, quickly saw the entrepreneurial potential of selling mass-produced religious, legal, and medical texts in the early days of printing and began funding printing projects as early as 1489, eventually taking on his brothers as partners. The Giunti went on to have a powerhouse of a publishing business with bookstores and printing houses in several Italian cities, most notably Florence -- and even some in Spain! Preceding the text, which is printed in gothic type as is appropriate for a law book, on title-page verso is a full-page woodcut of Saint Francis receiving the stigmata with a castle in the background and Saint Michael in the sky. Lucantonio's printer's mark, a fleur de lis with a few extra flourishes and the letters L and A, appears on the title-page. The format would suggest this was meant to be a vade mecum or handy reference on the subject of privileges and exemptions Provenance: Various notes, some more legible than others, of 17th-century users; among these, "Di Bartolomeo Pieroti," "Ex Libris Paul[u]s Pierotti," and one date "Die xx Janu[a]rii 1640." An uncommon book with searches of WorldCat, NUC, and COPAC revealing only one U.S. institution in possession, that being the Folger Shakespeare Library.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        San Giorgio in piedi

      1502 - Bulino, circa 1502, monogrammato in lastra in basso a sinistra. Esemplare nella prima variante di sei descritta dal Meder, con il graffio di lastra verticale nella parte superiore destra. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L’incisione illustra la leggendaria uccisione di un drago ad opera di San Giorgio. Il Santo, qui raffigurato nell'atto finale, nel momento di vittoria sul drago ucciso, domina la scena con la sua possente corazza, armato di spada e della lancia che tiene con la sinistra. L’elmo piumato è deposto a terra, sulla sinistra, mentre sulla destra giace il drago, parzialmente occultato dietro le gambe del Santo, a conferirgli maggiore rilievo. Sullo sfondo si distingue un paesaggio marino con un centro abitato. Circa la data di esecuzione della stampa, i pareri sono discordanti. Alcuni riconducono l’opera agli anni 1507-1508, quando l’imperatore Massimiliano I mostrava particolare interesse per l’ordine di San Giorgio, fondato da suo padre. Con l’aiuto del Santo l’imperatore sperava di poter allestire una crociata contro i Turchi, progetto che maturò proprio nel 1507. Panofsky ne anticipa l’esecuzione di tre o quattro anni, mentre Hollstein e Strauss la riconducono al 1502, dal momento che a partire dal 1503 Dürer datò tutte le sue opere. A far propendere per questa datazione, è anche l’omogeneità stilistica e compositiva (una figura che domina la scena sullo sfondo di un paesaggio marino) con Lo Sbandieratore, che la precede in questo catalogo e che risalirebbe proprio al 1502. Il tema di San Giorgio e il drago ricorre frequentemente nelle opere artistiche per il forte valore simbolico di cui è portatore: il drago rappresenta il male, in particolare per i primi cristiani rappresentava il paganesimo. La conversione di una nazione al cristianesimo veniva rappresentata simbolicamente come un mostro ucciso da un guerriero corazzato armato di lancia, simbolo della fede cristiana. Così veniva rappresentato San Giorgio, a significare la conquista della Cappadocia - regione che diede i natali al santo - alla fede cristiana. Engraving, circa 1502, signed at lower left. Meder a impression, with the vertical scratch nea the upper half of the right edge. Very good impression, printed on laid paper, trimmed to the platemark, in very good conditions. The engraving shows the legendary slaying a dragon by St George. The Saint, pictured here in the final act , in the moment of victory over the dragon slain, dominates the scene with his powerful armor , armed with sword and spear holding with his left hand . The plumed helmet is placed on the ground , on the left , while on the right lies the dragon, partially hidden behind the legs of the saint, to give it greater prominence. In the background stands a seascape with a town. About the date, the opinions are divided. Some relate the work to the years 1507-1508 , when Emperor Maximilian I showed particular interest in the Order of St. George, founded by his father. With the help of the Holy Emperor hoped to set up a crusade against the Turks , a project that just matured in 1507. Panofsky anticipates the execution of three or four years, while Hollstein and Strauss lead back to 1502, since starting from 1503 Dürer dated it all his works. To do this favor for dating, it is also the stylistic and compositional homogeneity ( a figure that dominates the scene in the background of a sea landscape ) with The flag-waver that just goes back to 1502. The theme of St. George and the dragon occurs frequently in works of art for the strong symbolic value which is the bearer of the dragon represents evil , especially for the early Christians represented paganism . The conversion of a nation to Christianity was represented symbolically as a monster killed by an armored warrior armed with a spear , the symbol of the Christian faith . So was represented St. George , signifying the conquest of Cappadocia - a region that gave birth to [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Libreria Antiquarius]
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        L?Obel, Mathias de. Stirpivm Adversaria Nova, (perfacilis vestigatio ad priscorum, praesertium Dioscoridis, materiam medicam.

