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Displayed below are some selected recent viaLibri matches for books published in 1505


         De fide concubinarum in sacerdotes. Questio accessoria causa ioci & urbanitatis in quodlibeto Heidelberge(n)si determinata. O.Ort, Drucker und Jahr.

      - (Basel, J. Wolff, um 1505). 4to. 25 Bl. Mit großem altkolorierten Titelholzschnitt u. 11 großen kolorierten Textholzschnitten (davon 1 wiederholt). Pappband d. späten 19. Jahrhunderts (fleckig u. berieben). Derbe vorreformatorische Kritik an einem sittenlosen Klerus, dem das Keuschheitsgelübde nur noch ein Lippenbekenntnis war, das durch andere "Lippenbekenntnisse" ständig gebrochen wurde. In Form einer frei vom Leder ziehenden sog. Quodlibet-Disputation unter dem (fiktiven?) "egregio magistro" Johann Hilt aus Rottweil abgefasst und dadurch auch sprachlich von Interesse: der lateinische Text ist ständig mit deutschen Sätzen und Halbsätzen durchsetzt. Die Ausgabe enthält ferner ab Blatt B 4 verso in der gleichen Manier: De fide meretricum in suos amatores (Über die Treue der Dirnen zu ihren Buhlschaften) von Jakob Hartlieb aus Landau. "Hartliebs Rede gehört zu jenen ergötzlichen akademischen Scherzreden oder Quaestiones fabulosae seu facetosae, die, bis in die neuere Zeit herab nur als pseudonyme Pamphlete betrachtet, zu ihrer Zeit öffentlich vorgetragen wurden und das (damalige) Universitäts- und Kulturleben wie wenige andere Äußerungen auf eine drastische und anziehende Weise zu charakterisieren geeignet sind. Und gerade Hartliebs Schrift gehört ihres kulturhistorischen Inhalts wegen zu den interessantesten ihrer Art" (ADB 10, 669 f). Der eigentliche Zweck der Rede war, die studierenden Jünglinge sittlich zu ermuntern, dass sie sich nicht die verderbten Pfaffen zum Vorbild nähmen. Mit vielen eingestreuten teils lateinischen, teils deutschen Gedichten. Der besondere Reiz der Ausgabe aber sind die bildkräftigen, im vorliegenden Exemplar nicht ganz sauber, aber hübsch kolorierten Holzschnitte des als "Meister DS" bezeichneten Basler Formschneiders (Thieme/B. 37, 387). - Erman/Horn I, 7350; VD 16, O 663; vgl. Hohenemser 3893; Hayn/Got. I, 665 f. (andere Ausgaben; "sämmtliche Drucke sind Seltenheiten!") u. III, 95 (Hartlieb). - Durchgehend braun- u. fingerfleckig, leicht gebräunt. Einige Unterstreichungen u. Marginalien von alter Hand, Titel mit alten Einträgen in roter Tinte. Im Innendeckel Bibliotheksschild "von Schencksche Fidei-Kommiss-Bibliothek" u. kl. Signatur in Kugelschreiber. [Attributes: Hard Cover]

      [Bookseller: Buch & Consult Ulrich Keip]
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         Hær begynnes skonskæ logh paa ræth danskæ och ær skifft i xvij bøgher oc hwer bogh haffuer sith register. Oc ær wæl offuer seeth och rættelighe corrigeret [Here begins the Scanian law in Danish and is partitioned into xvij books and each book has its index .]. Copenhagen, G. aff Gemen, 1505. 4:o. A6-Q6,R5 = (101) leaves. Woodcut vignettes on both sides of title leaf and on the last page, initials coloured in red in the text.

      1505 - Nice early 18th-century half calf, slightly worn, with raised bands, richly gilt spine and red label. Front endpaper lacking, scattered stains, partly with dampstains, mainly in the margins. Somewhat closely cut in upper margin in places, title leaf closely cut and bettered in margins in connection with the binding. Repair in lower margin on leaf I6. Closing leaf rather soiled, a few additions in ink in the margins. Signature of Torkel Klevenfeldt, crowned bookstamp on spine, bookplate of the Ericsberg Library in Sweden. Nielsen 134. Thesaurus 170. This edition by the printer Ghemen was not officially sanctioned and is one of the oldest printed law editions in Scandinavia and the first on Scanian law. With its elegant typography and hand-coloured initials the book has preserved the sense of the medieval law manuscripts. The Dane Terkel Klevenfeldt (1710-77) was a genealogist and collector of historical books and manuscripts, not least those with a philological content. [Attributes: Hard Cover]

      [Bookseller: Mats Rehnström Rare Books SVAF, ILAB]
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         Praestantissima atque imprimis latialibus musis idonea Plutarchi Cheronei opuscula tria. Ex vers. Guillaume Budé.

      Paris, 1505. 1 w. Bl., 48 unnum. Bll. Prgt. aus altem Material, mit 4 Bindebändern. 20 x 14 cm. Graesse V, 362. - Enthalten sind: De fortuna romanorum I.I. De fortuna et virtute Alexandri I. + II. De tranquillitate et securitate Amini I.I. - Gebräunt und zum Teil stärker fleckig. Im Text vereinzelt mit kleinen Anmerkungen, Notizen und Anstreichungen von alter Hand. Mehrere Seiten im Falz mit schmalen Papierstreifen verstärkt. Versandkostenfreie Lieferung

      [Bookseller: Antiquariat Uwe Turszynski]
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         ECCE homo.

      - Xilografia originale su carta vergellata antica, da una matrice della fine del XV - inizio XVI secolo, tirata nel XVIII secolo o nella prima metà del XIX secolo dagli editori Soliani di Modena che detenevano una ricca collezione di matrici lignee antiche. Mm. 388x310. Non è presente, nell'angolo inferiore sinistro il monogramma LC 1505, aggiunto da Pietro Barelli che aveva acquisito la collezione Soliani, nella seconda metà del XIX secolo. La critica moderna riconosce alla xilografia un tipologia fisiognomica di impianto mantegnesco, presente nelle incisioni veneziane, oltreché lombarde, tra fine XVI e inizio XVI secolo. La tiratura del legno è senz'altro tarda, come del resto quelle conservate al Kupferstichkabinett di Berlino, al Museo di Cincinnati, al Metropolitan Museum di New York, poiché, pur non recando il monogramma, aggiunto successivamente dal Barelli, testimonia uno stato della matrice piuttosto usurato: una fessura verticale che parte dal margine superiore, gli angoli rovinati, la fascia verticale destra della cornice non del tutto integra. Alla Biblioteca Civica Attilio Hortis di Trieste è conservato un esemplare in tiratura più tarda col monogramma aggiunto dal Barelli. Il nostro foglio è in ottime condizioni di conservazione.

      [Bookseller: Libreria Oreste Gozzini snc]
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         DECRETALIU[M] D[OMI]NI PAPE GREGORII NONI : ACCURATA DILIGENTIA EMENDATUS SUMMOQ[UE] STUDIO ELABORATUS : CU[M] MULTIPLICIB[US] TABULIS ET REPERTORIIS AD MATERIAS QUASCU[M]Q[UE] DILIGE[N]TER INUENIE[N]DAS APTISSIMIS

