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         1511 1ed Boccaccio Genealogy of the GODS Roman Mythology Illustrated Roce Paris

      [Paris, expensis Louis Hornken: Denis Roce, 1511.] Colophon: Parrhisiis: Prostant in vico Divi Jacobi sun intersigniis Trium coronarum Coloniensium atque Divi Martini. - 1511 1ed Boccaccio Genealogy of the GODS Roman Mythology Illustrated Roce Paris “Human it is to have compassion on the unhappy” Giovanni Boccaccio Giovanni Boccaccio was a 14th-century Italian poet and important humanist during the Renaissance. In 1360, Boccaccio composed ‘Genealogia Deorum Gentilium’ (‘Genealogy of the Gods’) – an important reference work on classical mythology. According to Malcom Bull, “Boccaccio does his best to make sense of the complex genealogy of the gods. No subsequent mythographer followed his method of organizing material, yet Boccaccio's Genealogia retained its prestige and was to remain the most important mythological manual until the late sixteenth century." (Bull, 22) Denis Roce was highly desirable publisher active between 1490 and 1515. This 1511 edition features the Roce printer’s mark on the first leaf and was edited by Johann Kierher. However, the appeal of this edition extends beyond the post-inunable dating. Roce published this edition with 13 engravings of genealogical trees of mythological gods such as Jupiter (Jove), Neptune, Dardanus, This example is bound with an artistic, Renaissance-era sheet-music covered boards. Item number: #2057 Price: $4950 BOCCACCIO, Giovanni Genealogie Johannis Boccacij cum micantissimis arborum effigiationibus cuiusq[ue] gentilis dei progeniem, non tam aperte q[uam] summatim declarantibus Cumq[ue] pr[a]efoecunda o[mn]i[u]m qu[a]e in hoc libro sunt ad fine[m] tabula. Eiusde[m]q[ue] de mo[n]tib. & siluis de fo[n]tibus, lacubu & fluminib. Ac etia[m] de stagnis & paludib. nec non & de marib. seu diuersis maris nominib. libri lucule[n]tissimi [Paris, expensis Louis Hornken: Denis Roce, 1511.] Colophon: Parrhisiis: Prostant in vico Divi Jacobi sun intersigniis Trium coronarum Coloniensium atque Divi Martini. Details: • Collation complete with all pages: [1], [vi-viii], IX-CLXII o Signatures: a4, b-t8, v10 o Illustrated with 13 engravings of genealogical trees Verso of following leaves: a3; b7; c6; d4; e7; f7; g5; h4; i1; i8; k7; l6; m6 • References: Adams B 2172; Bull, Mirror of the Gods; USTC 143802; FB 58265; Moreau II 63:24; BM STC French, 71; Wellcome Library, b.14561876; • Language: Latin • Binding: Manuscript leather; tight & secure • Size: ~12.5in X 8.5in (31.5cm x 22cm) • Exceedingly rare with no other example for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 2057 Photos available upon request [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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         Novum diversorum sermonum opus hactenus non impressum. Reverendi patris Oliverii Maillardi. Angebunden: Olivier Maillard: Passio Domini Nostri Jesu Christi ...

      Paris: Iehan Petit Ca. 1511 / ca. 1515 171 [1 weißes]; 16 Blatt. Lagenzählung: a-x 8, y 4; A-B 8. Ganzleder des 18. Jahrhunderts mit goldgeprägtem Rückentitel, Klein-Oktav, 15,5 cm. (Einband etwas bestoßen und berieben, Vorsätze mit Leimdurchschlag, ein zweiter Vorsatz mit französischer Handschrift des 19. oder frühen 20. Jh. zum Buch, innen mit Anstreichungen und wenigen Marginalien aus dem 16. Jh., teils braunfleckig) Eine Postinkunabel in einem deutlich späteren Einband, das erste Blatt mit kleinem Einriss, die ersten beiden Blätter mit Wurmspur und kleinem Buchstabenverlust. Der Buchblock ist etwas knapp beschnitten, aber ohne jede Beeinträchtigung des Textes. Gedruckt in zwei Spalten mit gotischen Lettern, mit einigen gedruckten Initialen in unterschiedlicher Größe. Die Blätter 170 und 171 sind falsch foliiert: cl bzw. li. Auf Fol. 133 (und öfter) findet sich der Hinweis, dass Maillard die Predigten im Jahr 1501 gehalten hat. Ein Impressum konnten wir trotz eingehender Suche nicht finden.Oliver Maillard (geb. um 1430; gest. Toulouse, 22. Juiy 1502) war ein bretonischer franziskanischer Prediger. Für seine Fastenpredigten sowohl in Kirchen als auch auf öffentlichen Plätzen wurde er als kraftvoll und populär gefeiert. Seine Art und sein Stil waren eher stumpf und plebejisch.Der Verleger Jean Petit (auch: Ioannis Parvus) druckte von 1493 bis 1530 etwa ein Zehntel aller Veröffentlichungen in Paris, mehr als 10.000 Bände. Er war einer der vier großen Buchhändler an der Universität von Paris und trug viel zur Verbreitung von Renaissance und Humanismus in Paris bei. Auch die Predigten von Maillard erschienen bei ihm in zahlreichen Editionen und Auflagen. (vgl. Wikipedia)Die Druckermarke auf dem ersten Blatt hat die Maße 67 x 47 mm und entspricht Nummer 5 der bei Konrad Haebler \"Verlegermarken des Jean Petit\" gezeigten. Haebler vermutet die Entstehung dieser Druckermarke um 1510. Die Druckermarke des zweiten Textes hat die Maße 93 x 65 mm. Diese wird bei Haebler nicht beschrieben oder gezeigt. Nach den über KVK recherchierbaren Exemplaren datieren die Bibliotheken diese beiden Texte auf 1511 bzw. 1515 und versehen dies Daten meist nicht mehr mit Fragezeichen. Beide Ausgaben sind sehr selten und nur in wenigen Exemplaren weltweit nachweisbar.Pettegree: French Books III & IV: 78611 / 78673; Adams I, p.698, 150 [1512?], Adams kennt nicht den zweiten Druck; BLCFB p. 297; GW M19977; Hain 10517. - Weitere Bilder auf Anfrage oder auf unserer Homepage. Versandkostenfreie Lieferung [Inkunabel Postinkunabel Franziskaner Predigt]

      [Bookseller: Versandantiquariat Bürck]
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         Cai Iulii Caesaris Invictissimi I[m]peratoris Co[m]mentaria nunc primu[m] a viro doctor expolita: et optime recognita. Additis de novo apostillis: Una cu[m] figuris suis locis apte dispositis

      venice, agostino Zani 1511 - Caesar, Gaius Julius. Cai Iulii Caesaris Invictissimi I[m]peratoris Co[m]mentaria nunc primu[m] a viro doctor expolita: et optime recognita. Additis de novo apostillis: Una cu[m] figuris suis locis apte dispositis Venice, Agostino Zani, 17 August 1511. Folio. [4 +110 + [8]f.Roman letter. Title text in red with large woodcut of cavalry battle scene (92 x 120mm) surrounded by red ornamental border made up of 4 compartments (same woodcut repeated in black on 1st page of text with different border), 12 woodcuts (56 x 74mm) in the text at beginnings of chapters, 1 halfpage woodcut within ornamental border on f.51, historiated decorative initials white on black in different sizes. Early 18th century calf, gilt, backstrip richly gilt with title label; book block red; marbled end papers. The renowned first illustrated folio edition of Caesar’s War Commentaries published in Italy, edited by Luca Pavetio. The woodcuts of this beautiful Venetian imprint (with one exception) were first used for the 1493 Venetian Giunta edition of Livy’s histories of the Punic wars. The magnificent title woodcut shows a cavalry battle scene; the subject of the halfpage woodcut on leaf 51 is Lentulus addressing the Roman Senate. The smaller woodcuts adorning chapter headings remind of the illustrations used for the 1499 Aldine edition of the Hypnerotomachia Poliphili. Colophon on verso of leaf 110, followed by the index of Raimundus Marlianus. An exceptionally good copy. Essling, Livres à figures vénitiennes, III (1909) pp231-232, no 1727. [Attributes: Hard Cover]

      [Bookseller: Hünersdorff Rare Books ABA ILAB]
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         In Caru(m) Lucretiu(m) poetã Cõme(n)tarij a Joãne Baptista Pio editi : codice Lucretiano delige(n)ter eme(n)dato : nodis oi(n)bus et difficultatibus apertis : obiter ex diverses auctoribus tu(m) grecis tu(m) latinis multa leges enu cleata : que superior etas aut tacuit ignora uit. Pellege : letaberis.