      Fol. 458 S. (Titel- u. Erratablatt fehlen), mit rd. 270 eingedruckten u. 5 separat gedruckten u. eingeklebten Pflanzendarstellungen in Holzschnitt. Pgmtbd. d. Zt. unter Verwendung einer alten Pergamenthandschrift (stärker berieben und gebräunt, einige Wurmspuren in Vorder- u. Hinterdeckel), Vorsätze fachgerecht erneuert. Frisches, breitrandiges Exemplar, nur an den Rändern teils schwach gebräunt. Auf den letzten 5 Bll. leichte Brandspuren. Vermerk v. alter Hd. auf d. 1. S., verso ein gelöschter Stempel. Adams 2,58,P616. Pollard 449,19595. Nissen: BBI 138,1502. Arents: Tobacco (1),237ff.,Nr.13 (sehr ausführlich zur Textgeschichte u. über die abgebildete Tabakpflanze). Vergl. Graesse 4,240 u. Brunet III,401 (Plantin-Ausg. 1576). Zu Pena s. Jöcher/Adelung 5,1837. Zu L. (auch Lobel, 1538-1616), nach welchem die "Lobelie" benannt ist u. d., wegen seiner Berühmtheit als Botaniker, v. Jacob I. nach London berufen wurde, vgl. Hirsch/H. 812. Unter d. 5 separat gedruckten Holzschnitten, die fast immer fehlen, befindet sich die erste bildliche Darstellung der Tabakpflanze, die 1569 erstmals nach Europa gebracht worden war. Selten.

      [Bookseller: Antiquariat Löcker]
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        Ilias per Laurentium Vallensem Romanum e graeco in latinum translata: et nuper accuratissime emendata....

      Venice: J. Tacuinus de Tridino, 1502. 3rd Edition. Hardcover. Folio - over 12 - 15" tall. 25 February 1502. Folio (303 x 212 mm). 95 (of 96) numbered leaves, lacking leaf K2. Signatures: A8 B-P6 Q4. Roman types with a little Greek, large white-on-black woodcut initials from the printer's famous series of which many show putti playing. 19th century sprinkled card boards (rubbed, corners scuffed, paper on joints cracked), edges sprinkled red. Internally quite clean and crisp, little finger soiling in places, few old annotations, small single wormtrace to first three leaves affecting a few letters, faint dampstain to upper margin of about 10 leaves, old marginal annotation. Provenance: Ex Bibliotheca Gymn. Pal. Sedin. (stamp to lower title). Except for the missing leaf a fine copy. ----Adams H781; Hoffmann II, 334; EDIT 16, CNCE 22944. - EARLY (THIRD?) EDITION of Lorenzo Valla's influential Latin translation of the Iliad which was originally published in 1474. This book is quite rare with only a single copy recorded at auction in the past 50 years. Very Good....

      [Bookseller: Milestones of Science Books]
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        Cronica do muyto alto e muito poderoso Rey destes Reynos de Portugal dom João o III. deste nome. Dirigida ha C. R. M. del Rey dom Felipe o III. deste nome nosso senhor.Lisbon, Jorge Rodriguez for the author, sold by Francesco Lopez, 1613. 4 parts in 1 volume. Folio. With a central crowned coat of arms of Portugal on the title-page, title and coat of arms set in ornamental border, woodcut initials. Contemporary blind-tooled vellum.

      - Bosch 52; Huth Library 177; Maggs, Bibl. Brasiliensis 104; Rodrigues 171. First edition of this principal history of the reign of João III of Portugal (1502-1557), ruler of Portugal from 1521 until his death. His reign was marked by the introduction and establishment of the inquisition in Portugal from 1536 onwards. During his rule, Portuguese possessions were extended in Asia and in the New World through the Portuguese colonization of Brazil. ''Francisco de Andrada (ca. 1540-1614) was a Commander of the Order of Christ, a member of the State Council, Chief Keeper of the Archives and Chief Chronicler of the Kingdom. He was the son of Fernâo Alvares d'Andrada, Treasurer to King Joâo III'' (Maggs).With the bookplate (in gold) of the Huth Library on inside of front cover, embossed stamp of Antonio de Almeide Correa on the title-page. Very good copy of an important work on the discoveries and conquests of the Portuguese.

      [Bookseller: ASHER Rare Books]
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        Tragwdandeacuteiai andlsquoepta metexhghsandeacuteewn sicTragaediae septem cum commentariis etc ed Joannes Gregoropoulos andnbsp Venice Aldus Manutius August 1502

      

      [Bookseller: Maggs Bros. Ltd. ]
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        SAN PIETRO (Jean Pichore o sua bottega)

      1502. Miniatura dipinta su pergamena proveniente da un Libro d'Ore francese, riconducible a Jean Pichore o alla sua bottega. Cm 12x16.5. Al recto viene rappresentato San Pietro con in mano le chiavi ed un libro. Al verso manoscritto in gotico una parte del Vangelo di San Giovanni con due piccoli capilettera miniati a colori. La miniatura è databile tra il 1502 ed il 1521, periodo in cui a Parigi, Pichore era attivo ed aveva istituito la sua bottega. Pichore ed i suoi allievi, lavorarono principalmente per i tipografi parigini Germain Hardouyn e Simon Vostre. Splendida miniatura ottimamente conservata coi colori ancora vividissimi. Al verso si notano traccie di vecchia applicazione su di un supporto. Per l'opera di Jean Pichore si rimanda all'ottimo lavoro di Caroline Zohl : Jean Pichore Buchmaler, Graphiker und Verleger in Paris um 1500, Turnhout Brepols, 2004. (La miniatura è conservata dentro una cornice 800esca dorata)

      [Bookseller: Libreria antiquaria Segni nel Tempo]
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        Valerii Maximi Dictorum et factorum memorabilium libri novem

      [212] ff. Venise, Alde, oct. 1502, in-8, [212] ff, maroquin citron de la fin du XIXe siècle, dos à nerfs orné, double filet en encadrement sur les plats, filet sur les coupes, roulette sur les chasses, tranches dorées, (signatures *4, A8-Z8, aa8-cc8) Première édition aldine de Valère Maxime. Premier état avec 8 feuillets au cahier A. Le deuxième état est paru la même année, avec douze au cahier A, afin de placer les 24 "exempla nuper inventa", que Cuspinianus procura à Alde. Les deux premiers et le dernier feuillets sont restaurés dans les marges, certains feuillets légèrement comblés dans la marge inférieure. Renouard, Alde, p. 55.