      Paris: Thielman Kerver, September, 1505. This compilation of papal decretals (i.e., authoritative decisions by a pope on matters of canon law) was made in 1230-34 in order to update, complete, and supersede the six previous collections, the first of which was made by Gratian around 1150. Compiled for the pope by the Catalan canonist Raymond of Peñaforte, Gregory's was the first complete and authoritative collection of papal decretals, and it persisted as the fundamental source of canon law until the 20th century. In 1500, French jurist Jean Chappuis edited the decretals of Gratian, Gregory IX, Boniface VIII, and Clement V into the Corpus Juris Canonici (the body of canon law), and it was as part of this series that our volume appeared. The gloss here is by Bernard of Botone, also known as Bernard of Parma (d. 1263), chair of canon law and later chancellor of the University of Bologna. Educated at the universities of Bologna and Paris, Gregory IX (ca. 1145-1241), the former Cardinal Ugolino, was from the noble family of the counts of Segni and nephew of Innocent III. While still a cardinal, Gregory was an enthusiastic supporter of Saint Francis and his movement. After a long career as a diplomat for the papacy, Gregory was elected pope in 1227 when he was some 80 years old and at a time when the papacy was at the height of its power.. 240 x 170 mm. (9 1/2 x 6 1/2"). 30 p.l. (last blank), cccccxxxii leaves.Text in double columns, surrounded by the glossa of Bernard Bottoni with additions of Joannes Andreae. Contemporary stiff vellum, faded ink titling on spine. Printer's device on title and on verso of final page, woodcut of the pope receiving the text on leaf [4] verso (with verse captions, the first initials of each line spelling Iohannes Chappuis), full-page woodcut charts "Arbor consanguinitatis" and "Arbor affinitatis" on leaf 412v and 413r, respectively. Vellum somewhat soiled, very small chips to head and tail of spine, top half of rear joint cracked, separation of paper at hinge before title page, but the original binding still entirely solid and not displeasing. Title leaf faintly soiled and with its lower half renewed (though without loss on either side), light dampstain to tail edge of most leaves (always confined to margin, and mostly very inconspicuous), other trivial imperfections, but still an extremely good copy internally because the text especially clean and fresh. This compilation of papal decretals (i.e., authoritative decisions by a pope on matters of canon law) was made in 1230-34 in order to update, complete, and supersede the six previous collections, the first of which was made by Gratian around 1150. Compiled for the pope by the Catalan canonist Raymond of Peñaforte, Gregory's was the first complete and authoritative collection of papal decretals, and it persisted as the fundamental source of canon law until the 20th century. In 1500, French jurist Jean Chappuis edited the decretals of Gratian, Gregory IX, Boniface VIII, and Clement V into the Corpus Juris Canonici (the body of canon law), and it was as part of this series that our volume appeared. The gloss here is by Bernard of Botone, also known as Bernard of Parma (d. 1263), chair of canon law and later chancellor of the University of Bologna. Educated at the universities of Bologna and Paris, Gregory IX (ca. 1145-1241), the former Cardinal Ugolino, was from the noble family of the counts of Segni and nephew of Innocent III. While still a cardinal, Gregory was an enthusiastic supporter of Saint Francis and his movement. After a long career as a diplomat for the papacy, Gregory was elected pope in 1227 when he was some 80 years old and at a time when the papacy was at the height of its power.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         SEXTI LIBRI MATERIA CU[M] CAPITULORU[M] NUMERO. [LIBER SEXTUS DECRETALIUM]. [bound with] [CLEMENT V]. CLEME[N]TINARU[M] MATERIA CU[M] CAPT'ORU[M] [ET] TITULORU[M] NUMERO. [bound with] [CHAPPUIS, JEAN]. EXTRAVAGANTES COMMUNES

      Paris: Thielman Kerver, 1505. FIRST EDITION of the third work. These three works are part of the Corpus Juris Canonici series compiled by French jurist Jean Chappuis in the early 16th century and printed by Kerver in 1505. The first is an important work of canon law by the pope consigned to hell in Dante's "Inferno" for simony, the selling of holy offices. Boniface VIII (ca. 1235-1303) saw the papacy as having temporal as well as spiritual dominion and was much involved in international politics of the day. He was also an eminent expert on canon law. Produced at the request of the University of Bologna and promulgated by Boniface in 1298, the "Liber Sextus" contains the third part of Medieval canon law (the name comes from its being viewed as an addition to the five books of the Decretals of Gregory IX). Britannica notes that the text "includes the constitutions subsequent to 1234, and notably the decrees of the two ecumenical counsels of Lyons." The last portion of the work, entitled "De Regulis Juris," contains memorable legal axioms, mostly borrowed from Roman law. Among these is "ignorance of the law is no excuse." The second work, commonly known as the "Clementinae" contains the decretals of the first Avignon pope, Clement V (ca. 1260-1314), along with those of the Council of Vienne. In the final work, Chappuis sets forth 74 laws drawn from the decretals of Sixtus IV (1414-84). Printer Thielman Kerver the elder (d. 1522) came from Koblenz to Paris around 1497, and began printing works for the foremost Parisian publisher, Jean Petit, who was preeminent in the Paris book world for some 35 years, beginning about 1495. ISTC lists Kerver as the printer of 70 works, nearly half of them Books of Hours. Kerver's son Jacques married Petit's daughter and became a prominent printer in his own right.. 240 x 175 mm. (9 1/2 x 7"). 4 p.l., cclxxiiii, [10] leaves; cviii, [6] leaves (last blank); lx, [4] leaves. Three separately published works bound in one volume. Edited by Jean Chappuis. FIRST EDITION of the third work. Contemporary stiff vellum, flat spine with ink titling. With printer's device in all three works, many criblé initials throughout, first work with full-page woodcuts "Arbor Consanguinitatis" and "Arbor Affinitatis," and the first two works with a woodcut of the laws being presented to the pope. Printed in red and black. The vellum covering the spine defective (an inch chipped away at head, front joint split along the top half, two smaller cracks), title page a little soiled and foxed right at top and fore edge, dampstain in tail margin in perhaps a third of the book (but usually quite faint, and only touching the text on four leaves), other minor defects internally, but still a very good copy: the binding solid despite the spine damage, and the text especially clean, fresh, and bright. These three works are part of the Corpus Juris Canonici series compiled by French jurist Jean Chappuis in the early 16th century and printed by Kerver in 1505. The first is an important work of canon law by the pope consigned to hell in Dante's "Inferno" for simony, the selling of holy offices. Boniface VIII (ca. 1235-1303) saw the papacy as having temporal as well as spiritual dominion and was much involved in international politics of the day. He was also an eminent expert on canon law. Produced at the request of the University of Bologna and promulgated by Boniface in 1298, the "Liber Sextus" contains the third part of Medieval canon law (the name comes from its being viewed as an addition to the five books of the Decretals of Gregory IX). Britannica notes that the text "includes the constitutions subsequent to 1234, and notably the decrees of the two ecumenical counsels of Lyons." The last portion of the work, entitled "De Regulis Juris," contains memorable legal axioms, mostly borrowed from Roman law. Among these is "ignorance of the law is no excuse." The second work, commonly known as the "Clementinae" contains the decretals of the first Avignon pope, Clement V (ca. 1260-1314), along with those of the Council of Vienne. In the final work, Chappuis sets forth 74 laws drawn from the decretals of Sixtus IV (1414-84). Printer Thielman Kerver the elder (d. 1522) came from Koblenz to Paris around 1497, and began printing works for the foremost Parisian publisher, Jean Petit, who was preeminent in the Paris book world for some 35 years, beginning about 1495. ISTC lists Kerver as the printer of 70 works, nearly half of them Books of Hours. Kerver's son Jacques married Petit's daughter and became a prominent printer in his own right.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         Vermerckt den vertrag zwischen Hertzog Ruprechten und hertzog Jorgens gelassen Landtschafft zu Lannczhut auffgericht.

      ohne Drucker (Hans Froschauer), Ohne Ort (Augsburg) 1505 - ohne Jahr (1505). 8vo. (ca. 18,5 x 13,5 cm). Umschlag des 19. Jahrhunderts mit handschr. Deckeltitel, 8 Bll. Mit großem Wappenholzschnitt auf dem Titelblatt. VD16 B 1085. Proctor 10621. - Seltenes Dokument aus der Endphase des Landshuter Erbfolgekriegs, verfaßt und im Druck erschienen erst nach dem Tod von Herzog Ruprecht (20. August 1504), mit folgendem Schlußtext: "Geben zu Troßberg under unser Rudolffen fursten zu Anhalt, . potschafften versigelt am andern Tag Novembris. Anno quarto 15". Rudolf, Fürst von Anhalt (1466-1510), war enger Vertrauter Maximilians von Österreich und wirkte im Landshuter Erbfolgekrieg u.a. bei der Eroberung Kufsteins mit. Er und die nachfolgend genannten Sigmund Graf von Lupfen, Leonhard von Vels und Georg von Seinsheim waren unter Reinprecht von Reichenburg am Feldzug nach Niederbayern beteiligt. - Titel mit ergänztem Ausriss von ca. 2 cm unten und kleinem Randloch (ohne Textverlust), etwas stärker braun-, stock- und wasserfleckig, sehr selten. 200 Gramm. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Dr. Wolfgang Wanzke]
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         [First five lines in Greek transliterated as] Anthologia diaphoron epigrammaton, archaiois suntetheimenon sophois, epi diaphorois hypothesesin, eis hepta tmemata dieremene. [then in Latin] Florilegium diversorum epigrammatum in septem libros distinctum, diligenti castigatione emendatum. Cui nonnulla nuper inventa in fine adiecta sunt, una cum indice tam rerum, guam auctorum copiosissimo.

      Venetiis: Apud Aldi filios, 1550

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Rariensis expo-sitiones in psalmos

      Lazarum Soardum, Venetiis 1505 - In 16, cc 58, carattere gotico, 27 linee, bei capolettera ornati a fondo nero, piccola xilografia al verso di carta 3, grande xilografia al frontis, , grande marca tip. a fondo nero a carta 58, legatura bella mezza pergamena antica posteriore, piatti con foglio messale del XVI secolo in rosso e nero, lieve restauro alle sguardie antiche, qualche lieve alone marginale, esemplare molto bello, nitido e marginato, rarissimo postincunabolo. 1 volume in 16°, cc 58, gothic type, 27 lines, nice initial letters decorated in black, small woodcut on the leaf 3, large woodcut on the frontispiece, large typographic mark on black background at leaf 58, old half-parchment binding back, covers with 16th-century missal leaves in black and red, marginal restorations, few marginal halos, very nice copy, sharp with wide margins, very rare post-incunable. [Attributes: Hard Cover]

      [Bookseller: Redaelli Alberto]
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         Monographie de la canne a sucre de la Chine dite sorgho a sucre.Marseille, Arnaud et compagnie, 1856. 8vo. With a hand-coloured plate entitled "Specimen de couleurs obtenues de la canne a sucre de la Chine (dite Sorgho à Sucre)", showing 21 colours that can be extracted from the sugarcane. Original publisher's printed paper wrappers.