      Bologne : Girolamo Benedetti 1511 - LUCRECE. In Caru(m) Lucretiu(m) poetã Cõme(n)tarij a Joãne Baptista Pio editi : codice Lucretiano delige(n)ter eme(n)dato : nodis oi(n)bus et difficultatibus apertis : obiter ex diverses auctoribus tu(m) grecis tu(m) latinis multa leges enu cleata : que superior etas aut tacuit ignora uit. Pellege : letaberis. Bologne : Girolamo Benedetti,1511. In-folio, 307 x 208 : (4 ff.), CCXXIIII ff. [sig. [ ]4 A-Z6 AA-NN6 OO8]. — Demi-vélin à coins, dos à nerfs orné, tranches bleues (reliure du début du XIXe siècle). Première édition très rare du commentaire du philologue humaniste italien Giovanni Battista Pio (vers 1475-vers 1540) du poème De Rerum natura (De la nature des choses) de Lucrèce. IL S’AGIT DE LA TOUTE PREMIÈRE ÉDITION VÉRITABLEMENT COMMENTÉE DE CE TEXTE. Pour établir cette édition, Pio se servit d’une copie de la main de l’humaniste italien Pomponio Leto (1428-1498) du Codex Pomponii Romani. Susanna Gambino-Longo dans son étude intitulée La question de la mortalité de l’âme dans les commentaires humanistes de Lucrèce de G. B. Pio et D. Lambin, donne cette précision quant à ce qui a décidé Pio à établir le commentaire de ce poème : « Lucrèce intervient à un moment critique de la carrière de l’humaniste : en effet, après la rupture avec son mentor, Filippo Beroaldo l’Ancien, Pio avait quitté Bologne et s’était rendu à Rome en quête de reconnaissance intellectuelle. Ces données biographiques expliquent l’envergure et l’investissement de Pio dans cette œuvre monumentale, qui sera ensuite reprise en 1514 par Nicolas Bérault (chez J. Petit). Par le choix de commenter Lucrèce, outre la continuité et la cohérence avec ses recherches sur des auteurs rares, précieux et archaïsants, comme Fulgence et Plaute, Pio entendait certainement prouver ses compétences philosophiques en vue de l’obtention d’un poste académique » (Susanna Gambino-Longo, in : Commenter et philosopher à la Renaissance, 2014, p. 31). Elle précise par la suite que le commentaire de Pio « comporte une structure digressive, en accord avec l’usage de l’académie bolonaise et le style très personnel introduit par Beroaldo, où le texte commenté est certes le lieu de l’exercice philologique, mais qui se laisse tenter par une ouverture tous azimuts » (ibidem). Le commentaire relie ainsi les deux centres d’intérêt sur Lucrèce du siècle précédant et du début du siècle suivant, c’est-à-dire la philosophie et la critique textuelle. Exemplaire comprenant plusieurs corrections manuscrites de l’époque. Déchirures et manques au papier marbré des plats, taches au dos. Large déchirure restaurée au feuillet de titre sans atteinte au texte. Quelques mouillures claires sans gravité. [Attributes: Hard Cover]

      [Bookseller: Busser]
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         Erster [und: Ander] Thail Der Cronicken der eingesetzten Orden deß heiligen Vatters Francisci: Darinn sein Leben, Werck, Todt, und Wunderzeichen begriffen. Erstlich in Portugalischer Sprach zusammen getragen, Durch den Ehrwürdigen Vatter Marcum von...

      ...Lißbon a: Und hernach in die Castiglianische verendert, Durch den Ehrwürdigen Vatter Didacum Navarrum. Volgents in die Italianische transferiert, Durch Horatium Diolam von Bologna: Und an jetzo in unser Teutsche Sprach gebracht Durch Den Edlen Gestrengen Herrn Carl Kurtzen von Senfftenau. - [2 Bände.] - Die beiden ersten (von drei) Teilen der frühen und umfangreichen Geschichte des Franziskanerordens aus der Feder von Marcos de Lisboa (1511-1591) in deutscher Übersetzung, die portugiesischen bzw. spanischen Erstausgaben waren von 1556 bis 1570 erschienen. - VD17 12:113948M (Hauptwerk) 12:113949U (Bd. 1) 12:113965B (Bd. 2). - Provenienz (Stempel in Bd. 2, S. 506): Bibliotheca Provincialatus O.F.M. Prov. Sax. S. Crucis. (Ordo Fratrum Minorum Sa?chsische Franziskanerprovinz vom Heiligen Kreuze). - Die beiden Kupfertitel mit zahlreichen kleinen Darstellungen von Heiligen. - Montierte maschinenschriftliche Titelaufnahmen auf den beiden Innenspiegeln, die Kupfertitel fleckig und angerändert (im ersten Teil mit unschönen Fehlstellen) sowie hinterlegt, das Titelblatt von Band 1 mit rasiertem Stempel und hinterlegt, Papier anfangs etwas angerändert, teils etwas braunfleckig, kleinere Fehlstellen (teils hinterlegt), in Band 1 eine Lage gelockert, im Schnitt fleckig, gegen Ende Minierspuren, sonst gute Exemplare in soliden und schönen Einbänden.

      [Bookseller: Antiquariat Tautenhahn]
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         Batavia, in qua praeter gentis (...). Dordrecht, V. Caimax [colophon: J. Braat], 1652.

      12°, geheel perkamenten band uit de tijd, 676+(6)+ pag. Geillustreerd met portret van de auteur met vers van P. S[criverius] en met houtsneden in de tekst. Tweede -en laatste- druk van de Batavia, van de geschiedschrijver van de Staten van Holland Hadrianus Junius (Hornanus) (1511-1575), voor het eerst verschenen in 1588, uitgave door J. Dousa sr. De houtsneden in de tweede druk zijn nauwkeurige kopien van die der eerste druk. Vroege vermelding van Haarlem als de stad waar L.J. Coster de boekdrukkunst ontdekte.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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         Opus Regale

      Paris: Jean Barbier for François Regnault, 10 January 1511. 4to (142 x 210 mm). Title printed in red and black, 7 metalcut illustrations and borders. Contemporary English limp blind-tooled calf, boards removed, early manuscript pastedowns preserved; cloth folding case. Back cover detached. Provenance: early manuscript annotations, extensive at beginning and end; William Morris (1834-1896), (Kelmscott House bookplate, his sale Sotheby's 5 December 1898, lot 1092, to Chadwick for £6 15s.); John Camp Williams (bookplates, his sale American Art Association, 6 November 1929, lot 1156); purchased from Thomas Taylor, 1978. Third edition. The 1507 first edition printed at Saluzzo by Giacomo de' Circhi and Sisto Somasco, and the Lyons, 1508 edition of Étienne Gueynard both employed woodcuts. In Barbier's edition for Regnault, up to one dozen small metal plates combined to form each of the large subjects and frames in the final composite images. The subjects include the Descent from the Cross, the Dance of Death, and representations of saints. Giovanni Lodovico Vivaldi, whose name appears on the verso of the title-page above Andreas de Soncino's preface, dedicates the work to the Marquess of Salluzzo, Ludovico II (1438-1504) and his second wife, Marguérite de Foix. A Dominican monk and professor of theology from Mondovi, Vivaldi moved to Lombardy to act as their adviser and confessor. His collaboration in this text with Bernardino Dardano represents a "defining link between theological and humanistic culture in print" (Vinay, L'umanesimo subalpino nel secolo XV 1935, p.107). See Harvard/Mortimer, French 552 (the Lyons edition). Renouard, Imprimeurs & Libraires Parisiens du XVIe siècle, 185. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
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         TEXtus De Sphera Johannis de Sacrobosco

      - Cum Additione (quantum necessarium est) Adiecta: Nouo commentario nuper editio Ad Vtilitatem studentium Philosophice Parisieñ. Academie illustratus cum Cõpositione Anuli Astronomici Boni Latensis Et Geometria Euclidis Megarensis. [Colofón]: «Impressum Parisii in officina Henrici Stephani e regione Schole decretorum sita. Anno Christi siderum conditores 1511. Decimo die Novembris». [Henrici Stephani/Estienne, Paris, 1511]. In fólio de (27x19,5 cm) com 32 fólios sem numeração. Encadernação do século XIX com lombada e cantos em pele. Magnifico frontispício tipográfico gravado com as insígnias da Universidade de Paris, as insígnias do impressor 'H' e 'S' nas margens com anjos e gravuras xilografadas nos versos de a3 e c1. Bela impressão parisiense pós-incunabular em caracteres góticos, ilustrada com tabelas de dados e com numerosas gravuras astronómicas no texto, algumas de rara beleza. Obra científica, editada para uso da Universidade de Paris, incluindo três tratados. O primeiro com capital importância para a navegação para a América: o Tratado da Esfera de Sacrobosco. O segundo tratado é o Livro do Anel Astronómico da autoria de Bonet de Lattes (Liber Annuli Astronomici de Bonus Latensis). O terceiro tratado é a Geometria de Euclides com a tradução latina de Boethius. O autor Giovanni di Sacrobosco ou Sacrobusto [João de Sacrobosco; Johannes de Sacrobosco; John of Hollywood, Escócia ca. 1195 - ca. 1256] foi um astrónomo, astrólogo e matemático inglês, considerado um dos maiores eruditos do século XIII e o primeiro a considerar que a Terra era redonda. Sacrobosco foi Professor da Universidade de Paris e autor da obra medieval 'Tractatus de sphaera', traduzida e comentada posteriormente em português pelo matemático e astrónomo Pedro Nunes, em 1537. A leitura de Sacrobosco foi obrigatória nas universidades de Espanha por ordem real publicada nas Leys da Recopilacion (V. tit. XIII. Lib. II). Sobre o autor Bonet de Lattes sabemos que foi um importante médico e astrónomo judeu que ficou conhecido como o inventor de um sistema anelar ou circular, de grande precisão, através do qual podem ser conhecidas as altitudes do sol e das estrelas, tanto de dia como de noite, destinado inicialmente ao cálculo das horas para o conhecimento das casas astrais, mas também aplicado ao conhecimento das latitudes. Este tratado foi publicado pela primeira vez em 1493 (Annuli per eum Composi super Astrologiam Utilitates, Andreas, Roma, 1493) e foi publicado várias vezes, sempre como um suplemento de outras obras. No final do texto do tratado de Bonet encontra-se «Parce precor rudubus / que sunt errata Latino Lex hebrea michi est / lingua latina minus. Boni de latis hebrei anuli astronomici Finis», que se trata de uma desculpa do autor pelo facto de falar e escrever menos bem em Latim do que em Hebreu. Bonet viveu no final do século XV e início do século XVI, sendo contemporâneo da impressão desta obra. Nasceu na Provença, em Lattes, uma localidade marítima perto de Montpellier. Mais tarde foi para Roma sendo médico pessoal do Papa Alexandre VI Bórgia e do Papa Leão X. Cerca de 1507-1513 Bonet era o Rabi de Roma. Em sua casa, que funcionava como sinagoga do gueto, encontrava-se a Arca da Aliança e os livros sagrados tapados por tecidos e reposteiros. (Vide Hipolito Buchman, The Esoteric Codex: Medieval Astrologers; vide Eliazim Carmony, Histoires des Medecins Juifs). Sobre o autor Boécio, aliás Anicius Manlius Torquatus Severinus Boethius (Roma, cerca 480 - Pavia, 525) foi um filósofo, estadista e teólogo romano que se notabilizou pela sua tradução e comentários das obras dos clássicos gregos sobre matemática, lógica e teologia. Por vezes os resumos das obras e os seus comentários são muito reduzidos, tal como neste tratado Geometria Euclidis a Boethio in latinum translata. Boécio foi chefe do governo e dos serviços da corte pelo rei ostrogodo Teodorico, o Grande (474?526) e acusado de traição a favor do Império Bizantino, foi torturado, condenado à morte