      [Bookseller: Librairie Alain Brieux]
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        L?Obel, Mathias de. Stirpivm Adversaria Nova, (perfacilis vestigatio ad priscorum, praesertium Dioscoridis, materiam medicam.

      Fol. 458 S. (Titel- u. Erratablatt fehlen), mit rd. 270 eingedruckten u. 5 separat gedruckten u. eingeklebten Pflanzendarstellungen in Holzschnitt. Pgmtbd. d. Zt. unter Verwendung einer alten Pergamenthandschrift (stärker berieben und gebräunt, einige Wurmspuren in Vorder- u. Hinterdeckel), Vorsätze fachgerecht erneuert. Frisches, breitrandiges Exemplar, nur an den Rändern teils schwach gebräunt. Auf den letzten 5 Bll. leichte Brandspuren. Vermerk v. alter Hd. auf d. 1. S., verso ein gelöschter Stempel. Adams 2,58,P616. Pollard 449,19595. Nissen: BBI 138,1502. Arents: Tobacco (1),237ff.,Nr.13 (sehr ausführlich zur Textgeschichte u. über die abgebildete Tabakpflanze). Vergl. Graesse 4,240 u. Brunet III,401 (Plantin-Ausg. 1576). Zu Pena s. Jöcher/Adelung 5,1837. Zu L. (auch Lobel, 1538-1616), nach welchem die "Lobelie" benannt ist u. d., wegen seiner Berühmtheit als Botaniker, v. Jacob I. nach London berufen wurde, vgl. Hirsch/H. 812. Unter d. 5 separat gedruckten Holzschnitten, die fast immer fehlen, befindet sich die erste bildliche Darstellung der Tabakpflanze, die 1569 erstmals nach Europa gebracht worden war. Selten.

      [Bookseller: Antiquariat Löcker]
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        SAN PIETRO

      1502. Miniatura dipinta su pergamena proveniente da un Libro d'Ore francese, riconducible a Jean Pichore o alla sua bottega. Cm 12x16.5. Al recto viene rappresentato San Pietro con in mano le chiavi ed un libro. Al verso manoscritto in gotico una parte del Vangelo di San Giovanni con due piccoli capilettera miniati a colori. La miniatura è databile tra il 1502 ed il 1521, periodo in cui a Parigi, Pichore era attivo ed aveva istituito la sua bottega. Pichore ed i suoi allievi, lavorarono principalmente per i tipografi parigini Germain Hardouyn e Simon Vostre. Splendida miniatura ottimamente conservata coi colori ancora vividissimi. Al verso si notano traccie di vecchia applicazione su di un supporto. Per l'opera di Jean Pichore si rimanda all'ottimo lavoro di Caroline Zohl : Jean Pichore Buchmaler, Graphiker und Verleger in Paris um 1500, Turnhout Brepols, 2004. (La miniatura è conservata dentro una cornice 800esca dorata)

      [Bookseller: Libreria antiquaria Segni nel Tempo]
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        Das Nibelungenlied - Mit einem Vorwort von Prof. Dr. W. Golther und einer Einleitung von Max von Boehn.

      426 Seiten. Diese Ausgabe wurde erstmalig anläßlich der fünfzigsten Wiederkehr von Richard Wagners Todestag vom Aksanischen Verlag in Berlin veranstaltet. Den Druck dieser Neuauflage besorgte die Graphische Kunstanstalt der Deutschen Zentraldruckerei in Berlin, den Einband schuf die Buchbinderei des Verlages. Die Abbildungen zu den "Abenteuern" stammen von Eduard Bendemann, Julius Hübner, Alfred Rethel und C. Stilke. Der Einband ist dem eines Buches nachgebildet, das etwa 1502 in der Buchbinderei der Abtei Benediktbeuren angefertigt wurde. ,Auf der Innenseite des Einbanddeckels befinden sich zwei Stempel der Tempelhofgesellschaft (wohl der nachmaligen Besitzer dieses Buches). Diese Prachtausgabe befindet sich noch in einem guten Zustand im Hartpappschuber.

      [Bookseller: Michael Damböck]
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        (Opera:) Quae hoc volumine continentur. Ovidii Metamorphoseon Libri quindecim. Ad Marinum Sannutum Epistola qui apud graecos scripserint metamorfoseis. Aldo privilegium concessum... Orthographia dictionum graecarum per ordinem literarum. Vita Ovidij ex ipsius operib. Index fabularum et caeterorum quae insunt hoc libro secundum ordinem alphabeti