      - Cordier, Sinica, 1505. First(?) edition of a work on the cultivation and applications of the Chinese sugarcane, here often called sorgho, written by Adrien Sicard (b. 1816), an agronomist and doctor from Marseille. Sicard, who tried to acclimatize the cane in France, deals with the cultivation, growth, ripening, structure and composition of the sugarcane, commenting on the extraction of juice from the cane, the cane's commercial value (the production of sugar, alcohol, wine, rum, vinegar), the study of its seed and more. Included at the end is a hand-coloured plate, depicting 21 colours that can be produced from the Chinese sugarcane.With the ex-libris of Napoleon III, engraved by Emile Lesache, bound in. Some occasional minor stains, hand-coloured plate somewhat browned. Overall in good condition.

      [Bookseller: ASHER Rare Books]
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         Epistole di Luca de Pulci al magnifico Lorenzo de Medici

      Venice: Manfredo Bonelli, 1505. 8vo (147x97 mm); modern stiff vellum, flat spine with gilt ornaments, panels with gilt title and date and at the center the emblem Torre del Palasciano in gilt (Gozzi, Modena, 1970); (40) ll. Title-page within a woodcut border made of four different blocks (already used for a 1491 edition of Aesop). Bookplate Aldofo Tura. Ownership's inscription on the title-page faded and partially erased: "Ex lib. […] Grat.". Some marginal foxing. A nice copy.FIRST 16TH-CENTURY EDITION (the seventh overall after the first issued in Florence by Antonio di Bartolommeo Miscomini on February 1481). During the century the work was reprinted seven more times.The collection, dedicated to Lorenzo de' Medici, contains 18 letters in terzine freely inspired by Ovid's Heroides. But that of Pulci is not a translation or an adaptation of the Latin text, it is a completely new work in which also male characters are introduced and which does not aspire to have the thematic and historical uniformity of the original. The first letter is addressed by Lucrezia Donati to Lorenzo de' Medici (cf. S. Carrai, Imitazione e reminiscenze ovidiane nelle 'Pístole' del Pulci, in: "Le muse dei Pulci: studi su Luca e Luigi Pulci", Naples, 1985, pp. 25-34).Pulci's Epistole (or Pístole) were extremely popular in the 15th and 16th century. In the list of books quoted in the Codex Atlanticus, Leonardo mentions Pulci's work, which was evidently one of his readings (cf. E. Solmi, Le fonti dei manoscritti di Leonardo da Vinci. Contributi, in: "Giornale Storico della Letteratura Italiana", suppl. 10-11, 1908, pp. 219 and 254).Pulci's Epistole was a typical product of the Medici literary circles, the same that produced Burchiello's sonnets and Luigi Pulci's (Luca's brother) Morgante: i.e. the produce of an educated literature nurtured by tavern and street conversation, improvisation, popular tales, jests, epic poems and cantari.Luca and Luigi were scions of the noble and ancient Pulci family, Guelph in tradition and supposedly French in origin. Luca, Luigi's elder brother, went to Rome to work in a bank, but fortune eluded him and he died in prison at the age of thirty-nine. He also wrote the poems Driadèo d'Amore and Ciriffo Calvanèo.No copy in America of this edition. Edit 16, CNCE69334 (one copy at the Vatican Library); Essling, 1499 (mentioning our copy); Sander, 6007.

      [Bookseller: Govi Rare Books LLC ]
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         I. Aurelius Augurellus [poemata].

      Venetiis: In aedibus Aldi, 1505. 8vo (16.3 cm; 6.375"). [256] pp. First edition of the Italian humanist and alchemist Giovanni Aurelio Augurelli's collected poetry, containing Ioannis Aurelii Augurelii iambicus liber primus, secundus; Sermonum liber primus, secundus; Carminum liber primus, secundus; and Libellus iambicus super additus. As Renouard notes, the first book of Carmina was previously printed by the Aldus firm in 1491.    Of special note is the poem "Chrysopoeia" (k1r–k3v) on => the philosopher's stone, foreshadowing Augurello's major 1515 work of the same title on the transmutation of metals into gold.    The classic Aldine printer's device appears on the final page of this text.    Provenance: From the library of American collector Albert A. Howard (sans indicia).         Adams A2152; Goldsmid, Aldine Press at Venice, 73; Renouard, Alde, 49.2; Index Aurel. *110.036; EDIT16 CNCE 3381; UCLA, Aldine Press: Catalogue of the Ahmanson-Murphy Collection (2001), 89. Period style medium brown calf, spine lettered in gilt, raised bands accented with blind fillets extending onto covers to terminate in trefoils; covers framed in blind with trefoils at forecorners, green silk ribbon bookmark present and all edges gilt. Light pencilling on endpapers; offsetting from previous binding to first and last few leaves. => A clean, lovely copy.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Monographie de la canne a sucre de la Chine dite sorgho a sucre.Marseille, Arnaud et compagnie, 1856. 8vo. With a hand-coloured plate entitled "Specimen de couleurs obtenues de la canne a sucre de la Chine (dite Sorgho à Sucre)", showing 21 colours that can be extracted from the sugarcane. Original publisher's printed paper wrappers.

      Cordier, Sinica, 1505. First(?) edition of a work on the cultivation and applications of the Chinese sugarcane, here often called sorgho, written by Adrien Sicard (b. 1816), an agronomist and doctor from Marseille. Sicard, who tried to acclimatize the cane in France, deals with the cultivation, growth, ripening, structure and composition of the sugarcane, commenting on the extraction of juice from the cane, the cane's commercial value (the production of sugar, alcohol, wine, rum, vinegar), the study of its seed and more. Included at the end is a hand-coloured plate, depicting 21 colours that can be produced from the Chinese sugarcane.With the ex-libris of Napoleon III, engraved by Emile Lesache, bound in. Some occasional minor stains, hand-coloured plate somewhat browned. Overall in good condition.

      [Bookseller: ASHER Rare Books (Since 1830)]
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         Epistolae familiares cum commentarii ed Jodocus Badius AscensiusLyon Jacques Sacon for Jacques Huguetan August

      Jacques Huguetan's device on title-page, initials. Folio. [14] CCXXXVIff. Contemporary blind-stamped pigskin over wooden boards, brass cornerpieces on upper cover with four bosses and corner guards on lower cover (clasps missing, remains of hasp)  

      [Bookseller: Maggs Bros. Ltd.]
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         I. Aurelius Augurellus [poemata].

      Venetiis: In aedibus Aldi, 1505. 8vo (16.3 cm; 6.375"). [256] pp. First edition of the Italian humanist and alchemist Giovanni Aurelio Augurelli's collected poetry, containing Ioannis Aurelii Augurelii iambicus liber primus, secundus; Sermonum liber primus, secundus; Carminum liber primus, secundus; and Libellus iambicus super additus. As Renouard notes, the first book of Carmina was previously printed by the Aldus firm in 1491.    Of special note is the poem "Chrysopoeia" (k1r–k3v) on => the philosopher's stone, foreshadowing Augurello's major 1515 work of the same title on the transmutation of metals into gold.    The classic Aldine printer's device appears on the final page of this text.    Provenance: From the library of American collector Albert A. Howard (sans indicia).         Adams A2152; Goldsmid, Aldine Press at Venice, 73; Renouard, Alde, 49.2; Index Aurel. *110.036; EDIT16 CNCE 3381; UCLA, Aldine Press: Catalogue of the Ahmanson-Murphy Collection (2001), 89. Period style medium brown calf, spine lettered in gilt, raised bands accented with blind fillets extending onto covers to terminate in trefoils; covers framed in blind with trefoils at forecorners, green silk ribbon bookmark present and all edges gilt. Light pencilling on endpapers; offsetting from previous binding to first and last few leaves. => A clean, lovely copy.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         ECCE homo.

      Xilografia originale su carta vergellata antica, da una matrice della fine del XV - inizio XVI secolo, tirata nel XVIII secolo o nella prima metà del XIX secolo dagli editori Soliani di Modena che detenevano una ricca collezione di matrici lignee antiche. Mm. 388x310. Non è presente, nell'angolo inferiore sinistro il monogramma LC 1505, aggiunto da Pietro Barelli che aveva acquisito la collezione Soliani, nella seconda metà del XIX secolo. La critica moderna riconosce alla xilografia un tipologia fisiognomica di impianto mantegnesco, presente nelle incisioni veneziane, oltreché lombarde, tra fine XVI e inizio XVI secolo. La tiratura del legno è senz'altro tarda, come del resto quelle conservate al Kupferstichkabinett di Berlino, al Museo di Cincinnati, al Metropolitan Museum di New York, poiché, pur non recando il monogramma, aggiunto successivamente dal Barelli, testimonia uno stato della matrice piuttosto usurato: una fessura verticale che parte dal margine superiore, gli angoli rovinati, la fascia verticale destra della cornice non del tutto integra. Alla Biblioteca Civica Attilio Hortis di Trieste è conservato un esemplare in tiratura più tarda col monogramma aggiunto dal Barelli. Il nostro foglio è in ottime condizioni di conservazione.