      [Bookseller: Livraria Castro e Silva]
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         1511 Dialogues Pope Gregory I Post Incunable MIRACLES Wonders Petit Catholic

      [Paris]: expensis Johannis Petit, impressus opera Johannis barbier, Pridie Kal. Aug. [1511]. - 1511 Dialogues Pope Gregory I Post Incunable MIRACLES Wonders Petit Catholic “There are some so restless that when they are free from labour they labour all the more, because the leisure they they have for thought, the worse interior turmoil they have to bear.” Gregory the Great First edition post-incunable printing of Pope Gregory I’s “Dialogues”. This title is a fascinating work on miracles, heavenly signs, wonders, healings done by holy men, and a depiction of the life of Saint Benedict. Early 16th-century printings of these dialogues are extremely hard to find, and are even more rare in this fine condition. Item number: #680 Price: $1500 GREGORY, Pope Dialogus beati Gregorii pape: eius diaconi Petri in quattuor libros divisus: de vita miraculis patrum italicoru: de eternitate animarum: cum tabulis nunc nunc a nouo superadditis. [Paris]: expensis Johannis Petit, impressus opera Johannis barbier, Pridie Kal. Aug. [1511]. Details: • Collation complete with all leaves: [1], 94, [9] o Signatures: a-n8 • Binding: Vellum; tight & secure • References: USTC 180606; Adams G 1190; o Imprint and signatures from Adams • Language: Latin • Size: ~5.75in X 4in (15cm x 10cm) • Exceedingly rare with no other examples for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 680 Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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         Das Buch der Selen wurtzgarte genant das ist gar kurtzweilig zelesen geistlichen und weltlichen menschen mit seinen Figuren und Exempeln

      Seelen-Wurzgarten von 1511 Das Buch der Selen wurtzgarte(n) genant das ist gar kurtzweilig zelesen geistlichen und weltlichen menschen mit seinen Figuren und Exempeln. Getruckt vnd volendet in der freyen Statt Straßburg. durch Matheis Hupfuff. vff Donerstag vor Sãt Matheis tag. Jn de jar nach der Geburt Unsers herren. M.D.Xj. Mit 2 blattgroßen Holzschnitten und 91 teils halbseitigen Textholzschnitten. 91 num. Blatt, 4 nn. Bl. Späterer Halb Ledereinband über Holzdeckel mit ergänzter Mittelschließe. Proctor 10028. Schmidt, Hupfuff 83. Weller 633. Muther 1471. - Eine Verteidigung der christlichen Religion, besonders wider die Einwürfe der Juden' (Panzer, DA 807 zur Ausg. 1515). - Dieses 1511 erschienene Straßburger Holzschnitt-Buch wurde 1515 leicht verändert herausgegeben. Die Holzschnitte sind ausnahmslos Wiederverwendungen aus früheren Drucken, so aus dem Heiligenleben, dem Ulmer Seelen-Wurzgarten von 1483, Hupfuffs Endchrist von 1503, meist aber aus der Straßburger Bibel von 1485. Etwa 20 Holzschnitte sind aus unterschiedlichen Motiven (von 2 Stöcken gedr.) zusammengesetzt. Der blattgroße Holzschnitt von Blatt 28 oben die Krönung Mariä, unten mit Teufeln kämpfende Engel vor dem Höllenschlund. Das Buch wurde wohl laut handschriftlichen Eintrag (mit Notizen von 1460 bis 1510) auf dem Vorblatt 1880 restauriert und neu gebunden, dabei Titel als alte Handschrift eingebunden. Das Titelblatt, sowie die Blatt 6, 7 u. 35 und das letzte Blatt vom Register als Kopie auf Originalpapier eingebunden. Das Buch ist so komplett. Etwas fleckig und gebräunt, teils im Bug verstärkt, Blatt 2 Fingerfleckig mit minimaler Fehlstelle im weißen oberen Rand. Vorgebunden 2 handschriftliche Blatt. VD16 S 5277 Hier eine Digitale Ansicht des Werkes https://books.google.de/books?id=V_JVAAAAcAAJ&printsec=frontcover&hl=de&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false Deutschland kostenloser Versand DHL

      [Bookseller: HGomoll]
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         Metaphysicarum Disputationum dilucidarium

      ccccxxxxiiii, [4] leaves. Small thick folio (300 x 211 mm.), cont. Italian goatskin tooled in blind over thin pasteboard, remains of four former ties (see below). Naples: Sigismondo Mayr, 1 September 1511. First edition. A native of Sessa Aurunca, near Naples, Nifo (ca. 1473-1545), was a leading philosopher as well as a physician, championing Averroes and Aristotle. His edition of Aristotle was published at Venice in 1495-96. His commentaries and translations of various texts of Aristotle were influential and frequently reprinted. He also wrote on Averroes, Ptolemy, Hippocrates and others and his De Pulchro et Amore was much read, with its influence carrying on well into the 17th century. After his own studies at Padua in the 1490s he returned south as professor at Naples and Salerno, where he began his Metaphysicarum in 1507. Vecellio Fore-edge Painting: The broad fore-edge (75 mm.) is painted with figures of two philosophers seated facing each other, one in red robes with ermine collar and with a red hat and a book (Nifo), the other in black robes and cap. The author's name is written horizontally below lower tie, top and bottom edges are marbled. The painted decoration is the work of Cesare Vecellio (1521-1601), a cousin and pupil of Titian, in whose studio Vecellio worked until Titian's death. Among Vecellio's major paintings is the altarpiece at Belluno Cathedral. In addition to the painted fore-edges executed for the Pillones, Vecellio also painted a room in the Palazzo Pillone with the Four Seasons and the Rape of the Sabines. In his famous book on costume and manners, De gli habiti antichi et moderni (Venice: 1590), Vecellio mentions the library and other collections of the Pillone family as well as their generous hospitality. For his imagery, Vecellio took each book's author or content, so there are a series of author portraits, as here, or scenes, maps and views. 172 volumes were decorated in this way, 154 with fore-edges painted by Vecellio and 21 with original drawings on their vellum covers by him and other artists. Provenance: 1. Antonio Pillone (1464-1533), Belluno; binding. 2. Odorico Pillone (1503-1593), Belluno; fore-edges. 3. Sir Thomas Brooke (1830-1908), Armitage Bridge, Yorkshire; bookplate; sold by his heirs in 1957 to 4. Pierre Berès (1913-2008), Paris. The Pillone Library has long been celebrated. Noted already in the 16th century as a library of "molti e diversi libri," it is celebrated among bibliophiles today for the remarkable painted decoration of its fore-edges and as a rare survival up to the modern day of a Renaissance library. The Pillone family, originally of Val Cadore, was prominent in the civic history of Belluno. Their library at Villa Casteldardo outside Belluno was primarily formed by the father and son, Antonio (1464-1533), and Odorico (1503-94), the former a soldier and diplomat, the latter a learned jurist. In the 1580s Odorico Pillone (or possibly his son Giorgio) commissioned Vecellio to decorate the fore-edges of a substantial portion of the best books in the library with paintings related to the contents. The 172 volumes decorated by Vecellio have had a remarkably stable existence over the next four centuries, which accounts in large measure for their almost uniformly excellent state of preservation. They remained together with other family collections until 1874 when the library was sold to the Venetian antiquarian Paolo Maresio Bazolle. The decorated volumes were then bought en bloc by the Yorkshire baronet Sir Thomas Brooke (1830-1908), and remained in his family until they were acquired and finally dispersed by Pierre Berès in 1957. Thanks to their unusual decoration and to the fact that the library remained intact until the 1950s, all of the Pillone books have been preserved in their original bindings. Binding: Contemporary northern-Italian brown goatskin tooled in blind over thin pasteboard, sides divided by quadruple fillets to a grid of forty squares (8 x 5 mm), each filled with a large fleur-de-lis, spine tooled with diagonal fillets. Manuscript vellum title-label on front cover, remains of four former ties. Printed pastedowns from an edition of Aristotle's Physica, part of the Opera. This is one of three associated bindings of this unusual type in the Pillone collection. They all have pastedowns printed at Venice and Hobson posited the Veneto and later confirmed to Padua (Humanists and Bookbinders, Cambridge 1989, p. 125) as the place of binding. Odorico Pillone, like Nifo, had studied in Padua and graduated in 1527. They could thus be the earliest books acquired by Odorico after his father's death. Marginal repair in f7 and h1.8, occasional light browning or dampstaining, small hole in first leaf, small wormhole in last few leaves. A few abrasions with minor loss, short crack at spine. ❧ Berès, Bibliothèque Pillone, 71.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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         Britannie[a] utriusq[ue] regu[m] et principum Origo & gesta insignia . ex antiquissimis Britannici sermonis monumentis in Latinum traducta: & ab Ascensio rursus maiore accuratione impressa.(Colophon: [Paris], Josse Badius Ascensius, 13 September 1517). Small 4to. With Badius's large woodcut device on the title-page, large woodcut arms of the editor Yves Cavellat at the end of the preliminaries, and numerous woodcut white-on-black "Lombardic" criblé initials. 19th-century sprinkled calf.