      8vo (cm. 14,8), 3 Voll.; 64 cc.nn. (di cui l’ultima bianca), 204 cc.nn. (si unisce) Heroidum Epistolae. Auli Sabini. Epistolae tres. P.O.N. Elegiarum. Libri tres. De Arte amandi. Libri tres. De Remedio amoris. Libri duo. In Ibin. Liber unus. Ad Liviam Epistola de morte Drusi. De Nuce. De Medicamine faciei, ibidem, in aedibus Aldi Romani, mense Decembri 1502 (al colophon), 202 cc.nn. (si unisce) Quae hoc in libello continentur. Fastorum. Libri VI., ibidem, in Aldi Romani Academeia, mense Ianuario 1502 (al colophon), 85 cc.nn., 1 c. bianca (segue) De Tristibus. Libri V. De Ponto. Libri IIII, ibidem, in Academia Aldi, Mense Febr. 1503 (al colophon), 118 cc.nn. Ancora aldina ai frontis. e ai colophon. Buone legature inizi ‘700 in piena pelle maculata con nervi, ricchi fregi e titolo oro su tassello rosso al ds. Qualche traccia di usura e tassello del primo vol. di colore difforme (bruno). Tagli rossi. Belle carte di guardia marmorizzate. Timbretto al frontis. dei primi due volumi ed annotazioni di antica di mano sulla prima carta delle Metamorfosi. Minuscoli percorsi di tarlo al margine interno per circa metà del secondo vol. e forellino di tarlo sulle ultime 4 cc. del terzo. Antica numerazione ms. di gran parte delle pagine del primo vol. Tenui e piccole macchie su pochissime carte. Complessivamente esemplare fresco ed in ottimo stato di conservazione. Rarissima prima edizione aldina dell’opera di Ovidio. Renouard, p. 37; Brunet IV, 269.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Sermones Pomerii de Tempore Hyemales et Estivales.

      Fol. 264 (das letzte weiß) nn. Bll. - Angeb. - Ders. Sermo[n]es Quadragesimales Pomerii. Ebda., 10. Juni 1502. 110 nn. Bll., Blindgepr. Ldr.-Bd. d. Zt. über Holzdeckeln. Der ungarische Franziskanermönch Pelbart von Temeswar (um 1435-1504) verfasste umfangreiche Bibelkommentare und Predigtsammlungen, die seit 1498 große Verbreitung fanden und zu den Klassikern der Predigtliteratur gehören. Pelbarts Schriften sind heute noch eine wissenschaftlich bedeutende Quelle zur ungarischen Literatur des Spätmittelalters. - Einband stärker beschabt u. bestoßen sowie mit Wurmspuren (dadurch Kapitale m. Fehlstellen). Rücken mit etwas späterem Lederbezug. Rücken u. Vorderdeckel m. Nummernschild. Schließen fehlen. Innendeckel gestempelt. Erster Titel m. alten Besitzvermerken. Rückendeckel etw. geworfen. Durchg. unterschiedlich gebräunt, fleckig u. wasserrandig (die ersten u. bes. letzten Bll. stärker). Tlw. kl. Wurmspuren, Randläsuren, Eckknicke, Einrissen bzw. zeitgen. Marginalien. Ein Bl. m. beil. Randausriß. - Ad 1) VD16, P 1182. - Ad 2) VD16, P 1195.

      [Bookseller: Antiquariat Wolfgang Friebes]
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        L?Obel, Mathias de. Stirpivm Adversaria Nova, (perfacilis vestigatio ad priscorum, praesertium Dioscoridis, materiam medicam.

      Fol. 458 S. (Titel- u. Erratablatt fehlen), mit rd. 270 eingedruckten u. 5 separat gedruckten u. eingeklebten Pflanzendarstellungen in Holzschnitt. Pgmtbd. d. Zt. unter Verwendung einer alten Pergamenthandschrift (stärker berieben und gebräunt, einige Wurmspuren in Vorder- u. Hinterdeckel), Vorsätze fachgerecht erneuert. Frisches, breitrandiges Exemplar, nur an den Rändern teils schwach gebräunt. Auf den letzten 5 Bll. leichte Brandspuren. Vermerk v. alter Hd. auf d. 1. S., verso ein gelöschter Stempel. Adams 2,58,P616. Pollard 449,19595. Nissen: BBI 138,1502. Arents: Tobacco (1),237ff.,Nr.13 (sehr ausführlich zur Textgeschichte u. über die abgebildete Tabakpflanze). Vergl. Graesse 4,240 u. Brunet III,401 (Plantin-Ausg. 1576). Zu Pena s. Jöcher/Adelung 5,1837. Zu L. (auch Lobel, 1538-1616), nach welchem die "Lobelie" benannt ist u. d., wegen seiner Berühmtheit als Botaniker, v. Jacob I. nach London berufen wurde, vgl. Hirsch/H. 812. Unter d. 5 separat gedruckten Holzschnitten, die fast immer fehlen, befindet sich die erste bildliche Darstellung der Tabakpflanze, die 1569 erstmals nach Europa gebracht worden war. Selten.

      [Bookseller: Antiquariat Löcker]
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        M. T. Ciceronis orationum volumina tria. Post postremam Naugerianam, et Victorianam correctionem. Emendata a Ioan. Sturmio. Omnia et paginarum et versuum numero atque longitudine Aldinis respondent. 3 Bände.

