4to. Two parts in one volume. (48) ff. (270) ff. Each part with separate woodcut title page, full-page woodcut on verso, and full-page woodcut on final page as well as a woodcut table of Arabic letters (a4v) and numerous initials throughout. Final quire of first part printed in red and black. 19th-century dark brown morocco with giltstamped spine title; leading edges gilt; ornate gilt dentelles. Marbled endpapers. All edges gilt. A fine copy, with notable provenance, of what is undoubtedly one of the rarest and most important books related to the Arab world: the first published grammar and the first vocabulary of Arabic (2nd edition of the former, 1st edition of the latter), issued as two separate works but usually encountered together (cf. Schnurrer, p. 16). The author, publisher and date are all stated only in the colophon at the end of the "Vocabulista". Geoffrey Roper has characterised this Arabic primer, written by the Spanish monk Pedro de Alcalá, as the first "serious attempt to spread knowledge of the language [...] Entitled 'Arte para ligeramente saber la lengua araviga', it, like the accompanying 'Vocabulista aravigo', renders the Arabic words entirely in romanisation [...] There is, however, on f. c4, a table of the Arabic alphabet with romanised names of the letters, executed in woodcut like that of Reuwich for Breydenbach. But the shapes of the letters are Maghribi [...], as one would expect in Spain at that time, and a number of initial and medial forms are given: the total number of characters is 58, as compared with 31 in Breydenbach. The work was written an … [Click Below for Full Description]

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 29 x 21 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 Pferd … [Click Below for Full Description]

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.

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..

1505. 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.

Paris Philippe Pigouchet für Simon Vostre - 1515, 1505. 21-zeiliges Original Pergamentblatt mit gotischer Bastard 20 Zeilen = 97 G, mit Bordüren, Zierleisten, und Konsolenstücken im Renaissance Stil. Blatt etwas fleckig, Metallschnitte in sauberem klaren Abdruck, Rückseite etwas blasser. Blattgrösse: 10,1 x 16,7 cm. Die den lateinischen und französischen Text begleitenden Bördürenbilder zeigen umgeben von einem typischen Renaissancerahmen Grotesken, eine Verhandlung, ein Essensmahl, den Schatz des Joseph, das Kinderspiel Macht hoch die Tür und eine Streitszene zwischen Jugendlichen, die sich mit Steinen bewerfen. Ein vollständiges Stundenbuch des Drucker und Verlegers Simon Vostre umfasst zu Beginn des XVI. Jhd. etwa 100 Blätter. Vergleichbare Bördürenelemente finden sich in Tenschert "Horae B.M.V.

1505 Seiten Gebundene Ausgabe 2nd edition!! - 2 Volumes!! -Text englisch - Leichte äußere Mängel - Buch ist als Mängelexemplar gekennzeichnet - Buch ansonsten in gutem und ungelesenem Zustand - Jeder Lieferung liegt eine ordentliche Rechnung mit ausgewiesener MwSt. bei

Antwerpen, Hendrick (Henrick) Eckert van Homberch, 1505. Zweispaltiges, 41-zeiliges O-Postinkunabelblatt mit einem halbseitigen Holzschnitt (12 x 14,5 cm), einer roten 3-zeiligen Lombarde und einem Wasserzeichen. Blatt im Rand stellenweise etwas ausgefasert ohne Beeinträchtigung von Text und Bild. Ecken fingerfleckig. Blattgröße: 20 x 26 cm. Das Blatt ist nahezu Textgleich mit dem Druck von 1499 (GWM 11524; C 6520) von Hendrick Eckert, der 1499 noch in Delft druckt. Der Holzschnittrahmen zeigt jedoch auf Grund der Nutzungsspuren, dass es sich um eine spätere Ausgabe als die von 1499 handelt.