      - Adams G445; Moreau 1511-1520, 1618; Renouard, Josse Badius II, Geoffrey of Monmouth 2 (p. 462). Second edition, in the original Latin, of Monmouth's great 12th-century History of the kings of Britain, prepared by the editor of the 1508 first edition, Yves Cavellat, but with a slightly different title, and beautifully produced by the same printer-publisher, the famous Paris humanist, Josse or Jodocus Badius Ascentius (1462-1535). With this book the Welshman Geoffrey "Arturus" of Monmouth, Latin Galfridus Monemutensis (ca. 1100-1154), laid the foundation for the Arthurian legend. Translated not only into English but also into other European languages even before it was printed, this first account of the British made King Arthur, the wizard Merlin, Guinevere, Lancelot and the Knights of the Round Table the romantic property of literary Europe. Not only these stories but also Monmouth's history in general became a model and source for poets, playwrights, novelists and chroniclers alike, including Shakespeare in several of his histories and tragedies.With bookplate and contemporary owner's name and retaining a front endleaf from the book's first binding, with extensive contemporary Latin manuscript notes on the recto providing addenda for the history.Title-page slightly dirty, mostly marginal water stains in the first few and last few leaves and very slightly browned, but otherwise in very good condition and including the final integral blank leaf. The boards are slightly bowed, leading to cracks in the joints, but otherwise good. Second edition of a great seminal classic of British history, mythology and literature.

      [Bookseller: ASHER Rare Books]
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         Sexta Europae Tabula

      Venezia 1511 - Xilografia a due colori, 1511. Magnifica prova, impressa su due fogli di carta vergata coeva poi uniti, con pieni margini, in perfetto stato di conservazione. Rarissima carta geografica della penisola tratta dalla Geografia di Claudio Tolomeo, edita a Venezia da Bernardo Silvano da Eboli e Giacomo Peuci da Lecco. Quest’edizione del libro di Tolomeo si differenzia totalmente dalle altre stampate in Italia. Si tratta dell’unico trattato tolemaico avente le carte realizzate mediante intaglio nel legno, e stampato in due colori: rosso e nero. Inoltre, contrariamente ad ogni altro atlante, fu realizzato sulle due facciate del foglio come un vero e proprio libro. Per questo al verso della carta dell’Italia troviamo parte della Quinta e Settima Tabula, raffiguranti rispettivamente parte della Dalmazia e la Sardegna. Dal punto di vista strettamente scientifico quest’edizione della Geografia mantiene dei canoni certamente arcaici, rifacendosi ai manoscritti quattrocenteschi, pertanto compiendo un passo indietro rispetto a tutte le grandi innovazioni cartografiche del periodo. Tuttavia, alcuni studiosi rimarcano il fatto che questa carta rappresenta il primo originale tentativo di correzione delle imperfezioni degli elementi tolemaici, in accordo con le nuove concezioni idrografiche delle carte nautiche. Bernardo Silvano, geografo e umanista del Cinquecento nacque a Eboli intorno al 1465. Il suo nome era sconosciuto fino al secolo scorso perché fu confuso con quello del portoghese Bernard de Silva - nato a Evora in Portogallo - probabilmente per l’erronea interpretazione dell’aggettivo "Eboliensis" per "Eborensis", antico nome della città di Evora. La sua opera più importante, un prezioso manoscritto in-quarto pergamenato contenente una raccolta di carte tolemaiche miniate dove all’ultimo foglio si legge: "Ex officina: Bernardi Eboliensis, A.D. 1490 ", è conservata presso la Biblioteca Nazionale di Parigi. Carta di grandissima rarità e di notevole interesse storico. Carta a proiezione trapezoidale, dimensioni 450 (alto), 470 (basso) x 420. Two-color woodcut, 1511. Magnificent proof, printed on two sheets of contemporary laid paper then joined together, in excellent condition. Very rare map of Italy from Ptolemy's Geography, published in Venice by Bernardo Silvano from Eboli and Giacomo Peuci from Lecco. This edition of the book of Ptolemy is totally different from the other printed in Italy. This is the only treaty Ptolemaic having the maps made by woodcut, and printed in two colors: red and black. In addition, contrary to all other atlas was built on both sides of the map as a real book. From a strictly scientific point of view, this edition of Geography maintains the royalties certainly archaic, referring to the fifteenth-century manuscripts, thus taking a step back from all the great innovations of the period mapping. However, some scholars underline the fact that this maps represents the original attempt to correct the imperfections of the elements Ptolemaic, in fusion with the new concepts of hydrographic charts. Bernardo Silvano, geographer and humanist of the sixteenth century was born in Eboli around 1465. His name was unknown until the last century because it was confused with that of the Portuguese Bernard de Silva - born in Evora in Portugal - probably due to the erroneous interpretation of the adjective "Eboliensis" for "Eborensis", the ancient name of the city of Evora. His most important work, a precious manuscript in-quarto parchment containing a collection of Ptolemaic maps illuminated where the last sheet reads: "Former workshop: Bernardi Eboliensis, AD 1490 ", is preserved at the National Library in Paris. Map of great rarity and of considerable historical interest. Borri 13, Perini pag. 21 Dimensioni [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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         La lezione di anatomia

      1511 - Xilografie, circa 1511. Tratte dal celebre Fasciculus Medicinae di Johannes de Ketham, edito a Venezia nel 1511, trattato di medicina ad uso di studenti e praticanti del Rinascimento. Il primo libro di medicina con delle illustrazioni e, insieme alla Hypnerotomachia Poliphili, il più grande lavoro della tipografia veneziana del tempo. Le tavole che illustrano il libro sono quindi le prime tavole di argomento medico mai stampate e, secondo recenti studi, sono ascrivibili e nello stile della scuola Andrea Mantegna, che Hind identifica nell’attribuzione a Gentile Bellini. Gli studi anatomici di Leonardo da Vinci furono influenzati da queste illustrazioni. Bellissime prove, alcune ritocchi ad inchiostro antico, per il resto in ottimo stato di conservazione. Rare. Bibliografia: Landau & Parshall, The Renaissance Print 1470-1550, p.37/39. Dimensioni 200x290. Woodcuts, 1511 circa. From the famous Johannes de Ketham’s Fasciculus Medicinae , published in Venice in 1511, a medical treatise used by students and trainees of the Renaissance, the first book on medicine with illustrations and, together with the Hypnerotomachia Poliphili, the greatest work realized by the Venetian typography of the time. The plates of the book are therefore the first plates on medical subjects ever printed and, according to recent studies, they can be ascribed to the school of Andrea Mantegna, which Hind attributed to Gentile Bellini. The anatomical studies of Leonardo da Vinci were influences by these plates. Excellent works, some additional touch with antique ink, otherwise in excellent condition. Rare. Bibliografia: Landau & Parshall, The Renaissance Print 1470-1550, p.37/39. Dimensioni 200x290. Landau & Parshall, The Renaissance Print 1470-1550, p.37/39. Dimensioni 200x290. Dimensioni

      [Bookseller: Libreria Antiquarius]
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         In Carum Lucretium poetam commentarij a Ioanne Baptista Pio editi, codice Lucretiano diligenter emendato, nodis omnibus et difficultatibus apertis, obiter ex diuersis auctoribus tum Grecis tum Latinis multa leges enucleata, que superior etas aut tacuit aut ignorauit

      Hieronymi Baptistae de Benedictis, 1511. In-folio (318x210mm), cc. (4), CCXXIII, affascinante legatura coeva in peina pergamena rigida ricavata da un antecedente manoscritto liturgico con notazione neumatica su tetragramma in rosso ed in bruno, con capilettera elegantemente rubricati in rosso e in azzurro. Spazi guida per i capilettera. Il testo di Lucrezio è contornato da fittissimi commenti filologici impressi in corpo più piccolo dell'umanista bolognese Giovanni Battista Pio (1460-1540). Registro ed impresa tipografica in xilografia (cerchio con croce tripla e, in basso, una mano benedicente e le iniziali HI) alla c. CCXXIIIv. Lievi restauri alla legatura. Un'antica firma di possesso. Qualche brunitura e gora di lieve entità. Bell'esemplare. Quinta edizione assoluta del capolavoro lucreziano, la prima con le cure e i commenti del Pio. Adams, L-1648. Gordon, 101. EDIT16 CNCE 32597. Manca a STC Italian. Latino

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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         Revelationes Devotissimi Abbatis Ioachini Super Statum Summorum Pontifcum Romane Eccclesie.

      (Venedig, Niccolò dal Gesù & Domenico dal Gesù, nach ) 1511 - 30,3x20,5 cm. 16 n.n. Bl. mit 29 ganzseitigen Holzschnitten. In losen Bögen, in neuer Leinwandkassette. EDIT 16 CNCE 51634. - GW 12597. - ISTC ij0022000. - Hain 9376. - Erste illustrierte gedruckte Ausgabe der populären Legendensammlung mit Prophezeiungen der Päpste, die dem Abt Joachim Ab Flores (ca. 1130-1202) zugeschrieben wurde, jedoch wahrscheinlich nicht von ihm stammt. Ein Teil der Texte wird auch dem Bischof Anselmus Marsicanus zugeschrieben. Das Buch wurde auf Grund der Datierung durch Panzer als Druck um 1485 datiert. Erst neuere Forschungen wiesen nach, dass der erste Holzschnitt mit der Druckermarke und dem Motto "Soli Deo Honor et Gloria" von Niccolo und Domenico dal Gesù, die ab ca. 1510 in Venedig wirkten, versehen ist. Die Papstporträts in Mediallonform, alle mit schönen reichen Renaissancebordüren geschmückt. - Obere Seitenränder etwas stockfleckig. Leicht fingerfleckig. - Sehr selten [Attributes: First Edition]

      [Bookseller: Daniel Thierstein]
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         De architectura libri decem].