      [Bookseller: Libreria Antiquaria Gozzini]
 16.   Check availability:     maremagnum.com     Link/Print  


         De integritate Libellus cum epistolis prestantissimoru virorum hunc libellum approbantium & confirmantium. Ringmanni Philesij lambicumad ephoebos.

      8. 37 Bll. Halbpergament (19. Jahrh.). VD16, ZV 16599 Knepper, Wimpheling XIII. - Zweite Ausgabe. Die bereits im Jahr 1505 erschienene Schrift Wimpfelings über die Sittenreinheit löste heftigen Widerspruch u.a. der gescholtenen Mönche aus. Mit der hier vorliegenden 2. Ausgabe konnte Wimpfeling die namhaftesten Humanisten der Zeit in Form von Zustimmungsbriefen hinter sich vereinen. Der Schrift vorangestellt ist ein Gedicht in Form eines Akrostichon des Matthias Ringmann, der zusammen mit Martin Waldseemüller Amerika den Namen gab. Zu den Unterstützern Wimpfelings gehören u.a. die Humanisten Heinrich Bebel, Ulrich Zasius und Beatus Rhenanus. Sehr schönes Beispiel der Bereitschaft der Humanisten füreinander einzutreten und sich dazu öffentlich zu bekennen. - Die seltene Postinkunabel in sehr guter Erhaltung.

      [Bookseller: Altstadt Antiquariat]
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         14/15 Jhdt. Inkunabel Einband mit Abildung des heiligen Eligius aus Frankreich

      Einbanddecke mit punzierter Darstellung des Wunders des Heiligen Eligius. Innen leere Blätter eingehangen. Kopert Einband. Eligius vor dem Amboss mit Hufeisen stehend, hinter ihm zur Rechten das Feuer mit Balg und Schmiedewerkzeugen, vor ihm zur Linken ein Stall mit Pferd und Geselle. Am Rücken mit ornamentalen Plattenstempeln. Traumhafter Uralter Ledereinband aus Frankreich. In der Gegend von Noyon wird Eligius im Mittelalter bis heute hoch verehrt. Das Alter des Einbandes ist selbst für Spezialisten schwer zu erkennen. Das alte Vorsatzpapier hat ein Wasserzeichen, was auf die Zeit um 1505 schließen lässt. Der Einband dürfte aber viel älter sein. Siehe dazu Beschreibung vom anderen Einband (in einer weiteren Auktion von mir) der sehr ähnlich aussieht, fast Baugleich ist und wohl aus der gleichen Zeit stammt. Ich hatte die Einbände mehreren Experten vorgestellt, vergleichbare Exemplare sind nicht bekannt. Die Verehrung und die Wallfahrt zu Eligius breitete sich besonders in Nordfrankreich und Belgien, darüber hinaus in ganz Europa aus und erlebte im 13. / 14. Jahrhundert ihren Höhepunkt. Möglich wäre der Einband aus dieser Zeit. Größe vom Einband 29x24 cm. Wasserzeichen ist ein gotisches P, darüber Kleeblatt. Einkonturig auf Bindedraht ohne Gegenzeichen. Größe vom P = Höhe 40 mm Breite 16 mm, Größe vom Kleeblatt 12x12 mm, Abstand Drähte 23 mm https://www.piccard-online.de/bilder/einleitungen/004.pdf Abteilung IX, erste Abbildung. Laut Piccard im Burgundischer Raum einschließlich Oberrhein und Lothringen Burgund würde passen zu Nord Frankreich, wo der Pferdeschmied her kommt. Eligius soll, bevor er das Goldschmiedehandwerk erlernte, ein ausgezeichneter Hufschmied gewesen sein. Eines Tages, nachdem er ein Pferd beschlagen hatte, kam ein Fremder zu ihm. Dieser lobte seine Arbeit, schlug ihm aber eine andere Methode vor. Man brachte also dem Fremden ein Pferd, dessen Bein er abschlug, das Hufeisen anbrachte und nun das abgeschlagene Bein danach wieder ansetzte. Eligius wollte es ihm gleichtun, aber natürlich gelang es ihm nicht, den Fuß wieder anzuschmieden. Als der Fremde wieder erschien, erkannte Eligius Gott den Schöpfer in ihm und begriff, dass ihm eine Lehre der Demut erteilt worden war. Wik.de Nach einer Variante nahm Christus die Gestalt eines Gesellen in Eligus Werkstatt an und zähmte widerspenstige Pferde, indem er ihnen einen Fuß ausriss und fertig beschlagen wieder anheilte. Damit lehrte er den Heiligen, so die Deutung, dass man den teuflischen Pferdefuß erkennen und ausreißen müsse. Als Kopert (von lateinisch coopertorium: das Verhüllende, das Bedeckende) bezeichnet man einen, vom Mittelalter bis in die frühe Neuzeit hinein gebräuchlichen, flexiblen Bucheinband aus Pergament, Leder oder Textil. Seit dem 12. Jahrhundert finden sich zunehmend Hinweise in Bibliothekskatalogen, die Koperte als eigenständige Form neben den Holzdeckelbänden ausweisen Die leeren Blätter sind nur eingehangen, lassen sich von Fachleuten leicht entfernen. Freue mich über Informationen von Fachleuten. Achtung habe noch einen zweiten Einband dazu. Deutschland kostenloser Versand DHL

      [Bookseller: HGomoll]
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         Be [! = De] ora Antarctica per regem Portugallie pridem inventa.[Paris, Tross, 1872]. Facsimile of the 1505 edition with 1 diagram constructed from rules and type. Printed on vellum. Wrapper made from 18th-century French marbled paper backed with (and the book interleaved with) 19th-century wove paper.

      Borba de Moraes, p. 909 note; Church 21 note; JCB I, p. 41 note; Sabin 99333 note (locating 4 of the 10 copies printed). A photographic facsimile of the Strasbourg Latin edition (1505) of Amerigo Vespucci's account of what is usually called his third voyage (1501/02). Amerigo Vespucci (1454-1512), who gave his name to America, sailed from Lisbon to Brazil and down the coast to the bay at what is now Rio de Janeiro and to Cape Frio in 1501/02. He notes in the present report that the land he is exploring is not Asia as had been expected, but an extremely large continent previously unknown, and he sailed further south along its coast than any earlier European voyager to that time. For this reason he calls the region "Antarctica". The upper woodcut on the title-page is one of the earliest attempts to depict indigenous Americans in general and Brazilians in particular.In very good condition, with the first leaf and last leaf slightly wrinkled and with an occasional light brown stain on the blank final page or in the margins. The marbled wrapper is rubbed and has new sewing. A rare early photographic facsimile, printed on vellum, of a key record of the earliest exploration of America in general and Brazil in particular.

      [Bookseller: Antiquariaat FORUM BV]
 19.   Check availability:     Biblio     Link/Print  


         RECLAMATION PAR MAGDELEINE CLAIRET VEUVE DE MESSIRE JEAN DE LOUAN D'UNE RENTE DE 600 LIVRES GARANTIE SUR LA SEIGNEURIE DE L'EPINE GAUDIN (LA CHAPELLE BASSE-MER), ET DEPUIS LORS ACQUIS PAR ARTHUS DE L'EPERVIER, SEIGNEUR DE LA BOUVARDIERE EN NOVEMBRE 1491, SENECHAUSSEE DE NANTES, LE 27 OCTOBRE 1505

      - un document, de 2 pages, manuscrit à l'encre brune d'une grande feuille sur papier vélin ligné et filigrané, format 23,5 centimètres de large par 26 centimètres de haut, copie delivrée par la SENECHAUSSEE DE NANTES, LE 27 OCTOBRE 1505, Vieux Papier d'époque .La châtellenie de l'Epine-Gaudin — Cette seigneurie sise dans la paroisse de la Chapelle-Basse-Mer appartenait à l'origine aux sires de Clisson et fut confisquée en 1420 par Jean V sur Olivier de Blois et Marguerite de Clisson sa mère. Le duc la donna à son frère Richard de Bretagne qui y construisit une forteresse abattue dès 1439. L'Epine-Gaudin passa en 1476 à Jean de Chalons, prince d'Orange, petit-fils de Richard, par sa mère Catherine de Bretagne ; mais le prince d'Orange vendit cette châtellenie en 1491 à Arthur Lespervier. Bonaventure Lespervier, petite-fille de ce dernier, apporta en mariage l'Epine-Gaudin à François de la Noue ; leur petit-fils Odet de Noue la vendit, en 1594 à Gabriel de Goulaine (Archives de Loire Inférieure, E 35 et B 1008).TRES RARE .en trés bon état (very good condition).