1505. NON PRECISE. 18E SIECLE. In - 4.Carré. Relié plein cuir. Etat d'usage. Plats abîmés. Coiffe en tête abîmée. Mouillures. 757 pages + table des chapitres + repertoire alphabétique - mouillures à l'intérieur de l'ouvrage sans réelle conséquence sur la lecture - dos à 5 nerfs - coiffes abîmées - pièce de titre abîmée - page de titre absente - tranches rosées - quelques bandeaux et lettrines en noir et blanc - quelques piqûres de vers à l'intérieur de l'ouvrage sans réelle conséquence sur la lecture - trous sur le 1er plat - coins émoussés - petit manque de cuir sur le 2ème plat - 3 photos disponibles. SOMMAIRE : Division de l'ordre de contracter - premier de creance et prest mutuel - du macedonien - d'autre sorte de prests illicites - de concession d'usage - d'éschange - de ventes & achets - de louage et conduction - de contract de charge commission et mandement - de stipulations & obligations verbales - de deux obligés l'un pour l'autre seul & pour le tout - du velleien - de contract de mariage - de mariage illicites & interdits - de donations - de transactions - de testaments - de testament militaire - de codicilles etc - NOTA : Jean Papon (1505 ou 1507 - 1590), est un jurisconsulte et un écrivain français, né à Montbrison dans le Forez.

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

= Geschichtsquellen der Provinz Sachsen und des Freistaates Anhalt, Neue Reihe Band 16, (Broschur leicht eingerissen und knitterig, unaufgeschnitten und unbeschnitten, gutes Exemplar) Selten. Martin Luther lebte als Augustinermönch von 1505 bis 1512 in diesem Kloster. Aus dem Nachlass der Archivarin und Historikerin Lotte Knabe (1907-1991, vgl. den Wikipedia-Artikel zu ihrer Person).

Straßburg, Johann Grüninger, 1505. O-Buchseite aus Grüningers Stundenbuch mit einem ganzseitigen O-Holzschnitt der Verkündigung Mariae. Holzschnitt mit floral- und engelverzierter Holzschnittrandleiste und Titel in Rotdruck. Blatt im Rand wenig fleckig. Blattgröße: 9,5 x 14,5 cm. Rückseitig mit 20-zeiligem Text und einer roten Rubrik. Holzschnitt von Hans Springinklee aus Nürnberg woodcut leaf

Genf (Geneve), Jean Bellot, 1505. Einspaltiges, 23-zeiliges O-Postinkunabelblatt auf feinem Papier in rot-schwarzem Druck. Blatt mit einer 4-zeiligen roten Holzschnitt-Initiale, drei 2-zeiligen Holzschnitt-Lombarden und rotlinierter Blatteinteilung. Blattgröße: 18,7 x 12,6 cm. Seltenes Schweizer Missale-Blatt des Druckers Jean Ballot! Das Gebetbuchblatt beinhaltet auf der Vorderseite den Text: "Requiem aeternam dona eis" Domine (Ewige Ruhe gib ihnen, Herr), den auch Mozart für sein Requiem verwandte. Es folgt Oratio. Inclina, Domine, aurem tuam ... und In diebus illis: Audivi vocem de caelo, dicentem mihi ... Die Rückseite des Blattes der "Heiligen Messe für Verstorbene" beginnt mit der Ansprache "Fratres", auf die ein Auszug aus dem 1. Korinther-Brief, Kap. 15 (Vers 12-23) von Paulus aus dem Jahre 55 n. Chr. folgt: Sie autem Christus praedicatur quod resurrexit a mortuis, quomodo quidam dicunt in vobis, quoniam resurrectio mortuorum non est? (Gott hat Jesus den Mesias, von den Toten auferweckt. Daher ist es mir völlig unbegreiflich, wie da einige von euch sagen können, es gäbe keine Auferstehung von den Toten).

- 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.

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 .

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.