      (Venice, Giovanni Tacuino, 22 May 1511). - Folio (232 x 323 mm). (4), 110, (9) ff., final blank. Four-piece woodcut title-border with dolphins and 136 woodcut illustrations and diagrams most within a double frame. Outline initials within a double frame; woodcut orb and cross device on final page. Modern full vellum. The first illustrated edition of the only architectural treatise to survive from classical antiquity, considered the supreme authority by Italian Renaissance architects: the single most influential work for the later development of European architecture. The previous three editions contain diagrams only, making this the first to include non-schematic illustrations. The woodcuts depict ornaments, plans, elevations, proportions of the human body, heating systems, machinery, a ship with an odometer and siege machines, among other subjects. The title border with dolphins is itself "one of the most influential pieces of ornamentation of the sixteenth century" (Mortimer). The 1511 edition is also the first to be edited by Fra Giovanni Giocondo (1433-1515), a working architect, as well as an editor for the Aldine Press and an authority on classical inscriptions. During the last year of his life he collaborated with Raphael and Sangallo on St. Peter's after Bramante's death in 1514. - Title page remargined along gutter and fore edge (no loss to text, but possibly supplied from another copy); some browning and faint waterstaining. Leaves G8 and K1 torn and repaired, B1-8 bound out of sequence. Still a good copy of a rare and important edition. Adams V 902. Fowler 393. Kat. der Ornamentstichslg. Berlin 1798. Sander 7694. Millard Italian 156. Mortimer Italian 543. Essling 1702. Norman 2157. Sander 7694.Cicognara 696. RIBA 3491. Cf. PMM 26. [Attributes: First Edition]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         Opera quae extant]. Opera rhetorica: oratoria et forensia [et:] Opera Philosophica. 2 Teile (von 4) in 1 Band.

      Paris Josse Badius und Jean Petit Format: Fol (32 x 205 cm) 4 nn CXXXVIII num; 8 nn; CLIX (statt CLXXII) num Bl Mit 2 Holzschnitt-Titelbordüren 2 großen Holzschnitt-Druckermarken auf den Titel zahlreichen bis zu 14zeiligen Schwarzgrund-Holzschnitt-Initialen der erste Titel in Rot- und Schwarzdruck Durchgehend rubriziertes Exemplar mit Kapitalstrichelung Blindgeprägter Lederband d Z mit 2 gegossenen Messingschließen mit Fehlstellen Eckausbrüchen und nicht mehr sichtbaren Läsuren komplett Ende 19 Jahrhundert mit Leinen überzogen 1511 - Die seltene zweite Ausgabe der Werke Ciceros*** Zweite Ausgabe der Teile I und III der großen Werkausgabe Ciceros bei Josse Badius und Jean Petit, nach dem Text der Erstausgabe der Werke, der einzigen Inkunabelausgabe, die 1498-99 in Mailand von Guillermus LeSignerre für Alexander Minutianus gedruckt wurde (vgl. Goff C-498 und Schweiger a.a.O.). Vorhanden ist der erste und dritte Teil mit den Opera rhetorica und Opera philosophica. Es fehlen in dem Teil der Opera philosophica die letzten 14 Blätter (159-172), die letzte vorhandene Lage mit kleinen Ausrissen und Knickspuren, sonst nur vereinzelte Papierläsuren. Titelblatt des ersten Teils mit größerem Eckausriss oben rechts (Bordüreverlust), Titel recto und verso mit mehrfachen alten und älteren Besitzeinträgen eines Henrichus Briekenbeck und Johannes Custodis Pastor in Stetternick "Anno 1610" etc. Beide Holzschnitt-Titelblätter sind mit einer roten Passplatte überdruckt, so dass der Druckername in der Druckerpresse des Badius erscheint, aber auch Elemente der Bordüre rot gehöht sind, hier, wie üblich, nicht ganz exakt gedruckt. Die ersten Blätter mit Abschürfungen in der rechten oberen Ecke (ohne Textverlust), von oben etwas wasserfleckig, sonst nur vereinzelte Wasserflecke, stellenweise kleine Wurmlöchlein, sonst durchgehend meist sehr sauber und wohlerhalten. Außergewöhnlich prachtvoller Postinkunabeldruck, durchgehend hübsch rubriziert und in einem bedeutenden zeitgenössischen Einband, der allerdings von Grund restauriert werden muss. Schweiger II, 103. Panzer VII, 552, 448. CNCE 12184. Nicht im STC und bei Adams. ENGLISH DESCRIPTION: Rare first edition of volumes I and III of Cicero's Opera. Incomplete but an impressive print an a late incunable binding over wooden boards, which is completely covered by 19th century linen with two clasps.Missing 14 leaves (leaf 159-172), last layer with tears and little tear-outs, somehow brittle, stainy, title page with bigger tear-out above right, with an interesting ownership entry by Henrichus Briekenbeck and Johannes Custodis Pastor in Stetternick "Anno 1610". 2 Teile (von 4) in 1 Band. Zweite Ausgabe [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat ABATON oHG]
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         Die Beschneidung Christi (The Circumcision of Christ).

      (Germany: c. 1511). Woodcut measures 12 1/4 by 9 inches, in a handsome 18 1/2 by 15 1/4-inch frame. This original woodcut print by one of the masters of the Northern Renaissance is part of a series of illustrations depicting scenes from The Life of the Virgin. According to Meder, this separate print was made after the 1511 Latin text edition of The Life of the Virgin. The print's paper bears the fischblase (fish bladder) watermark, which indicates that the print dates to the sixteenth century; this is Meder's state e. In "The Circumcision," a sorrowful Mary watches as Christ, her child, undergoes the sacred rite. A man carrying a tall, braided candle stands on the left side, while Mary and the crowd of people in attendance fill the right side of the temple nave. Dürer's signature monogram is incorporated into the design, located on a slate in the bottom right of the scene. Dürer is known for his masterful, detailed wood engraving, and is recognized as one of the first European landscape artists. A few faint crease marks present. A rare, extremely fine example of the artist's virtuosic technique. (Bartsch 86, Meder 198).

      [Bookseller: Bromer Booksellers]
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         Opera philosophica ciceronis

      First edition of the philosophical works of Cicero who will know by the same publishers, several editions, including in 1531. Title page in red and black, adorned with an architectural framework. Brand printer at the center representing workers operating a press. Beautiful and large initials Renaissance head of each book. Brunet (II, 6) reports that it is the text of the edition of Milan in 1499 which was reproduced in Paris. Not referenced in Adams. Publication date on the back of the title page and the last page, the colophon.Edition shared Josse Badius and Jehan Petit; in most of the other editions, it is the mark of the printer Jehan Petit found, but not in this copy when in thumbnail representing a print, it says in red letters Presso Ascensiansi.Bound in full sheepskin brown XVIII, pastiche of a French Renaissance-bound frames; succession of box nets and friezes leading to a central rectangle. Back with nerves decorated with cold stars seeding. Good condition overall. Some spots. An accident in the upper jaw in the tail missing. Dubbed title page margins filled with shortages, lower corner doubled the next sheet, worm working in lower margin affecting the first six layers without damage to the text, handwritten notes XVI in conjunction with certain layers. Book particularly fresh. Venundantur ab Ioanne Paruo & Iodoco Badio [Paris] 1511 In Folio (8) ff. clxxii. Sig : ã? ??, Aa-Zz?, AA? BB¹? relié

      [Bookseller: Librairie Le Feu Follet]
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         Comoediae XX Venice Lazarus Soardus 14 August

      

      [Bookseller: Maggs Bros. Ltd.]
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         LA GRAN PASIÓN

      CM EDITORES, SALAMANCA - DURERO / LA GRAN PASIÓN · FACSIMIL CM EDITORES / CARACTERÍSTICAS DEL FACSÍMIL: Año y lugar de Publicación: Núremberg, Alemania año 1511 Descripción física: 12 estampas: xilografía a fibra. Medidas: 394 x 285 mm Edición facsímil limitada y numerada ante notario de tan sólo 375 ejemplares. Ejemplar nº 124 - Encuadernada en Piel Extraordinaria Edición con estuche. [Attributes: Hard Cover]

      [Bookseller: NOSTROMO2]
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         Die Heilige Schrift des Alten und Neuen Testamentes. Nach den Grundtexten übers. und hrsg. von Vinzenz Hamp Meinrad Stenzel Josef Kürzinger.

      4. 6 Bll., 1184 S., 2 Bll., 353, 39 (9) S. m. 4 Ktn., 2 Bll. Fam.-Chronik, [48] faks. Bll., 2 Beilagen. Ldr. üb. Holzdeckeln, 4 Scheinbünde, Blindprägung, Goldschnitt, 2 Schließen, 8 Eckbeschläge u. 2 Rosetten. Num. Expl.: Nr. 2342 Enth. 48 illustr. Seiten aus d. Orig.-Gutenberg-Bibel (SPK, Inc. Nr. 1511). - Der Einband ist e. Nachbildung d. sog. Fuldaer Einbds. - Idee u. Realisierung dieser Ed.: Artus Verl., München. - Beil.-Gest.: Susanne Elten, Text: Michael Neumann

      [Bookseller: Antiquariat Lehmann-Dronke]
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         Hor(a)e (beate marie virginis) s(e)c(un)d(u)m usu(m) romanu(m) ad lo(n)gu(m).