      [Bookseller: Librairie Guimard]
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         Il grande cavallo

      1505 - Bulino, 1505, datato in lastra il altro al centro e monogrammato in basso a destra. Esemplare della quinta variante di sei descritta dal Meder. Bellissima prova, nitida e contrastata, impressa su carta vergata coeva con filigrana "armi di Memmingen" (Meder 237, Briquet 931), con margini, in ottimo stato di conservazione. Il titolo Il grande cavallo è legato non alle dimensioni della stampa, ma alle proporzioni dell’animale. La stampa è coeva a quella del Piccolo cavallo e riflette la fase in cui Dürer studiava e si cimentava nelle proporzioni dei corpi e in particolare su quelle dei cavalli, fino a pubblicare nel 1525 il Manuale delle misure e nel 1528 quattro libri delle Umane proporzioni, dai quali però rimasero esclusi proprio gli studi dell'artista sulle proporzioni del cavallo, poi riprese da Hans Sebald Beham dopo la morte di Dürer. Sono stati individuati quali precedenti per questa stampa due disegni del 1503 (Winkler n. 360 e n. 361). Mende ha proposto che in questa stampa sia in realtà rappresentato Bucefalo, il mitico cavallo di Alessandro Magno. In quest’opera il cavallo è ripreso dal dietro secondo una prospettiva che ha l’effetto di rafforzare l’idea del volume, di mettere in risalto la sua forma e la monumentalità, e di ingrandire le sue dimensioni apparenti. Da questa prospettiva infatti, il cavallo riempie lo spazio da un margine all’altro. A quest’opera si ispirò Caravaggio per la Conversione di San Paolo, per ottenere il massimo di naturalismo e monumentalità. Bell’esemplare di questa affascinante opera. Engraving, 1505, signed and dated on plate. Example of the fifth issue described by Meder. A fine impression, with tones, printed on laid paper with "arms of Memmingen" watermarks (Meder 237, Briquet 931), with margins and in very good conditions. The title The big horse is not tied to the size of the print , but the proportions of the animal. The print is coeval with that of Small horse and reflects the stage where Dürer studied and engages in the proportions of the body and in particular those of the horses, to be published in the 1525 Handbook of the measures in 1528 and four books of Human proportions , which, however, were excluded from their study of the artist on the proportions of the horse, by Hans Sebald Beham then resumed after the death of Dürer. Has been identified as the previous two drawings for this print in 1503 (Winkler n. 360 and n . 361 ) . Mende has proposed that this print is actually represented Bucephalus , the legendary horse of Alexander Magno. In this work the horse is taken from behind from a perspective that has the effect of reinforcing the idea of the volume, to put in emphasize its form and monumentality , and magnify its apparent size . From this perspective, in fact , the horse fills the space from one edge to another. In this work was inspired by Caravaggio for the Conversion of St. Paul, to get the most of naturalism and monumentality. A nice example. Bartsch, 97; Meder, 94 e/f; Salamon, n. 36; Panofsky, p. 116; Strauss p. 138, 45. Dimensioni 147 204mm [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Libreria Antiquarius]
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         Santa Barbara

      1505 - Xilografia circa 1505-07, con il monogramma di Albrecht Durer nella parte inferiore destra. Magnifica prova di questa rara incisione, particolarmente contrastata, impressa su carta vergata coeva con filigrana "croce nei tre monti" (Briquet 1242), rifilata alla linea marginale, lievissime ossidazioni, per il resto in perfetto stato di conservazione. Al verso firma e timbro di collezione Biblioteca di Trier. Woodcut, 1505-07 approx., with Albrecht Durer’s monongram on lower right. Excellent example of a rare work, with excellent contrast, printed on laid paper with "cross with three mountains" watermark (Briquet 1242), trimmed on margins, slight oxidation, in very good condition. On verso, signature and mark of collection Trier Library. Mende 13, Marianne Bernhard 13. Dimensioni 160 235mm

      [Bookseller: Libreria Antiquarius]
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         Gedenckwürdige Historia: Deß Edlen un[d] Streytbaren Helden, und sieghafften Ritters Theurdancks mannliche Thaten, unnd außgestandene Gefährligkeiten. Zu ehren dem hochlöblichen Hause zu Osterreich unnd Burgundien, etc. Zum Exempel aber unnd Vorbildt allem Fürstlichen Geblut unnd Adelsgenossen Teutscher Nation.

      Kl.-8. Titel in Rot u. Schwarz m. Holzschnitt u. mit 16 Textholzschnitten. 7 nn., 197 num. Bll., Mod. Pgmt. m. durchzogenen Bünden unter Verwendung alten Materials m. handschriftl. Rückentitel u. dreiseitigem Farbschnitt. Erste Taschenausgabe des Theuerdanck insgesamt siebente und in der Bearbeitung von Burchard Waldis die vierte Ausgabe. Die Holzschnitte sind eine Auswahl stark verkleinerter Nachschnitte aus den von Schäufelein u.a. illustrierten Folio-Ausgaben. - Autobiographisch-allegorische Versdichtung über die Brautfahrt Kaiser Maximilians I. zu Maria von Burgund. Das letzte große Heldenepos am Übergang vom Mittelalter zur frühen Neuzeit, entstanden zwischen 1505 und 1512. Von Maximilian stammten Plan und erster Entwurf, der dann von Melchior Pfinzing u.a. sprachlich überarbeitet, allegorisch weiter ausgebaut und 1517 zuerst gedruckt wurde. Dabei geht es nicht um die ritterromantische Restauration eines mittelalterlichen Ritter-Ideals, sondern um dessen Aufhebung im Leitbild eines charismatisierten fürstlichen Heros (KNLL XI, 394). - Das verwendete alte Pergament etw. fleckig u. auf den Deckeln m. Schnittspuren. Radiertes Exlibris des 20. Jhds. a. Innendeckel. Vereinzelte kl. Randläsuren. Gleichmäßig gebräunt. - VD16, M 1656 (unter Maximilian) Goedeke II, 452, 13d Richter, Egenolffs Erben 623 BM STC, German Books 690 diese Ausgabe nicht bei Adams.

      [Bookseller: Antiquariat Wolfgang Friebes]
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         Hermes Trismegistus Ficino's edition of Hermetic Texts, Origins of Faith

      Paris: Henricus Stephanus, 1505 First edition of Ficino's version of Asclepius; first combined printing of Pimander and Asclepius; Ficino's edition of Hermetic texts. Crater Hermetis A Lazarelo Septempedano

      [Bookseller: Alice S. Davis]
 24.   Check availability:     Biblio     Link/Print  


         Novae species quadrupedum e glirium ordine cum illustrationibus variis complurium ex hoc ordine animalium.Erlangen, Wolfgang Walther, 1778-[1779]. 4to. With 39 engraved plates, (3 folding). Contemporary boards.

      - BMC NH, p. 1505; Nissen, ZBI 3074; Wood, p. 511; DSB X, pp. 283-285. First edition of Pallas's monograph on rodents. Peter Simon Pallas occupied himself with botany, zoology, geology, and geography, searching constantly for "causal interrelationships and hidden regularities of natural phenomena. . He was one of the first to use anatomical characteristics in classifying animals. His research in comparative anatomy provided the foundations for animal taxonomy" (DSB). His descriptions of rodents in the present volume are accompanied by attractive and accurate plates of animals and animal parts. A highly desirable, clean and wide-margined copy.

      [Bookseller: ASHER Rare Books]
 25.   Check availability:     ZVAB     Link/Print  


         Divisiones decem nationum totius Christianitatis. Noticia quod populus christianoru(m) diuiditur in decem nationes.

      No place, no publisher, 1505. 16mo (12,1 x 8,7 cm). 4 lvs (lf 4 blank). Modern blind-tooled leather. Spine with 3 raised bands. 30 lines to the page; text-size 9,6 x 7.0 cm. With 10 decorated 5 to 6-line initials and 1 minuscle for initial. This small treatise is about the arrangements between the ten Christian religions that have permanent presence in the Church of the Holy Sepulchre at Jerusalem (the Basilica of the Holy Sepulchre, the Church of the Resurrection). The control of the building is shared between a number of Christian churches and secular entities. Those arrangements have remained unchanged for centuries. Several editions of this small treatise have been printed from the 1490s till the first decade of the 16th century. All these editions have been printed at Rome; and only a few copies of each of these editions are known with certainty. In the Dutch Low Countries, a fictive account of a pilgimage to the Holy Land, "Itinerarius per diversas mundi partes", by Johannes de Hese, a cleric from Utrecht, was very popular. In some of these editions De Hese's text was directly followed by the "Divisiones decem nationum", although sometimes with a slightly different title. In our view this is a post-1500 copy (ca 1505 - 1510), but we have not been able to identify the printer (not quoted in Adams, BNP, BM, Pettegree, Nijhoff-Kronenberg &c and not present in any public library). A nice, well-bound and well-kept copy of this rare post-incunable edition. For a full description and more images please visit: www.zaalbooks.nl .

