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Displayed below are some selected recent viaLibri matches for books published in 1510

        Till Eulenspiegel

      [Holland], ca. 1510. Slight restoration to small portion of tower and sky, else fine. No margins. Approximately 173 x 139 mm (7 x 5-1/2 inches). hinged to archival mat Lucas van Leyden (1484-1533). Lucas van Leyden , also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter, born and mainly active in Leiden. van Leyden was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art.& & This print was once in the collection of Baron Adrien Wittert .

      [Bookseller: Randall House Rare Books]
 1.   Check availability:     Biblio     Link/Print  


      Johannes Stuchs Nuremberg: Johannes Stüchs, 1510. 203 x 149 mm (8 x 5 7/8"). [8] leaves. Later (19th century?) light green pastepaper boards decorated with an all-over pattern of gilt scrolling vines, some terminating in grotesques and inhabited by rabbits, wolves, and birds. TITLE PAGE WITH A FINE LARGE (114 x 89 mm.) WOODCUT DEPICTING A CLERIC PREPARING TO BLESS A CROWD WITH HOLY WATER in a courtyard outside a church. Final leaf with publisher's device. Inscriptions on title page (one a Latin motto) and on one other leaf in two or possibly three early hands. STC German, p. 876. Minor (partly patched) worming to foot of first three leaves (woodcut not affected, but with small losses to a handful of letters), title page faintly soiled, otherwise excellent, the binding clean and sound, the leaves fresh, and with deep impressions of the type. First published ca. 1475, this treatise explains the origin of the custom of using Holy Water in church ceremonies and defends its healing efficacy to counter sterility and other lamentable conditions. Turrecremata (Juan de Torquemada, 1388-1468) was a Spanish Dominican monk who studied in Paris. He attended several church councils and defended the doctrine of the Immaculate Conception at the council of Basel. He became a cardinal in 1439 and was known for his charity. Incunabular editions of this work were published without illustration, and ours may be the first printing to be illustrated. Early printings of this work are uniformly rare: ABPC lists an aggregate total of four copies of all the editions at auction since 1975.

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

        Trogi pompeii historia per iustinum in compendium redacta proxime q. emendatissime edita. mediolani, apud leonardum vegium, 1510 nonis maii.

      In-folio (305x205mm), ff. CXXV, legatura settecentesca p. pergamena rigida. Bei capilettera ornati. Explicit al colophon. Glosse marginali di mano rinascimentale al margine di numerose cc. Fioriture e arrossature normali. Bell'esemplare. Raro postincunabolo milanese del compendio di Pompeo Trogo redatto da Giustino. Giustino, la cui editio princeps latina, per i tipi iensoniani, aveva visto la luce nel 1470, fu ancora assai fruito in età rinascimentale in quanto epitomatore latino delle ""Filippiche"" di Pompeo Trogo. Vissuto in data incerta, ma ubicabile cronologicamente tra la fine del II secolo d.C. e il principio del III, egli trascelse i brani di Pompeo Trogo secondo un preponderante gusto anedottico. L'opera, ricca di notizie sulla Grecia antica, ma anche sul mondo fenicio, giudaico e oriantale, fu largamente utilizzata anche dai Padri della Chiesa e in età medievale per la corrività della sua impostazione storiografica, passibile di immediata consultazione ed estrapolabilità. Manca all'Adams e a STC Italian. EDIT16 CNCE 41122 (7 copie censite in EDIT16, di cui una mutila).

      [Bookseller: Studio Bibliografico Benacense]
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        [ Book of Hours ] .

      Rouen, France: c.1510 .. A very good single printed leaf from a "Book of Hours" published in Rouen, France c. 1510 . Latin text with hand coloured capitals on both sides, and hand coloured full-page illustration of Jesus carrying his cross, surrounded by people in mediaeval dress and a seated white dog to the fore-ground, framed by architectural designs incorporating columns and arcades. Nice bright colours. The leaf measures7" x 4.5" (18 cm x 11.5cm). Contained within a double glazed frame (so you can see both the front and the rear of the leaf) 12.25" x 9.5" (31cm x 24.5) .The inclusion of a dog amongst other meanings in mediaeval christianity, was a symbol of faith, explaining the popular canine name "Fido," the Latin word for faith. Below the illustration is the following Latin verse: 'Domine labia mea aperies Et os meum annunciabit'. This and other Psalms were so well known to medieval worshipers that each Psalm was often indicated only by its incipit, or opening line. [Thou O Lord wilt open my lips And my mouth shall declare thy praise - Psalm 50 v. 17]. The reader is expected to recite the remaining lines from memory. To the rear of the illustration is a page of Latin text within a foliate border and two small biblical wood-cuts to the right margin. The text reads: ' devoto femineo jesu. Domine evau di orationem meam. Et clamoi me-ad te veniat. Oremus. Concede nos famulos tuos, quaesumus, Domine Deus, perpetua mentis et Corporis sanitatem gaudere : et, gloriosa beatae Mariae semper Virginis intercessione, a praesenti liberari trisititia, et aeterna perfuri laetitia. Per Dominum nostrum. Amen Benedicamus dominio deo gratias. "Ad matutinas de cruce." with one coloured capital. This I believe is the last leaf of Hours of the Virgin (Matins), and the next leaf would be the beginning of Hours of the Cross (Matins) . ** "The essential text of any book of hours is the Hours of the Virgin, also known as the Little Office of the Blessed Virgin Mary. It is a devotional work composed of a set of psalms interspersed with lessons, prayers, and brief phrases of praise and petition. It was first written in the ninth century for the use of the clergy, but adapted over time for the laity, and was extremely popular from the mid-thirteenth through sixteenth centuries. By the end of the period, printed books rather than manuscripts dominated. The "hours" refer to the eight canonical hours of the day: Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline. These hours were based in the ancient Roman systems for time, and were the hours of prayer in the Divine Office, chanted in monasteries and by the clergy, beginning with Matins and Lauds, which were sung before dawn. Books of hours were also used to teach children to read; the word "primer" comes from "Prime," the first daytime hour. Each of the eight hours begins with a series of short lines, called versicles and responses. Matins begins Domine labia mea aperies et os meum annunciabit laudem tuam Deus in adjutorium meum intende (Lord, open my lips and my mouth shall tell forth thy praise. God, come to my assistance.) " - See Metropolitan Museum Of Art.

      [Bookseller: Beckham Books Ltd]
 4.   Check availability:     UKBookworld     Link/Print  


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