      Paris: Thomas (Kees) Wesaliensis, 1511. 8vo (172 x 109 mm). 108 unnumbered leaves (forming 216 pages). Dark brown, gold embossed morocco masterpiece binding by Hardy-Mennil. Spine with five raised bands, gilt lettered title and four gilt ornaments. Both covers with richly gilt embossed borders, corner- and center-pieces. Board edges with double gilt fillets, infolds with rich gilt floral borders. All edges gilt. Marbled endpapers. Printed on vellum. Cloth multicoloured bookmark.Text 28 lines to a page, within historiated borders, on all pages consisting of 1 to 4 small metal-print elements; several of these repeated. Extremely rare Horae BMV completely printed on vellum in a fine binding by Hardy-Mennil. For a full description and more images please visit www.zaalbooks.nl .

      [Bookseller: Zaal Books]
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         Eigenh. Berichtschreiben mit U. Sibenik, 15. VIII. 1511.

      1511. ½ S. Italienische und lateinische Renaissance-Kursive in brauner Tinte auf feinem Bütten (Anrede lateinisch, Text italienisch mit lat. Einsprengseln). Wasserzeichen einem Hammer mit Amboß ähnlich. Rückseitig Adresse und papiergedecktes Siegel Venedigs (Markuslöwe). Folio (320 x 220 mm). Als "Capitano" von Sebenico an den Rat der Zehn von Venedig, unter dessen Herrschaft die dalmatinische Stadt seit 1412 stand, zur Abfassungszeit im Spannungsfeld zwischen Ungarn und Osmanen. Emilianus sieht eine lokale Revolte ("scandalo") aufziehen, über die er dem Rat bereits berichtet habe. Sein "cancellier" ermittle "con ogni dexterita e secretezza". Er hoffe auf Unterstützung des weisesten Rates, "perche altramente io credo la total ruina, e desolatione di questa terra, ne si trova alcun che veramente mi tema, perche i vede io non haver forza alcuna". Die "insolenti" hätten "l'animo de dir e far quel li piace". Dies mißfalle zwar "assai homeni da ben", keiner aber wolle "contrastare cum questi che sono facti quodamodo signori di questa cita". Alle sähen voraus, daß ein Funken das Pulver zur Explosion bringen würde: "el piccol mala da principio col tempo si fa irremediabile, nec plura". - Tatsächlich gelang es dem Rebellenführer Juraj Prokic nur Tage später, die Stadt Sibenik einzunehmen. Der gegen die venezianische Adelsherrschaft gerichtete Bürgeraufstand, bereits im Vorjahr unter der Führung von Matija Ivanic auf der Insel Hvar ausgebrochen, wurde 1512 von Sebastian Zustignan (Giustiniani) grausam niedergeschlagen; Ende 1514 beendete eine Flotte von 15 venezianischen Kriegsgaleeren die kroatische Bürgererhebung endgültig. - In den Falten und Rändern etwas gebräunt bzw. angestaubt, sonst wohlerhalten. Volltranskription beiliegend.

      [Bookseller: Antiquariat Inlibris]
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         Lucii Flori bellorum Romanorum libri quattuor ex vetustissimo exemplari novissime: ac diligenter recogniti. (Vienna, Hieronymus Vietor & Johann Singriener für Leonhard & Lucas Alantsee, 23 July-13 Sept. 1511).

      1511. 4to. 2 pts in 1 vol. (14), LX, (50) ff. (Bound after) II: Arator. Arator poeta christianissimus in actus apostoloru[m]. [Leipzig, Melchior Lotter the elder, c. 1512]. 58 (instead of 60) ff. (last blank). (Bound with) III: Sallustius Crispus, Caius. C. Crispi Salustii bellum Catilinarum. Item. Bellum Iugurthinum eiusdem. Item. Variae rationes ex libris eiusdem historiarum exceptae. Item. C. Crispi Salustii Vita. (Strasbourg, Matthias Schürer, August 1512). XCV (instead of XCIV!) ff. (Bound with) IV: Vergilius, Polydorus. Proverbiorum liber, quo paroemiae insigniores omiu[m] fere scriptorum luculentissima enarratione explicantur. (Ibid., Nov. 1511). (6), XLVII, (1) ff. (Bound with) V: The same. De inventoribus rerum libri tres. M. Antonii Sabellici de artium inventoribus ad Bassam carmen elegantissimum. [...] Ex secunda recognitione. (Ibid., June 1512). Contemp. wooden boards with blind-tooled pigskin spine (defective back cover restored). Wants ties. I: Pretty edition by Johann Camers; published only two days after Cuspinianus's (more common) Vienna edition (printed by J. Winterburger). With a dedication by the publishers to Francesco II Sforza, about "ars illa imprimendi". Denis explains the simultaneous publication of two Florus editions in Vienna by a possible quarrel between Camers and Cuspinianus. Slightly browned and fingerstained; numerous marginialia and notes by a contemporary humanist's hand. - II: Second 16th-c. edition. An epic recasting of the Acts of the Apostles, explaining the stories with far-fetched allegories and numerology. First quire misbound (A1, 5, 2, 6); wants ff. A3-4. Waterstained throughout. T. p. and beginning with remargined paper defects; numerous marginialia and notes by a contemporary humanist's hand. - III: Rare Strasbourg edition of Sallust. Before the last leaf (with a brief Life of the author and the imprint), this copy contains an additional leaf from Schürer's 1513 Sallust edition (VD 16, S 1368), with a different Life of Sallust and the imprint of that edition. T. p. somewhat stained; numerous marginalia by a contemp. humanist's hand. - IV: First work of the Italian-English humanist, first printed in 1498: one of the most popular Renaissance collections of proverbs. Somewhat browned and stained; occasional waterstains. Some passages in Greek. - V: Early edition if this oft-printed principal work: a veritable encyclopaedia of humanist memorial culture, treating the origins of philosophy, medicine, astrology, pharmacy, magic, etc. "Remplie de détails et d'anecdotes curieuses" (Caillet III, 675). - Slightly browned and waterstained; last leaf professionally remargined. Altogether a fine sammelband on classical and neo-Latin literature and historiography in a contemporary binding. I: VD 16, F 1685. Denis 55 a, b. Graesse II, 604. BNH F 303, C 157. Not in Adams or BM-STC German. - II: VD 16, A 3185. BM-STC German 39. Not in Adams. - III: VD 16, ZV 13683. Muller II, 184, 87. Ritter 2060. Schmidt 82. Not in Adams or BM-STC German.- IV: VD 16, V 770. Muller II, 181, 61. Ritter 2396. Schmidt 58. Not in Adams or BM-STC German.- V: VD 16, V 745. Adams V 425. Muller II, 184, 90. Ritter 2397. Schmidt 74. Not in BM-STC German.

      [Bookseller: Antiquariat Inlibris]
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         Copendium super francorum gestis Compendium super francorum gestis Copediu Roberti Gaguini Sup fracor geftis - 1511 Histoire de France

      Chez Jehan Petit imprimeur en 1511, reliure plein veau, dos à faux nerfs, fenêtre rouge texte or, 312 pages,plus 32 pages de table analytique, en latin, 2 mors fendus coiffe haute épauffrée. Frontispice représentant Dagobert, Charlemagne et Saint-Louis, gravure de l'imprimeur sur le verso de la page 312, nombreuses lettrines. En photo (le colophon) texte final à la page 312 avec la date:décembre 1511. 1er livre d'histoire de France écrit vers 1487

      [Bookseller: Bouquinerie Bultez]
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         Pronosticatio in latino. Rara & prius non audita: quae exponit & declarat nonnullos coeli ifluxus: & inclinatione certarum constelationum magne videlicet coiunciois & eclipsis: quae fuerat istis annis.

      N. & D. Sandro dal Jesu, 1511. LIECHTENBERG JOANNES. Pronosticatio in latino. Rara & prius non audita: quae exponit & declarat nonnullos coeli ifluxus: & inclinatione certarum constelationum magne videlicet coiunciois & eclipsis: quae fuerat istis annis: quid boni malive hoc tempore & in futurum huic mundo portendant: durabit quae pluribus annis. (Colophon:) Explicit haec pronosticatio: quae durabit usque ad annum 1567. Impressum Venetiis die vero xxiii August. In - 4°, pieno marocchino cilindrato nero, dorso a nervi, riquadri a secco sui piani taglio dorato. 39 ff., 1 f. bianco. Car. romano con 45 silografie delle quali 3 a piena pagina. Bell' esemplare di questa rara edizione non citata nelle usuali bibliografie. Un' edizione contemporanea si trova elencata in Cantamessa, Astrologia, opere a stampa, 1472 - 1900, I, 2529.

      [Bookseller: Brighenti libri esauriti e rari]
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         Bestiarium. Fac-Similé du Manuscrit du Bestiaire Ashmole 1511, conservé à la Bodleian Library d'Oxford (2 Tomes - Complet)

      Bestiarium. Fac-Similé du Manuscrit du Bestiaire Ashmole 1511, conservé à la Bodleian Library d'Oxford, accompagné des commentaires de Xénia Muratova et Daniel Poirion et de la traduction en français de Marie-France Dupuis et Sylvain Louis, 2 vol. in-4 reliure pleine cuir estampé à froid (fac-simile) et demi-cuir sous étuis bordés, Club du Livre, Paris, 1984, 155 pp. et planches de Luben Dimanov pour le commentaire, exemplaire numéroté (1537) Bel exemplaire en parfait état de ce magnifique fac-similé, bien complet du volume de commentaire.