      [Bookseller: Zaal Books]
 26.   Check availability:     NVvA     Link/Print  


         Theorie der Gartenkunst.Leipzig, M.G. Weidmanns Erben, Reich, 1779-1785. 5 volumes. 4to. With 231 engravings in text, 6 engraved plates and 1 folding engraved plate. Early 19th century half tree calf, gold-tooled spines.

      - BAL 1505; Berlin Kat. 3353; Springer, Bibl. Overzicht, p. 65. First edition of a work on English garden design, written by the German professor in philosophy and art Christian Cay Lorenz Hirschfeld (1742-1792). Hirschfeld, professor to the University at Kiel in Germany, was specialized in the art of the garden, and wrote a number of books on country-houses and country-gardens. The present is generally seen as the author's most important work, introducing English garden design to the European mainland. It led to garden renovations all over Europe, disposing the baroque elements and replacing them by neoclassical architecture, sculptures and ruins. As Hirschfeld loved nature, he much preferred the more natural English school of garden architecture above the stylistic French and the too abundant Italian schools. He did much to promote the English garden in Germany, and paved the way for the new ideas that a garden, though cultivated, should be in harmony with nature. This work, in which he treats the whole history and theory of garden architecture, is a classic in its field, and is still of importance. Bindings slightly rubbed and corners bumped. Some occasional spots, overall a good copy.

      [Bookseller: ASHER Rare Books]
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         I. Avrelivs Avgvrellvs. [Poemata]

      Venice:: Aldus Manutius,, 1505. Hardcover. Very Good. FIRST AND ONLY ALDINE EDITION of Italian humanist scholar, poet and alchemist, Giovanni Aurelio Augurello's poetry. 8vo. 128 ff. Complete with blank a2 (includes signature mark, otherwise blank) and blank q7, Aldine anchor and dolphin device on verso of final leaf; text clean, unmarked. Seventeenth-century full vellum, spine blocked in beige and titled and ruled in gilt; binding square and tight, head of spine rolled a bit. Previous owner's ink notations on front free end-paper and in Greek on title page. 2 bookplates on front paste down including that of eighteenth-century Italian collector Carlo Astorri, and the nineteenth-century bookplate of English collector Henry Latham with ink notation "Bought at Rome, Jan. 1852." Very Good. Augurello's poetry first appeared in Verona in 1491; the Aldine 1505 edition is expanded to two books. Giovanni Aurelio Augurello was born in Rimini, and studied law in Rome, Florence and Padova and was acquainted with many leading scholars of the day, including Marsilio Ficino (1433-1499) and Angelo Poliziano (1454-1494). Augurello held a sinecure at the cathedral of Treviso where he taught classics and became a member of Aldo Manutius' humanist circle in Venice. His contributions to scientific work include producing color pigments for the painter Giulio Campagnola (b. circa 1480). REFERENCES: Adams, Catalogue of Books Printed on the Continent, No. A2152; Renouard 1505/2 ("belle et rare"); Thorndike, History of Magic, VIII, pp. 179, 298, and 364.

      [Bookseller: John Howell for Books]
 28.   Check availability:     Biblio     Link/Print  


         Codex Picturatus Balthasaris Behem (Faksimile).

      Kodeks Baltazara Behema. Faksimile-Ausgabe des Balthasar-Behem-Kodex (poln. Kodeks Baltazara Behema) oder Codex Picturatus, 1505 durch den Krakauer Stadtschreiber Balthasar Behem in deutscher Sprache mit gotischen Buchstaben verfasste Handschrift, die die Privilegien und Statuten von Krakau sowie den Krakauer Gilden und Zünften dokumentiert. Krajowa Agencja Wydawn, Warschau 1988. Ex. 660/1.500. 342 Folioblätter (mit mehr Seiten), div. Indices sowie zahlreichen farbig faksimilierten Abbildungen. Aufgelegt in 1500 Exemplaren. Dieses Exemplar trägt die Nummer 221. Das Original befindet sich in der "Biblioteki Jagiellonskiej" in Krakau / Polen. Jagellonischen Bibliothek) bzw. im Historischen Museum der Stadt Krakau.

      [Bookseller: Antiquariat Loest]
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         Des aller streytparsten vn theuresten Fursten vnd Herrn Georgen Castrioten, genant Scanderbeg, Hertzogen zu Epiro vnd Albanien etc. Ritterliche thaten, so er zu erhalten seiner Erbland, mit den Turckischen Kaysern in seinem leben, glucklich begangen, Jn Latein beschriben, Vn yetz durch Joanne Pinicianu Newlich verteutscht.

      Fol. ca. 33 x 22 cm. - Pappband. 10 unn., 239 (st. 241) num., 1 w. Bll., mit Titel- und 103 Textholzschn. sowie vielen Holzschnitt-Initialen und Zierstücken - Ohne die Bll. 129 und 130. -- Seltene erste deutsche Ausgabe des erstmals 1505 erschienenen Werkes über den Nationalhelden Albaniens, mit den schönen Illustrationen des Petrarkameisters u. der beiden Jorg Breu. "Die wertvollste Geschichtsquelle für die Kämpfe des albanischen Nationalhelden gegen die Türken. Das Werk ist in XIII Bücher eingeteilt. In der Vorrede, die Don Ferrante Castriota, dem Neffen Skanderbegs, gewidmet ist, zeigt der Verfasser, dass die besondere Verehrung des Helden ihn bestimmt habe, dieses Werk zu schreiben. Er schildert dessen Jugend und die Kämpfe von 1442-1466" (Gollner). - Gegen Ende im Bug unten wasserfleckig, sonst nur gering stockfleckig, einige Anmerkungen von alter Hand. -- First edition in german of Barlezio's life of Scanderbeg, Giorgio Castriota (1403-1467), national hero of the Albanians in their struggles against the Ottomans. Of great historical importance and quite scarce. The woodcut profile portrait in the present edition is a reverse free copy of that used in the first edition. - Modern boards.

      [Bookseller: steffen völkel]
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         Martialis cum duobus comentis

      Woodcut publisher's device on title. 158 numbered leaves, one unnumbered leaf, one blank leaf. Folio (305 x 205 mm.), fine cont. Milanese binding of blind-stamped calf (minor worming, ends of spine a bit worn), sides panelled in blind with elaborate knotwork stamping, ties gone. [Milano: J.A. Scinzenzeler] for Joannes Jacobus & Bros. Legnano, [20 February 1505]. A handsome and rare edition in a most attractive contemporary Milanese blind-stamped binding of the epigrams of Martial (born ca. 38/41-d. 102 A.D.), the Roman author whose poetry "embraces the whole range of the life of a man about town. From this point of view their value to the student of Roman life and manners is inestimable. They bear witness alike to the nobler aspects of that life and to the more ignoble."-Encyc. Brit. Many of his epigrams are obscene and written to titillate. The epigrams are accompanied by the extensive commentaries of Domizio Calderini (1447-78), and Giorgio Merula (ca. 1430/1-94). Calderini, part of the circle of humanists whose center was the Greek Cardinal Bessarion, also wrote commentaries on Juvenal, Ovid, Ptolemy, Virgil, and other classical authors. Merula taught in Milan and was responsible for several editions of Latin authors as well as commentaries on such authors as Cicero, Juvenal, Martial, Virgil, and Pliny. This is a most handsome book, finely printed in Roman type. The printer, Johann Angelus Scinzenzeler, was active in Milan from 1501 to 1526 and printed extensively for the Legnano brothers. A crisp and tall copy with many lower edges uncut. Early ownership inscriptions on title: "1592 Emptus af Carolo" and the "Bibliothecae [erased] Augustae." Late 18th-century signature of Joseph von Lassberg, the German scholar and bibliophile on the free front endpaper (which suggests this book comes from the library of His Serene Highness the Prince Fürstenberg at Donaueschingen). ? Balsamo, Scinzenzeler, 48-"Bella edizione." Not in Adams.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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         Fascicle of archival law documents from Santervás de Campos near Valladolid. Valladolid, 1505 and 1697.

      1505. Folio (218 x 306 mm). 13 pp. on 8 ff. 16th and 17th c. Spanish chancery (brown ink on paper). Sewn within contemp. wrapper with list of contents, numbered "No. 52". The first document (8 pp.) concerns a sales contract between the seller Doña María Cabeza de Vaca and the buyer Don Rodrigo de Verdesoto: on 13 March 1505, Doña María of Santervás de Campos (near Valladolid in Spain) sold Don Rodrigo ten medium-sized batches of bread for 60,000 Maravedís. Numerous ms. marginalia and notes of later centuries. - Attached to this is a document (3 ½ pp.), according to which descendants of the buyer, Alfonso and Francisco Verdesoto, tried to lodge claims in the same matter nearly two centuries later; these claims were rejected by the city council in 1697. - Slight tears and waterstains to corners In den Ecken geringfügig wasserrandig; altogether well-preserved.