      8vo. Mit 2 Titelvignetten sowie mehreren Initialen. (16 nn)., 305 numer., (11 nn.) Bl. (8), 281, (6) Bl. (6), 275 (recte 273), (15) Bl. Figürlich geprägtes Schweinsldr. d. Zeit auf 4/5/5 Bünden. Rotschnitt (Bd. 2+3). VD 16 C 3347 bzw. Bd. 3: C 3345. - ADB 37, 21ff. - Ausgabe des Humanisten u. Straßburger Schulrectors Johann Sturm (1502-1589) nach der Ausgabe bei Aldus Pius Manutius mit den Korrekturen des Andrea Navagero u. des Pietro Vettori. - Der 3. Bd. in einer früheren Auflage von 1564. - Die Einbände, vermutl. aus Magdeburg, variieren: Bd. 1: datiert 1596, florale Prägung d. Rückens u. der Deckelrahmung um je 1 Brustbild: Karl V., sign. MB., im Typus v. EBDB p000966 mit dem Motto "plus ultra, 1581" u. der Unterschrift: "Carole mortales dubitant homo sisne deusve sunt tua sceptra hominis set(d) tua fa(cta dei)". Rückendeckel: Johann Friedrich I. v. Sachsen, ähnlich EBDB p000967: "Victus eras acie fitei (fidei) constantia tantem (tandem) victorem ante hominis (homines) fecit et ante deum". Bd. 2: datiert 1587, bezeichnet MGL. 2 große Wappen m. floraler Rahmung. Bd. 3: datiert 1568, bezeichnet MDL. Florale Rahmung um Darstellungen der Iustitia u. Fortuna. - Bände berieben, Ecken bestoßen, Fehlstellen am Rücken v. Bd. 2 oben u. unten u. v. Bd. 3 oben. Tintenschrift v. alter Hd. in Innendeckeln (Namen u. Transkripiton d. Deckelpräg.) sowie kl. Stempel., wenige kl. Einrisse. Bd. 1: Vorsatz fehlend. Titel m. kl. Löchlein u. Ausschnitt an unterer Ecke, einige Bl. an überstehender Kante abgegriffen. Ganz vereinzelt Tintenmarginalien v. alter Hd., Wurmgang i. w. Rande, sonst sauber u. gut. Bd. 2: Vorsatz fehlend, ohne Titelbl., 1. Lage lose. Zahlreiche schwarze u. rote Tintenmarginalien v. alter Hd., Initiale fleckig, größerer Wasserrand über die 2. Hälfte d. Buchblocks. Bd. 3: Vorsatz fehlt. Einriß u. kl. Name auf Titel, mehrere Namen verso. Tintenmarginalien v. alter Hand. - Insgesamt von nicht bester Erhaltung aber in den zeitgenössischen Einbänden reizvoll u. im Text vollständig.

      [Bookseller: Antiquariat Düwal Berlin]
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        Vitae patrum, in usu ministrorum verbi, quo ad eius fieri potuit repurgatae per Georgium Maiorem. Cum praefatione Doctoris Martini Lutheri. Mit einem Holzschnitt als Titeleinfassung.

      (Einband etwas beschabt und bestossen, Rücken etwas eingerissen und fleckig, oben etwas knapp beschnitten aber ohne Textbeeinträchtigung, diverse Bibliotheksstempel und Ausscheidungsvermerke, Spiegel und Vorsätze leimschattig, ... ...im oberen Bug auf den ersten Lagen Verfärbung und Verklebung, teils mit Einrissen und kleiner Beeinträchtigung der Lesbarkeit, die letzten zwei Blatt des Registers mit neu angestückten Fehlstellen und minimalem Textverlust, das Colophon nur noch fragmentarisch erhalten, sonst innen nur wenig gebräunt oder braunfleckig und insgesamt noch ordentlich erhalten).-Erste Ausgabe, das Vorwort von Martin Luther im Erstdruck. - Major (eigentlich Maier, 1502 - 1574) war erst Sängerknabe am kurfürstlichen Hof in Wittenberg, bevor er dann an der dortigen Universität Theologie studierte und 1523 als Magister abschloß. Er arbeitete mehrere Jahre als Hauslehrer und wurde 1537 Prediger an der Schloßkirche in Wittenberg, wo ihn Luther im selben Jahr ordinierte. Luther promovierte ihn auch 1544 zum Doktor der Theologie. Seit 1545 war Major Professor für Neues Testament an der Uni Wittenberg. Wegen der Schmalkaldischen Kriege floh er und war kurzzeitig in Magdeburg und Merseburg tätig. Seit 1548 lebte er dann wieder in Wittenberg, und gab dort 1552-1559 Luthers Werke heraus. Seit 1558 war er auch Dekan der Wittenberger Theologischen Fakultät. Major verfasste zahlreiche theologische Schriften, mit denen er lt. Bautz "in die kirchenpolitischen und theologischen Turbulenzen des Übergangs zum konfessionellen Zeitalter" geriet. Er gilt als einer der bedeutendsten Theologen seiner Zeit. - Bautz (cit. nach der Online-Version)- VD 16 M 2205 - Benzing 3455.

      [Bookseller: Versandantiquariat Bürck]
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        Opera.

      Venetiis in Aedibvs Aldi 1502. 8vo (159 x 97 m). 152 unn. lvs. 18th-century green, gilt-decorated sheepskin. Very good copy of a rare early Aldine edition in a very nice, gilt decorated 18th-century binding, For a full description and more images please visit: www.zaalbooks.nl .

      [Bookseller: Zaal Books]
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        PERSIUS EMENDATISSIMUS CUM IO. BAPTISTAE PLAUTII FRUGIFERA. Copiosa: & medullitus poetae intima perscrutanti interpretatione. In qua praeter caeterorum commentariorum errores castigatos sex centa loca in alus auctoribus partim emendata: partim copiosus interpretata: pti citra alior opinionem repiut enucleata.