      [Bookseller: SARL Librairie du Cardinal]
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         Libro chiamato quatriregio del decorso de la vita humana in terza rima.

      s.n, 1511. Cm. 29, cc. 76. Solida legatura settecentesca in piena pergamena rigida con titoli su tassello al dorso. Sguardie più recenti. Esemplare particolarmente genuino e ben conservato, stampato su due colonne in elegante carattere corsivo. Non comune edizione di questo celebre poema condotto sull'esempio della Divina Commedia dal domenicano Frezzi (Foligno 1346 - 1416). Il Quadriregio venne scritto prima del 1403 e pubblicato per la prima volta a Perugia nel 1481. Si tratta di un insieme di 74 canti in terzine in cui si descrive il viaggio, sotto la guida di Cupido e poi di Minerva, attraverso i regni dell'Amore, di Satana, dei Vizi e delle Virtù. Per approfondimenti vedi: Filippini, Le edizioni del "Quadriregio" in "Bibliofilia" - anno VIII (1906 - 07) vol. VIII, Anno IX, vol. IX. Gilardi, Studi e ricerche intorno al Quadriregio, Torino, 1911.

      [Bookseller: Studio Bibliografico Benacense]
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         Opera noua della vita e morte della diua e seraphica S. Catharina da Siena. (In fine:) Stampato in Venetia per Zorzi de Rusconi Milanese. A istantia de Nicolo Zopino, MCCCCCXI adi XIII Febraro, (Venezia,1511)

      Rusconi Giorgio, 1511. in - 4, ff. (4), XXXIX, (1 bianco), legatura (''Bound by Lloyd'') in pieno marocchino verdone, filetto oro ai piatti, titolo e fregi oro al dorso a nervi, ricche dentelle interne. Prima edizione illustrata della Vita di Santa Caterina da Siena. Titolo entro elaborate bordure silografiche con S. Caterina che riceve le stimmate, Adamo ed Eva, S. Giovanni e cornici con elementi vegetali e putti: si tratta di una riduzione e di un'inversione dei legni dell'edizione del 1505; al f. IIII verso Crocifissione a piena pagina inquadrata da legni, tratta dall'edizione del San Bonaventura del 1497; al f. V recto la Vergine, il Bambino ed una serie di figure in adorazione, grande impresa dello stampatore al verso del f. 39. Per la prima volta il testo viene illustrato da una serie di 17 silografie con i passi salienti della vita della Santa. Seconda edizione (prima 1505) di questo poema ascetico in tre libri composto da Giovanni Pollio, detto anche Pollastrino Aretino, letterato, traduttore e canonico originario di Arezzo, vissuto nel sec. XVI. Il testo inizia con uno straordinario dialogo il cui acrostico forma la scritta "Sancta Catarina da Fontebranda ora per el Populo tuo Senese ad Dio nostro Signiore"; mentre è importante notare il fatto che il primo foglio di ogni segnatura riporta, insieme alla lettera del quaderno, il titolo "S.CATH.". E' questa una caratteristica che non abbiamo riscontrato in altre edizioni cinquecentesche, attuata per aiutare il compito del rilegatore affinché non mischiasse quaderni di opere diverse. Importante documento della diffusione del culto della Santa e della nascita di una iconografia della sua vita. Rarissima edizione, di cui un solo esemplare è conservato in biblioteche italiane. Buon esempl. (lievi ingialliture).

      [Bookseller: Libreria Antiquaria Pregliasco]
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         La lezione di anatomia

      1511. Xilografie, circa 1511. Tratte dal celebre Fasciculus Medicinae di Johannes de Ketham, edito a Venezia nel 1511, trattato di medicina ad uso di studenti e praticanti del Rinascimento. Il primo libro di medicina con delle illustrazioni e, insieme alla Hypnerotomachia Poliphili, il più grande lavoro della tipografia veneziana del tempo. Le tavole che illustrano il libro sono quindi le prime tavole di argomento medico mai stampate e, secondo recenti studi, sono ascrivibili e nello stile della scuola Andrea Mantegna, che Hind identifica nell'attribuzione a Gentile Bellini. Gli studi anatomici di Leonardo da Vinci furono influenzati da queste illustrazioni. Bellissime prove, alcune ritocchi ad inchiostro antico, per il resto in ottimo stato di conservazione. Rare. Bibliografia: Landau & Parshall, The Renaissance Print 1470 - 1550, p.37/39. Dimensioni 200x290. Woodcuts, 1511 circa. From the famous Johannes de Ketham's Fasciculus Medicinae , published in Venice in 1511, a medical treatise used by students and trainees of the Renaissance, the first book on medicine with illustrations and, together with the Hypnerotomachia Poliphili, the greatest work realized by the Venetian typography of the time. The plates of the book are therefore the first plates on medical subjects ever printed and, according to recent studies, they can be ascribed to the school of Andrea Mantegna, which Hind attributed to Gentile Bellini. The anatomical studies of Leonardo da Vinci were influences by these plates. Excellent works, some additional touch with antique ink, otherwise in excellent condition. Rare. Bibliografia: Landau & Parshall, The Renaissance Print 1470 - 1550, p.37/39. Dimensioni 200x290. Landau & Parshall, The Renaissance Print 1470 - 1550, p.37/39. Dimensioni 200x290.

      [Bookseller: Libreria Antiquarius]
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         Latina. Cum concordantijs veteris et novi testamenti et sacrorum canonum.. (In fine:) Venezia, Lucantonio Giunta, 28 maggio 1511

      Giunta Lucantonio, 1511. in - 4, ff. (24), 518, (31, mancando l'ult. bianco), leg. ottoc. p. perg. Testo su due colonne in car. gotico, grandi e piccole iniz. silogr. Titolo generale a stampa rossa e nera, con in alto vignetta raffig. S. Girolamo ed in basso giglio dei Giunta in rosso; alcuni titoli in rosso; i ff. 412v - 415r. contengono le tavole delle concordanze dei Vangeli racchiuse in eleganti strutture architettoniche stilizzate, impresse in rosso. Nel testo 3 legni a piena pag. (i Sei giorni della Creazione, ripetuto due volte nei ff. prelim., e la stupenda Natività al verso del f. 410, tratti rispettivamente dall'ediz. del 1490, la famosa Bibbia di Malermi, e dal ''Decachordum christianum'' di Fano del 1507), un legno a 2/3 di pag. raffig. Salomone addormentato (al recto del f. 255) e 90 silografie a 1/3 di pag., entro belle bordure a fiori e frutti per il Vecchio Testamento e 23 vignette per il Nuovo. «E' la seconda edizione (la prima è del 1506) dell'opera curata dal veneziano Alberto da Castello o Castellano, religioso dell'Ordine dei Predicatori, che arricchì il testo di concordanze, varianti testuali, nonché di prologhi di S. Girolamo e di Sant'Eusebio di Cesarea e di Interpretationes nominum hebraicorum..» (La Bibbia da Gutenberg a Bodoni, n. 42). Buon esempl. di una tra le più belle Bibbie illustrate del XVI secolo, impressa in rosso e nero (strappi restaurati sull'ult. f., con perdita di porzione di testo; il primo quaderno più corto di margine).

      [Bookseller: Libreria Antiquaria Pregliasco]
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         De Herbis et Plantis. De Animalibus e reptilibus. De Avibus et volatibus. De Piscibus e natatilibus. De Urinis e eas speciebus. Tabula medicinalis.. (In fine, colophon:) impressum Venetiis per Bernardinum Benalium et Ioannem de Cereto de Tridino alias Tacuinum, MCCCCCXI (Venezia, Taquino da Trino), 1511)

      Benalius et Tacquinus de Tridi, 1511. in folio (mm. 350X210), ff. 368 n.n., leg. coeva piena pergamena, titolo ms. al dorso (rifatto). Prima edizione impressa in Italia, e quinta in assoluto, di questa enciclopedia di storia naturale, stampata per la prima volta a Mainz nel 1491. Testo su due colonne, caratt. gotico, titolo entro elaborata bordura vegetale. Copiosamente Illustrato da circa 1000 magnifiche silografie nel testo (di circa mm 95x70 ognuna) raffiguranti piante, animali, figure umane e mostruose, per la maggior parte tratte dall'edizione del Pruss del 1509. Tre silogr. a piena pagina: al verso del tit. Consulto di medici, tratto dalla Chirurgia di Guglielmo da Piacenza del 1504; al f. A verso: Scheletro umano sormontato dalla scritta ''Homo natus de muliere brevi vivens tempore''; al f. aa verso: Consulto di medici, liberamente tratto dalla tavola del Ketham ''Fasciculo de medicina'' 1493. Importante e rara edizione di quest'opera, una sorta di ''musée à peu près compler de la superstition médiévale'' (Sander), ma particolarmente dettagliata nella sezione dedicata alla botanica: per ogni pianta vengono infatti fornite le proprietà medico - curative, le origini geografiche e i sinonimi. Ottimo esemplare, assai fresco.