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         Theorie der Gartenkunst.Leipzig, M.G. Weidmanns Erben, Reich, 1779-1785. 5 volumes. 4to. With 231 engravings in text, 6 engraved plates and 1 folding engraved plate. Early 19th century half tree calf, gold-tooled spines.

      BAL 1505; Berlin Kat. 3353; Springer, Bibl. Overzicht, p. 65. First edition of a work on English garden design, written by the German professor in philosophy and art Christian Cay Lorenz Hirschfeld (1742-1792). Hirschfeld, professor to the University at Kiel in Germany, was specialized in the art of the garden, and wrote a number of books on country-houses and country-gardens. The present is generally seen as the author's most important work, introducing English garden design to the European mainland. It led to garden renovations all over Europe, disposing the baroque elements and replacing them by neoclassical architecture, sculptures and ruins. As Hirschfeld loved nature, he much preferred the more natural English school of garden architecture above the stylistic French and the too abundant Italian schools. He did much to promote the English garden in Germany, and paved the way for the new ideas that a garden, though cultivated, should be in harmony with nature. This work, in which he treats the whole history and theory of garden architecture, is a classic in its field, and is still of importance. Bindings slightly rubbed and corners bumped. Some occasional spots, overall a good copy.

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         Habentvr hoc volvmi ne haec Theodoro Gaza interprete Theophrasti de historia plantarum. Lib. IX. Et decimi principium duntaxat. Eiusdem de causis plantarum. Lib. VI.

      1505Sans lieu, ni nom, ni date (Lyon, Balthasard de Gabiano, c.1505). Petit in-8° (92 x 164 mm), pleine reliure postérieure , dos orné , titre doré sur étiquette de maroquin; (XVI) et 284 ff. Impression en italiques, avec les espaces des initiales laissés en blanc par l'imprimeur pour être peints par l'enlumineur ( on a juste imprimé une petite initiale). Reliure postérieure ( fin 18ème), coupes usées avec manque, dos restauré postérieurement. Marges légèrement rognées, le relieur a épargné les initiales peintes qui sont toutes présentes dans leur intégralité.Exemplaire abondamment annoté aux encres de couleur à l'époque, et enrichi de nombreuses initiales et lettres peintes dont 6 grandes lettres historiées et plusieurs inachevées, les petites initiales ont parfois été rubriquées en jaune ou rouge. Devise manuscrite au titre" Dii laboris omnia vendunt". Une autre inscription ancienne décolorée au titre , mais laissant transparaitre le nom "Boerii" laisse supposer qu'il s'agit de l'exemplaire de Boerius ( Nicolas Bohier).Ce volume, complet des textes de Théophraste sur l'Histoire des Plantes dans la traduction latine de Théodore Gaza , fait partie de l'Histoire Naturelle d'Aristote, parue à Lyon , vers 1505 ( 3 vol. in-8°). ( Cf. BNF, BM Lyon et Bibl. de Munich ).(Reu-CO2)

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         Reçu de 600 livres tournois pour ses gages " de garde du scel de la Chancellerie tenue à Rouen ".

      Pièce signée Le Card. d Amboyse, datée du 1er janvier 1505. Grand vélin oblong, taches, 1 pli marqué. Lorsque LOUIS XII devient Roi en 1498, Georges d'AMBOISE qui est son conseiller depuis la mort de Louis XI, devient Premier ministre et Cardinal. Auparavent il avait été archevêque de Rouen et nommé Lieutenant général en Normandie. Au seuil même de la Renaissance, de 1502 à 1510, le cardinal Georges d'Amboise mettait le comble à sa gloire de protecteur des arts en construisant son admirable château de Gaillon, exquise expression de l'art architectural français, réalisé par des artistes de Rouen, Guillaume Senault, Pierre Delorme et Pierre Fain.

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         Santa Barbara

      1505. Xilografia circa 1505 - 07, con il monogramma di Albrecht Durer nella parte inferiore destra. Magnifica prova di questa rara incisione, particolarmente contrastata, impressa su carta vergata coeva con filigrana "croce nei tre monti" (Briquet 1242), rifilata alla linea marginale, lievissime ossidazioni, per il resto in perfetto stato di conservazione. Al verso firma e timbro di collezione Biblioteca di Trier. Woodcut, 1505 - 07 approx., with Albrecht Durer's monongram on lower right. Excellent example of a rare work, with excellent contrast, printed on laid paper with "cross with three mountains" watermark (Briquet 1242), trimmed on margins, slight oxidation, in very good condition. On verso, signature and mark of collection Trier Library. Mende 13, Marianne Bernhard 13. 160 235

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         Derelictorum ab Homero libri quatuordecim (Graece; seguono:) TRYPHIODORUS. De Trojae excidio. COLUTHUS. De raptu Helenae. S.n.t. (Venezia, Aldo Manuzio, 1505)

      Aldo, 1505. in - 8 (161 x 97 mm), ff. 172, deliziosa legatura di inizio ottocento, in marocchino blu a grana larga, piatti decorati con duplice bordura floreale e geometrica stilizzata, dorso liscio con fitto motivo a piccoli ferri e duplice tassello, uno in rosso con l'indicazione ''Calaber'', l'altro verde con il nome dello stampatore, il tutto impresso in oro. Ancora aldina al titolo e al verso dell'ultimo f. Editio Princeps dei tre poemetti epici relativi all'epopea omerica; l'opera di Quintus Smyrnaeus (detto Calabro perché il manoscritto fu ritrovato dal Cardinale Bessarione a Otranto) in particolare riguarda gli avvenimenti intercorsi tra la fine dell'Iliade e l'inizio dell' Odissea. Nella vita che precede il Coluthus, Aldo dà atto a Bessarione della scoperta dei manoscritti. Questa edizione aldina, veramente di notevole rarità, è databile con certezza 1505, facendo seguito alla mitica edizione di Omero del 1504, anch'essa senza data. Sul catalogo del 1503 conservato presso la Bibl.Nazionale di Parigi, Aldo stesso aveva aggiunto di sua mano alcuni libri impressi nel 1504 - 5, e tra questi il Quinto Smirneo. Bell'esemplare elegantemente rilegato da un raffinato legatore francese di inizio Ottocento, fresco, molto marginoso (provenienza: ex libris al contropiatto Bibliothèque de M. Renard; interessanti postille ms. nella parte finale del volume).

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         Il grande cavallo

      1505. Bulino, 1505, datato in lastra il altro al centro e monogrammato in basso a destra. Esemplare della quinta variante di sei descritta dal Meder. Bellissima prova, nitida e contrastata, impressa su carta vergata coeva con filigrana "armi di Memmingen" (Meder 237, Briquet 931), con margini, in ottimo stato di conservazione. Il titolo Il grande cavallo è legato non alle dimensioni della stampa, ma alle proporzioni dell'animale. La stampa è coeva a quella del Piccolo cavallo e riflette la fase in cui Dürer studiava e si cimentava nelle proporzioni dei corpi e in particolare su quelle dei cavalli, fino a pubblicare nel 1525 il Manuale delle misure e nel 1528 quattro libri delle Umane proporzioni, dai quali però rimasero esclusi proprio gli studi dell'artista sulle proporzioni del cavallo, poi riprese da Hans Sebald Beham dopo la morte di Dürer. Sono stati individuati quali precedenti per questa stampa due disegni del 1503 (Winkler n. 360 e n. 361). Mende ha proposto che in questa stampa sia in realtà rappresentato Bucefalo, il mitico cavallo di Alessandro Magno. In quest'opera il cavallo è ripreso dal dietro secondo una prospettiva che ha l'effetto di rafforzare l'idea del volume, di mettere in risalto la sua forma e la monumentalità, e di ingrandire le sue dimensioni apparenti. Da questa prospettiva infatti, il cavallo riempie lo spazio da un margine all'altro. A quest'opera si ispirò Caravaggio per la Conversione di San Paolo, per ottenere il massimo di naturalismo e monumentalità. Bell'esemplare di questa affascinante opera. Engraving, 1505, signed and dated on plate. Example of the fifth issue described by Meder. A fine impression, with tones, printed on laid paper with "arms of Memmingen" watermarks (Meder 237, Briquet 931), with margins and in very good conditions. The title The big horse is not tied to the size of the print , but the proportions of the animal. The print is coeval with that of Small horse and reflects the stage where Dürer studied and engages in the proportions of the body and in particular those of the horses, to be published in the 1525 Handbook of the measures in 1528 and four books of Human proportions , which, however, were excluded from their study of the artist on the proportions of the horse, by Hans Sebald Beham then resumed after the death of Dürer. Has been identified as the previous two drawings for this print in 1503 (Winkler n. 360 and n . 361 ) . Mende has proposed that this print is actually represented Bucephalus , the legendary horse of Alexander Magno. In this work the horse is taken from behind from a perspective that has the effect of reinforcing the idea of the volume, to put in emphasize its form and monumentality , and magnify its apparent size . From this perspective, in fact , the horse fills the space from one edge to another. In this work was inspired by Caravaggio for the Conversion of St. Paul, to get the most of naturalism and monumentality. A nice example. Bartsch, 97; Meder, 94 e/f; Salamon, n. 36; Panofsky, p. 116; Strauss p. 138, 45. 147 204