      Per Caligulam Bacilerium, 1502. Testo latino, Cm.32x21. Carte 78 non numerate. Legatura in pergamena rigida, ai cui piatti è stata applicata altra pergamena di recupero, proveniente da codice manoscritto rubricato in rosso. Restauro cartaceo al frontespizio, con perdita di testo su quattro righe alla dedicatoria al verso dello stesso. Testo inquadrato su tre lati da commento in caratteri di corpo inferiore. Capilettera ad acquarello color rosso, apposti negli appositi spazi ad inizio dei capoversi. Chiose e sottolineature cinquecentesche, non invasive, ubicate principalmente nella seconda parte del volume. Decorazione acquarellata a mano al frontespizio. Esemplare genuino, a buoni margini. Si tratta di una rara edizione originale delle sei satire di Persio annotate dall'erudito Giovanni Battista Plauzio (Fontanellato, ? - 1533), che fu docente di retorica presso lo Studio bolognese. L'opera venne poi ristampata a Venezia nel 1516 (Io. Rubeus Vercellensis) e nel 1520 (Bernardinus de Vianis de Lexona). In riferimento allo stampatore Caligola Bazalieri, così annota il Corbelli in "Storia della Stampa in Bologna": "Le sue edizioni sono sempre interessanti per il carattere, pel testo, per l'adornamento: tutte presentano una freschezza e una originalità che non trova riscontro in Bologna nel tempo suo, se non con quelle di Girolamo Benedetti" (in "La Bibliofilia", XXI, 78) . > Graesse, V, 211. Panzer, VI, 321 . Codice libreria 128976.

      [Bookseller: Studio Bibliografico Pera]
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        Collection of texts in Arabic. Istanbul, 908 AH [1502/03 AD].

      1502. 8vo (18 x 13 cm). 78 ff., naskh script with features of ta'liq, in several different hands. Half-leather Oriental binding with a flap and pasted boards. A collective volume with texts in Arabic on Arabic manuscript paper (for ff. 43-45 and from f. 73 onwards European paper is used). It was copied by Ahmad b. 'Uthman al-Arzan al-Rumi in the city of Qustantiniyya (Istanbul) in one of the eight madrasas (colophon in a later hand on f. 78a). - 1) ff. 1v-13v. Fragment without beginning or end, and possibly misbound, of a gloss on logic (Qala-aqulu structure). Possibly this is the commentary by Qutb al-Din al-Razi al-Tahtani (d. 766/1364) on al-Risala al-Shamsiyya fi al-Quawa 'id al-Maniqiyya, by Nagm al-Din 'Ali b. 'Umar al-Quazwini al-Katibi (d. 675/1276 or 693/1294), Gal G I, 466. Outb al-Din is mentioned on f. 1v. Heavy interlinear and marginal glossing. - 2) ff. 14b-59b. Gloss on logic (Qala-aqulu structure), apparently by al-Sayyid al-Sharif, whose name is mentioned variously. This is the gloss by al-Sayyid al-Sharif al-Gurgani (d. 816/1413), GAL G II, 216, on the commentary by Muhammad b. Qutb al-Din Muhammad al-Razi al-Tahtani (d. 766/1364), GAL G II, 209, on al-Risala al-Shamsiyya fi al-Qawa 'id al-Mantiqiyya, by Magm al-Din 'Ali b. 'Umar al-Qazwini al-Katibi (d. 675/1276, or 693/1294), GAL G I, 466, as confirmed by comparison with MS Berlin Mq. 63 (= Ahlwardt 5260). - 3) ff. 60a-78b. Acephalous fragment of a gloss on logic (Qala-aqulu structure). In the margin of f. 60a is the name "'Sayyid Tasdiqat'", which may indicate that his is another gloss by al-Sayyid al-Sharif al-Gurgani.

      [Bookseller: Antiquariat Inlibris]
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        Biblie iampridem renovate pars prima [with] Secunda pars huius operis in se continens glosam ordinariam..

      Basel: J. Froben, J. Petri, J. Amerbach, 1502. Second Edition. Hardcover (Full Leather). Good Condition. 2 volumes in mismatched early leather bindings - volume 1 in full calf, worn, boards detached, volume 2 in half leather over wood boards, remains of clasps, front board nearly detached, rear intact, old bookplate of John Howell (the bookseller) on front pastedown. First and last few leaves in volume 1 chipped at edges, title leaf rumpled and torn in the gutter with an old cross out, last leaf adhered to the one before in the gutter with a few small tears and minor worming - very good otherwise, mild uniform age toning, a few marginal notes in an early hand, minor scattered foxing. Woodcuts in both volumes, a few full page or nearly so. 377ff; 315ff. The first two volumes of Froben's monumental bible with commentary by Nicolas de Lyra as well as the glossa ordinaria, first published in 1498. Volume one contains the Pentateuch, volume two Joshua, Judges, Ruth, Kings, Paralipomenon (Chronicles), Ezra, Nehemiah, Tobit, Judith, Esther. It was one of the prime vehicles for Martin Luther's study of the bible. Size: Octavo (8vo). 2 volumes of the 6-volume set. Quantity Available: 1. Shipped Weight: Over 3 kilos. Category: Religion & Theology; Antiquarian & Rare. Inventory No: 046242.

      [Bookseller: Pazzo Books]
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        Sermones epistolares Bertrandi de sanctis

      (Georg Husner), 1502. 190x135 mm Tagli spruzzati. Lievi abrasioni e piccole sbucciature alla copertina antica indicazione di appartenenza e antico timbro (sbiadito) al frontespizio sporadici percorsi di tarlo (più pronunciati solo in una ventina di carte) ma sempre marginali e senza fast Semplici ma eleganti iniziali miniate in rosso

      [Bookseller: Libreria Antiquaria Giulio Cesare]
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        Lucanus.

      apud Aldum, 1502. Cm. 16,2, cc. (140). Legatura ottocentesca in mezza pelle, dorso liscio con fregi e titoli in oro su tassello. Reintegrazione ad un angolo (bianco) e qualche macchietta alla prima ed ultima carta. Margine destro del primo quaderno leggermente rifilato. Esemplare peraltro marginoso ed in buono stato di conservazione. Interessante edizione veneziana, la prima ad essere impressa dai torchi di Aldo e basata sulla stampa incunabola del 1483. Cfr. Renouard p. 33.