Paris, G. Anabaat für Germain Hardouyn, 1. Oktober 1505. 106 (von 108) Bll.. Mit Druckermarke und 15 (von 16) großen und 29 kleineren Holz- oder Metallschnitten, koloriert und mit Gold zahlr. eingemalte Initialen in Rot oder Blau mit Gold, am Schluß mit kleinerem Metallschnitt in architektonischer Umrahmung (ohne Kolorit). 8. Etwas späterer Kalbsledereinband mit vergoldetem Lilien-Semé und zentralem Monogramm "I B" Goldschnitt Etwas berieben Kanten, Ecken und Bünde bestoßen und mit etwas Bezugsleder-Verlust alte Glossen auf fliegenden Vorsätzen Blätter etwas knapp beschnitten, dadurch teils Verlust von Bordürenrand teils etwas fleckig 3 radierte Wörter am Schlußblatt es fehlen die Bll. d3 und d6. Die schönen Illustrationen (in architektonischen Bordüren), ausgemalt in der Art von Miniaturen, zeigen Aderlaßmann, Johannes mit dem Giftbecher, Judas' Verrat, Mariae Heimsuchung, die Kreuzigung, Verkündigung der Hirten, die Heiligen drei Könige, die Flucht nach Ägypten usw. die kleineren meist mit Heiligendarstellungen. Bohatta 807 Lacombe 148f Tenschert: Horae B.M.V. II, Nr. 70.

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 … [Click Below for Full Description]

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.

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.

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)

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.

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

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).

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. Ex … [Click Below for Full Description]

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 mar … [Click Below for Full Description]

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 … [Click Below for Full Description]

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 censit … [Click Below for Full Description]

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 jou … [Click Below for Full Description]

- Das Kunsthistorische Museum in Wien genießt Weltruf - zu Recht. Finden sich hier doch die meisten, die schönsten und die kostbarsten Zeugnisse der internationalen Kunstgeschichte auf einen Streich - und ein Ausstellungsprofil das zu den exquisitesten weltweit zählt. Spitzenwerke der europäischen Malerei aus Sammlungsbestand haben für die Schmuckreihe Pate gestanden, die das Museum selbst auflegt. Hier ein prächtiges Schmuckstück, inspiriert von dem Gemälde »Junge Venezianerin« von Albrecht Dürer aus dem Jahr 1505. Die eingesetzten Perlen alternieren mit dem Onyx und verströmen zeitlose Eleganz. Halsschmuck, Silber, Flussperlen, Onyx.

Paris: Thielmann Kerver, [colophon dated], 1505 [calendar covering the years 1497-1520]. n. This is a rare and appealing edition of a printed Book of Hours from a major Parisian publisher renowned for this kind of prayer book. Seven of the large miniatures--the Betrayal, Tree of Jesse, Annunciation, Nativity, Annunciation to the Shepherds, Flight into Egypt, and David and Bathsheba--are based on those created by the printer Pigouchet for his 1496 edition. The scenes depicting the Coronation of the Virgin, the Instruments of the Passion, and the Virgin with her emblems were created by the Kerver workshop for an incunabular edition, as was the diagram explaining the concept of the Trinity, which is based on an entirely different conception than that used by Pigouchet and other publishers. The Kerver blocks new to this edition are slightly larger, and depict the Martyrdom of St. John, the Visitation, Presentation, Crucifixion, Pentecost, and Raising of Lazarus. According to Mortimer, "the figures seem slightly elongated in contrast to those in the earlier blocks, and the more sophisticated style shows a German influence." In addition to the Hours of the Blessed Virgin, the text includes prayers to prepare for Mass, Hours of the Cross, of the Holy Spirit, of the Conception of the Virgin, and of Saint Barbara, Mass of the Virgin, the Seven Penitential Psalms, Suffrages, prayers of St. Gregory and St. Bridget, and the Office of the Dead. Thielman Kerver the Elder (d. 1522) came from Koblenz to Paris around 1497, and began printing works for Jean Petit, the preeminent Parisian pub … [Click Below for Full Description]

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). 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 pensa … [Click Below for Full Description]

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). 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 pensa … [Click Below for Full Description]