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         Metamorphoseis cum Raphaelis Regii Commento. Habes praeterea candidissime lector in hoc volumine nuperrime impresso e diligenti cura reviso. Emendationes quam plurimas per Aemilium Merulam editas e seorsum ordine coadunatas.. (In fine:) Impressum Taurini, per magistrum Franciscum de Silua, anno Domini MDV die XV mensis Ianuarii, (Torino, da Silva 1505)

      Silva Francesco, 1505. in - folio (mm 320x214), ff. (8), CLX, carattere romano. Legatura coeva su assicelle, dorso in pelle a doppi nervi con impressioni a secco; al piatto posteriore conservata la borchia metallica dellì antico sistema di chiusura. Al recto del primo foglio, Titolo e impresa dello stampatore in rosso, nella parte superiore vi è una magnifica grande silografia (mm 150x150) raffigurante Ovidio in primo piano seduto sulla sinistra davanti ad una specie di altare, con inciso ritratto di un imperatore, al di sopra del quale sono appoggiati libri e un cestino di fiori che l'a. porge a simboleggiare ''les fleurs de son génie'' (Sander). Sullo sfondo 14 personaggi religiosi e laici; questa silogr. era già apparsa nell'edizione della Polyantahea del Nano stampata a Savona sempre dal Silva nel 1503. Testo racchiuso nel commento di Raffaele Regio, professore a Padova e poi a Venezia. Precedono il testo: dedica del Merula al suo allievo François Poncher di Parigi; prefazione del commentatore, versi di Giovanni Maria Cattaneo, Antonio Motta e Andrea Assaraco; copiosi indici, e la dedica a Francesco Gonzaga. Pregevole edizione, fedele identica ristampa di quella dello stesso Silva apparsa solo un mese prima (15 dicembre 1504). La rapidità con cui l'editore si premurò di ristamparla fa pensare ad un notevole successo editoriale; l'esiguità delle copie sopravvissute (rarissima: sono censite una sola del 1504 alla B.Reale, ed una sola del 1505 presso la collezione Bocca). Ottimo esemplare estremamente fresco e genuino, antica nota di possesso e piccoli fori di tarlo al margine bianco del titolo.

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         Vita & Fabulae...cum interpretatione Latina [and other works]

      Apud Aldum, October, 1505. FIRST EDITIONS (in parts) Folio. 150 ll. A8 a8 B10 b8 C8 c8 D10 d8 e-h8 i6 k-_8, o4. Greek and Roman letter, mostly on alternating ll. partly double column, printer's dolphin and anchor device on t.p. and larger on verso of last. T.p. very slightly dusty, a very handsome, clean, large, thick paper copy in English late C18 straight grained red morocco, a.e.g. C18 armorial bookplate of Wilmot, 3rd Viscount Listburne on front pastedown, C20 of William Davignon on ffep. One of the rarest and most sought after editions of the early Aldine press and in practice the earliest obtainable of the author's original text. The volume comprises the Aesopian Fables in Latin and Greek, together with a life of the author, similarly the 34 fables of Gabrias, Phurnutus on the 'nature of the Gods', Palaephatus on disbelieving histories, Heraclides on the allegories of Homer, the hieroglyphs of Horapollo, a collection of proverbs drawn from Tarraeus and Didymus, Aphthonius and Philostratus' de fabula in Latin and Greek, those of Hermogenes translated by Priscian, and finally an Apologia for Aesop 'de Cassita apud Gellium'. Almost all of these, apart from the Aesop, are in their first edition or editio princeps, Praz p. 373 particularly notices the Horapollo.Aesop is the traditional composer of the oldest and most important collection of Greek Fables, which are probably the earliest examples of popular and maybe children's literature still extant. Herodotus, writing in the fifth century BC already knew of Aesop as an author from the past. Aesop's life has been overlaid by many romantic fictions but it is fairly certain that he was a Thracian, a house slave and likely a family tutor on the island of Samos at the beginning of the 6th century BC. His Fables are one of the most enduring works of European literature, of which the earliest written compilation probably dates from three centuries later and is now lost. The earliest surviving version is Roman, made by Babrius, tutor to the children of Alexander Severus in the 3rd century AD, though stories from other, especially oriental sources, were probably added. The collection we now recognise was compiled and edited by Maximus Planudes and from which the popular fables of modern Europe have been derived. Whatever their exact origin they have constituted a delightful source of amusement and instruction for children of all ages since they were popularised by the printed editions of the C16, of which none is more important than this printed and edited by Aldus. BM STC It p 8. Renouard 49: 6,7. "Dans cette rare et belle édition, la version latine des Fables est iutercalée dans le grec". Brunet I 84 "Belle édit. très-recherchée, et dont les exempl. bien conservés ne se trouvent pas facilement". Dibden I p247 "This edition may be considered among the rarer and more beautiful productions of the Aldine Press".

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         Epistole Phalaridis nouiter impresse. Impressum Cremonae, per Franciscum Ricardum de Luere impensa magistri Dominici de Zauarisiis, 1505

      Luere Francesco de, 1505. in - 4, ff. 44 n.n. (segn. A4 B - F8), elegante leg. 800esca in marocchino verde, titolo e fregi in oro al dorso a nervetti, tagli dorati. Frontespizio silografico su fondo nero, una grande iniziale ornata, car. tondo. Precedono il testo l'importante proemio di Francesco Griffolini ''Aretinus'' a Novello Malatesta, signore di Cesena, nel quale afferma la maggiore veridicità storica del genere epistolare rispetto alle cronache; e la dedica del cremonese Niccolò Lugaro (1447 - 1515) a Corrado Stanga. L'editore Zavarisio utilizzava abitualmente la tipografia di Francesco Riccardi. Queste lettere, erroneamente attribuite a Falaride (VI secolo a.C., tiranno di Acragas), si devono probabilmente ad Apollonio di Tyana e Marco Bruto (I secolo a.C.). La traduzione si deve al Griffolini (1420 - 1490 c.) ''la più importante impresa versoria del G., per la quale egli conseguì grande fama in età umanistica grazie anche alla cospicua fortuna del testo, poi volgarizzato da Bartolomeo Fonzio'' (D.B.It vol. 59, p.383). Pur essendo rarissime la maggior parte delle numerose edizioni quattrocentesche, l'importanza di questa elegantissima edizione va ricercata nel legno che funge da frontespizio, tra i più raffinati del primo Cinquecento italiano: in grandi capitali intagliate su fondo nero, in alto il monogramma di Cristo, in basso un lieve fregio floreale. Le lettere sono state in alcuni casi accorpate per ottenere la stessa giustificazione delle 4 parole pur mantenendo le stesse proporzioni. Perfetto esempl., marginoso e fresco, di libro rarissimo (4 esemplari censiti da SBN).

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        Original Leaf with Two Woodcuts from Sebastian Brant's Nauis Stultifera Collectanea. (Das Narrenschiff or The Ship of Fools) - Teaching of Wisdom and Stroking a Fallow Stallion

      Paris: Jodocus Badius Ascensius (Josse Badius), 1505. Leaf. Very Good. Dürer, Albrecht. The leaf is approximately 5.25" x 8". Each woodcut is approximately 85 x 115 mm. The woodcuts have dark, crisp impressions. The leaf has some minor marginal toning. Very nice example of Dürer's earliest woodcut designs. Thirteen editions were published between 1494 and 1521 (six authorized and seven pirated). Leaves from these editions are very easily confused and many later printings are often listed as firsts; in all but the very first edition, the woodcuts were done by other craftsmen based on Dürer's original designs. This leaf is from the second Latin edition. It contains two woodcuts (most leaves only have one) featuring Dürer's fools who always wear cowls with ass-ears and a coxcomb of bells (a convention Dürer established). The first woodcut, "The Teaching of Wisdom," illustrates both wise men and fools reacting to a sermon. The reverse, "Stroking a Fallow Stallion," is depiction of a fool being trampled by a horse he feigned to respect which symbolizers the ultimate fate of false flatters. One of the most famous and popular works during the early years of printing, The Ship of Fools was a satire on the many then current ecclesiastical abuses as exemplified by Brant's imaginary character, Saint Grobian, the patron saint of vulgarity and coarse manners. A substantial part of The Ship of Fools' popularity was no doubt due to its marvelous woodcut illustrations, most of which were created by Albrecht Dürer, then a young journeyman woodcut designer working in Basel. His work in these woodcuts, Dürer's first significant commissioned effort, is not as impressive as his later efforts as a master in Nuremberg; e.g., the hatching consists of only simple parallel lines and contours are crude, thick, and without much variation. Still, they are superior to other illustrations in the book designed by an assortment of masters.

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