      [Bookseller: Studio Bibliografico Benacense]
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        Franciscus Niger. De modo epistolandi

      per Cristoforum de Pensis, 1502 die XV Aprilis. 8vo (cm. 19,5), 32 cc.nn. Legatura recente in mz. pergamena. Alcune annotazioni di mano coeva all’ Indice delle epistole sul retro del frontespizio. Ottimo stato di conservazione. Pregevole edizione di quest’opera in cui l’Autore, uno dei più apprezzati neolatini, fornisce vari esempi di lettere di circostanza. British Libr., p. 467. Il libro, raro, manca a tutte le altre bibliografie consultate.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Sermones Pomerii de Tempore Hyemales et Estivales.

      (Hagenau, Heinrich Gran für Johann Rynmann in Augsburg, 3. August 1502). Fol. 264 (das letzte weiß) nn. Bll. - Angeb. - Ders. Sermo[n]es Quadragesimales Pomerii. Ebda., 10. Juni 1502. 110 nn. Bll., Blindgepr. Ldr.-Bd. d. Zt. über Holzdeckeln. Der ungarische Franziskanermönch Pelbart von Temeswar (um 1435-1504) verfasste umfangreiche Bibelkommentare und Predigtsammlungen, die seit 1498 große Verbreitung fanden und zu den „Klassikern der Predigtliteratur“ gehören. Pelbarts Schriften sind heute noch eine wissenschaftlich bedeutende Quelle zur ungarischen Literatur des Spätmittelalters. - Einband stärker beschabt u. bestoßen sowie mit Wurmspuren (dadurch Kapitale m. Fehlstellen). Rücken mit etwas späterem Lederbezug. Rücken u. Vorderdeckel m. Nummernschild. Schließen fehlen. Innendeckel gestempelt. Erster Titel m. alten Besitzvermerken. Rückendeckel etw. geworfen. Durchg. unterschiedlich gebräunt, fleckig u. wasserrandig (die ersten u. bes. letzten Bll. stärker). Tlw. kl. Wurmspuren, Randläsuren, Eckknicke, Einrissen bzw. zeitgen. Marginalien. Ein Bl. m. beil. Randausriß. - Ad 1) VD16, P 1182. - Ad 2) VD16, P 1195. Versand D: 12,00 EUR Pelbartus de Temesvár, Sermones Pomerii de Tempore Hyemales et Estivales, Sermo[n]es Quadragesimales Pomerii, Predigt, Predigten, Predigtsammlung, Predigtsammlungen, Predigtensammlung, Predigtensammlungen

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Rhetorica

      Venice,J. et G. de Gregorius, 1502. La Rhétorique de Cicéron imprimée en 1502, conservée dans sa reliure peinte de l'époque. 1 volume in-8, plein veau brun, plats richement ornés d'encadrements de filets et de roulette à froid délimitant un rectangle central dans ses parties externes d'un entrecroisement de filets peints avec au centre une rosace dorée, dos à nerfs richement orné de multiples cordonnets à froid, tranches jaunes portant sur la tranche inférieure la mention d'époque écrite à l'encre : M.(arcus) T.(ullius) C.(icero) RHETORICA. Reliure strictement de l'époque non restaurée. 166 x 113 mm. TRÈS RARE SECONDE ÉDITION DE LA RHÉTORIQUE DE CICÉRON DONNÉE PAR RAPHAËL REGIUS IMPRIMÉE POUR LA PREMIÈRE FOIS À CRACOVIE EN 1500. Ce célèbre traité de Rhétorique en quatre livres fut composé à rome en 85 avant Jésus-Christ. La Rhétorique fut le livre de référence, des siècles durant, des étudiants européens et à ce titre, ce texte est rarement conservé en fraîche reliure de l'époque. EXEMPLAIRE PARFAIT, PUR, À GRANDES MARGES, ENRICHI DE NOTES MANUSCRITES DU TEMPS, CONSERVÉ DANS SA TRÈS INTÉRESSANTE RELIURE PEINTE DE L'ÉPOQUE NON RESTAURÉE ET PARFAITEMENT CONSERVÉE. Référence : BM STC. It. P. 183. IA. 137 225 ne répertorie que 2 exemplaire BL et Folger.

      [Bookseller: Librairie Sourget]
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        San Giorgio in piedi

      1502. Bulino, circa 1502, monogrammato in lastra in basso a sinistra. Esemplare nella prima variante di sei descritta dal Meder, con il graffio di lastra verticale nella parte superiore destra. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L'incisione illustra la leggendaria uccisione di un drago ad opera di San Giorgio. Il Santo, qui raffigurato nell'atto finale, nel momento di vittoria sul drago ucciso, domina la scena con la sua possente corazza, armato di spada e della lancia che tiene con la sinistra. L'elmo piumato è deposto a terra, sulla sinistra, mentre sulla destra giace il drago, parzialmente occultato dietro le gambe del Santo, a conferirgli maggiore rilievo. Sullo sfondo si distingue un paesaggio marino con un centro abitato. Circa la data di esecuzione della stampa, i pareri sono discordanti. Alcuni riconducono l'opera agli anni 1507 - 1508, quando l'imperatore Massimiliano I mostrava particolare interesse per l'ordine di San Giorgio, fondato da suo padre. Con l'aiuto del Santo l'imperatore sperava di poter allestire una crociata contro i Turchi, progetto che maturò proprio nel 1507. Panofsky ne anticipa l'esecuzione di tre o quattro anni, mentre Hollstein e Strauss la riconducono al 1502, dal momento che a partire dal 1503 Dürer datò tutte le sue opere. A far propendere per questa datazione, è anche l'omogeneità stilistica e compositiva (una figura che domina la scena sullo sfondo di un paesaggio marino) con Lo Sbandieratore, che la precede in questo catalogo e che risalirebbe proprio al 1502. Il tema di San Giorgio e il drago ricorre frequentemente nelle opere artistiche per il forte valore simbolico di cui è portatore: il drago rappresenta il male, in particolare per i primi cristiani rappresentava il paganesimo. La conversione di una nazione al cristianesimo veniva rappresentata simbolicamente come un mostro ucciso da un guerriero corazzato armato di lancia, simbolo della fede cristiana. Così veniva rappresentato San Giorgio, a significare la conquista della Cappadocia - regione che diede i natali al santo - alla fede cristiana. Engraving, circa 1502, signed at lower left. Meder a impression, with the vertical scratch nea the upper half of the right edge. Very good impression, printed on laid paper, trimmed to the platemark, in very good conditions. The engraving shows the legendary slaying a dragon by St George. The Saint, pictured here in the final act , in the moment of victory over the dragon slain, dominates the scene with his powerful armor , armed with sword and spear holding with his left hand . The plumed helmet is placed on the ground , on the left , while on the right lies the dragon, partially hidden behind the legs of the saint, to give it greater prominence. In the background stands a seascape with a town. About the date, the opinions are divided. Some relate the work to the years 1507 - 1508 , when Emperor Maximilian I showed particular interest in the Order of St. George, founded by his father. With the help of the Holy Emperor hoped to set up a crusade against the Turks , a project that just matured in 1507. Panofsky anticipates the execution of three or four years, while Hollstein and Strauss lead back to 1502, since starting from 1503 Dürer dated it all his works. To do this favor for dating, it is also the stylistic and compositional homogeneity ( a figure that dominates the scene in the background of a sea landscape ) with The flag - waver that just goes back to 1502. The theme of St. George and the dragon occurs frequently in works of art for the strong symbolic value which is the bearer of the dragon represents evil , especially for the early Christians represented paganism . The conversion of a nation to Christianity was represented symbolically as a monster killed by an armored warrior armed with a spear , the symbol of the Christian faith . So was represented St. George , signifying the conquest of Cappadocia - a region that gave birth to the holy - the Christian faith. Bartsch 53; Meder, 55 a/f; Strauss 36 115 72

      [Bookseller: Libreria Antiquarius]
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        Epistolae. Edited by Philippus Beroaldus.

      Bologna, Benedictus Hectoris, 19 October 1498 [misdated: 1502]. - 4to. [140] leaves. Roman letter interspersed with occasional quotations in Greek. 27 lines. Printer's mark at end of book IX, and at end. 18th century vellum; rebacked. A distinguished redaction of the celebrated letters of Pliny the Younger (c.6I-c.112 AD) by the noted Renaissance scholar Filippo Beroaldo (1453-1505). The ten books of letters on a variety of subjects composed in the style of short essays, are a major source for our knowledge of the times. The famous letter 16 (book 6), addressed to his friend Tacitus, describes the eruption of Vesuvius on 24 August AD 79 during which the author's uncle, Pliny the Elder, died. Letter 59 (book 10) to the Emperor Trajan on the treatment of the Christians, is considered the earliest external account of Christian worship, and the fullest statement of the reasons for the execution of Christians; Trajan expresses his approval in his reply in the following letter (60). The volume concludes with the panegyric to Trajan, delivered when Pliny took office as consul for the year 100, in which the emperor is favourably compared to the tyrannical Domitian who preceded him. Traces of marginal waterstaining throughout, title margin neatly repaired without loss, otherwise a clean copy with occasional manuscript notes in Latin penned into blank margins in several neat humanist hands. BMC VI 844; Goff P-810; HC*13115; Polain (B) 3206; Proctor 6639. [Attributes: First Edition; Hard Cover]

      [Bookseller: Hünersdorff Rare Books ABA ILAB]
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        Lucanus [Pharsalia]

      apud Aldum, mense aprili 1502. In - 8° antico (163x98mm), ff. 140 nn, legatura moderna in p. marocchino bicromo (verde ai piatti, marrone al dorso) con titolo in oro al dorso e custodia. Sguardie marmorizzate. Spazi guida per i capilettera. Carattere corsivo. Explicit al recto dell'ultima carta. Una firma dell'epoca al titolo. Qualche fisiologica fioritura. Leggermente rifilato in testa. Ottimo esemplare. Prima edizione aldina della "Pharsalia", uno dei massimi poemi della latinità, incentrata sulla guerra civile che contrappose Cesare a Pompeo sino alla decisiva battaglia di Farsalo. L'edizione è esemplata su quella veneziana del Bevilacqua del 1493 con i commenti di Johannes Sulpicius, "sauf les corrections qu'Alde a pu recueillir de l'ancien et bon manuscrit que dans sa préface il annonce lui avoir été communiqué par Ant. Mauroceno, à qui ce volume est dédié" (Renouard). Le ultime carte riportano la vita di Lucano ed un passo di Tacito. Renouard, p. 33, n. 3. Ahmanson - Murphy, 56. Adams, L - 1557. STC Italian, p. 395. Firmin - Didot, p. 208. Dionisotti / Orlandi, n. XXXVI. Laurenziana, n. 59. Marciana, n. 59. UCLA, 44. EDIT16 CNCE 36129. Latino

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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