      [Bookseller: Libreria Antiquaria Pregliasco]
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         (Opera) Ad studiosos. Habetis in hoc volumine Vergilii opera proxime Mediolani edita: cum Seruii Honorati commentariis.. Alexander Minutianus socer Probi grammatici in Bucolica: e Georgica interpretamenta eruditissima addidit. Apposuit quoque in suis locis Sulpitii Verulanii annotationes in sex prores Aeneidis libros. Tum Philippi Beroaldi Seruii: ut ipse inscripsit: errores: cum domitii Calderini in Juuenilia huius eminentissimi poete commentariis .. Mediolani, impressum per Leonardum Vegium MDXI, die XXV Augusti, (Milano, Leonardo Vegio. 25 agosto 1511)

      Vegio Leonardo, 1511. in - folio (mm 294x208), ff. (10), CCX (la numerazione del f. LXXVII è ripetuta; manca f. K7 tagliato), (20; mancano 4 ff. tagliati: AA6 - 8 e BB1 contenenti i seguenti opuscoli virgiliani: parte del ''De signis coelestibus'' ed interamente ''Quaedam Idillya'' e il ''Carmen ad Priapum'', cfr. Mombelli n. 118), segn.: 3a6, 3b4, A - I8, K10, L - O8, P6, Q - R8, S6, T - Z8, (* - 3*)8, 2a6, 2A - 2C8. Legatura settecentesca (con piccoli difetti) in p. pelle, tassello e fregetti floreali in oro al dorso. Testo in carattere greco e romano su 23 linee per pagina, titolo in rosso in carattere gotico. La pagina del tit. è inoltre inquadrata da un'elegante bordura vegetale arricchita nel bas de page da due putti che sostengono una corona e da tre medaglioni posti ai due angoli inferiori e a quello superiore del foglio. Nei tondi compaiono le raffigurazioni di Amphion, Orpheus e Arion tratte dal Gafurius, Opus Musicae del 1508. Numerose iniziali vegetali ed figurate di dimensioni variabili segnano l'accesso alle sezioni del testo. Rarissima edizione (prima 1469) della raccolta delle opere virgiliane (Georgiche, Bucoliche, Eneide) con commento; precede il testo una Vita dell'autore. Dai torchi di Leonardo Vegio uscirono due edizioni di quest'opera probabilmente identiche: una falsamente datata 1500 e l'altra nel 1511; il Vegio fu infatti attivo solo tra 1507 e 1513: in quest'arco di tempo lavorò a Milano per suo suocero, Alessandro Minuziano, di cui usò i caratteri, e nel 1513 abbandonò l'attività tipografica, forse per ricoprire un incarico pubblico. Dell'edizione datata 1500 si conosce un solo esemplare censito alla Biblioteca Universitaria Alessandrina di Roma, mentre della presente edizione non si sono riscontrati esemplari in nessuna Biblioteca Italiana. Buon esempl. (lievi gore d'acqua nel margine inferiore di alcuni ff.)

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         Sexta Europae Tabula

      1511. Xilografia a due colori, 1511. Magnifica prova, impressa su due fogli di carta vergata coeva poi uniti, con pieni margini, in perfetto stato di conservazione. Rarissima carta geografica della penisola tratta dalla Geografia di Claudio Tolomeo, edita a Venezia da Bernardo Silvano da Eboli e Giacomo Peuci da Lecco. Quest'edizione del libro di Tolomeo si differenzia totalmente dalle altre stampate in Italia. Si tratta dell'unico trattato tolemaico avente le carte realizzate mediante intaglio nel legno, e stampato in due colori: rosso e nero. Inoltre, contrariamente ad ogni altro atlante, fu realizzato sulle due facciate del foglio come un vero e proprio libro. Per questo al verso della carta dell'Italia troviamo parte della Quinta e Settima Tabula, raffiguranti rispettivamente parte della Dalmazia e la Sardegna. Dal punto di vista strettamente scientifico quest'edizione della Geografia mantiene dei canoni certamente arcaici, rifacendosi ai manoscritti quattrocenteschi, pertanto compiendo un passo indietro rispetto a tutte le grandi innovazioni cartografiche del periodo. Tuttavia, alcuni studiosi rimarcano il fatto che questa carta rappresenta il primo originale tentativo di correzione delle imperfezioni degli elementi tolemaici, in accordo con le nuove concezioni idrografiche delle carte nautiche. Bernardo Silvano, geografo e umanista del Cinquecento nacque a Eboli intorno al 1465. Il suo nome era sconosciuto fino al secolo scorso perché fu confuso con quello del portoghese Bernard de Silva - nato a Evora in Portogallo - probabilmente per l'erronea interpretazione dell'aggettivo "Eboliensis" per "Eborensis", antico nome della città di Evora. La sua opera più importante, un prezioso manoscritto in - quarto pergamenato contenente una raccolta di carte tolemaiche miniate dove all'ultimo foglio si legge: "Ex officina: Bernardi Eboliensis, A.D. 1490 ", è conservata presso la Biblioteca Nazionale di Parigi. Carta di grandissima rarità e di notevole interesse storico. Carta a proiezione trapezoidale, dimensioni 450 (alto), 470 (basso) x 420. "Two - color woodcut, 1511. Magnificent proof, printed on two sheets of contemporary laid paper then joined together, in excellent condition. Very rare map of Italy from Ptolemy's Geography, published in Venice by Bernardo Silvano from Eboli and Giacomo Peuci from Lecco. This edition of the book of Ptolemy is totally different from the other printed in Italy. This is the only treaty Ptolemaic having the maps made by woodcut, and printed in two colors: red and black. In addition, contrary to all other atlas was built on both sides of the map as a real book. From a strictly scientific point of view, this edition of Geography maintains the royalties certainly archaic, referring to the fifteenth - century manuscripts, thus taking a step back from all the great innovations of the period mapping. However, some scholars underline the fact that this maps represents the original attempt to correct the imperfections of the elements Ptolemaic, in fusion with the new concepts of hydrographic charts. Bernardo Silvano, geographer and humanist of the sixteenth century was born in Eboli around 1465. His name was unknown until the last century because it was confused with that of the Portuguese Bernard de Silva - born in Evora in Portugal - probably due to the erroneous interpretation of the adjective ""Eboliensis"" for ""Eborensis"", the ancient name of the city of Evora. His most important work, a precious manuscript in - quarto parchment containing a collection of Ptolemaic maps illuminated where the last sheet reads: ""Former workshop: Bernardi Eboliensis, AD 1490 "", is preserved at the National Library in Paris. Map of great rarity and of considerable historical interest." Venezia Venice Borri 13, Perini pag. 21

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         Opera philosophica ciceronis

      Venundantur ab Ioanne Paruo & Iodoco Badio, 1511. - Venundantur ab Ioanne Paruo & Iodoco Badio, [Paris] 1511, In Folio, (8) ff. clxxii. Sig : ã? ??, Aa - Zz?, AA? BB¹?, relié. - Prima edizione delle opere filosofiche di Cicerone che sapranno dagli stessi editori, diverse edizioni, anche nel 1531. Frontespizio in rosso e nero, ornato con una struttura architettonica. Stampante di marca al centro che rappresenta i lavoratori che operano una pressa. Bella e grandi iniziali capo rinascimentale di ogni libro. Brunet (II, 6) segnala che è il testo dell'edizione di Milano, nel 1499, che è stato riprodotto a Parigi. Non si fa riferimento in Adams. Data di pubblicazione sul retro del frontespizio e l'ultima pagina, il colophon. Edizione condiviso Josse Badius e Jehan Petit; nella maggior parte delle altre edizioni, è il segno della stampante Jehan Petit trovato, ma non in questa copia quando in miniatura che rappresenta una stampa, si dice in lettere rosse Presso Ascensiansi. Bound in piena pelle di pecora marrone XVIII, pastiche di un frame francese rinascimentale bound; successione di reti box e fregi che portano a un rettangolo centrale. Torna con i nervi decorato con stelle fredde seeding. Buono stato generale. Alcuni punti. Un incidente nella mascella superiore nella coda mancante. Soprannominato il titolo della pagina margini pieni di carenze, in basso a raddoppiato il foglio successivo, verme lavorando in margine inferiore interessano i primi sei strati, senza danneggiare il testo, note scritte a mano XVI in collaborazione con alcuni strati. Prenota particolarmente fresca. - [FRENCH VERSION FOLLOWS] Première édition de ces œuvres philosophiques de Cicéron qui connaîtront, par les mêmes éditeurs, plusieurs rééditions, notamment en 1531. Page de titre en rouge et noir, ornée d'un encadrement architectural. Marque de l'imprimeur au centre représentant des ouvriers actionnant une presse. Magnifiques et grandes lettrines Renaissance en tête de chaque livre. Brunet (II, 6) signale que c'est le texte de l'édition de Milan de 1499 qui a été reproduit à Paris. Non référencé dans Adams. Date de publication sur le verso de la page de titre et sur le dernier feuillet, au colophon. Edition partagée entre Josse Badius et Jehan Petit ; dans la plupart des autres éditions, c'est la marque de l'imprimeur Jehan Petit que l'on trouve, mais pas dans cet exemplaire où, dans la vignette représentant une imprimerie, on lit en lettres rouges Presso Ascensiansi. Reliure en pleine basane brune XVIIIème, pastiche d'une reliure Renaissance française à encadrements ; succession de filets d'encadrement et de frises aboutissant à un rectangle central. Dos à nerfs orné de semis d'étoiles à froid. Bon état d'ensemble. Quelques taches. Un accident au mors supérieur en queue avec manque. Page de titre doublée en marges avec manques comblés, angle inférieur doublé au feuillet suivant, un travail de ver en marge inférieure affectant les six premiers feuillets sans atteinte au texte, notes manuscrites du XVIème en marge de certains feuillets. Ouvrage particulièrement frais.

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         Il paziente con la peste

      1511. Xilografie, circa 1511. Tratte dal celebre Fasciculus Medicinae di Johannes de Ketham, edito a Venezia nel 1511, trattato di medicina ad uso di studenti e praticanti delRinascimento. Il primo libro di medicina con delle illustrazioni e, insieme alla Hypnerotomachia Poliphili, il più grande lavoro della tipografia veneziana del tempo. Le tavole che illustrano il libro sono quindi le prime tavole di argomento medico mai stampate e, secondo recenti studi, sono ascrivibili e nello stile della scuola Andrea Mantegna, che Hind identifica nell'attribuzione a Gentile Bellini. Gli studi anatomici di Leonardo da Vinci furono influenzati da queste illustrazioni. Bellissime prove, alcune ritocchi ad inchiostro antico, per il resto in ottimo stato di conservazione. Rare. Bibliografia: Landau & Parshall, The Renaissance Print 1470 - 1550, p.37/39. Dimensioni 200x290. Woodcuts, 1511 circa. From the famous Johannes de Ketham's Fasciculus Medicinae , published in Venice in 1511, a medical treatise used by students and trainees of the Renaissance, the first book on medicine with illustrations and, together with the Hypnerotomachia Poliphili, the greatest work realized by the Venetian typography of the time. The plates of the book are therefore the first plates on medical subjects ever printed and, according to recent studies, they can be ascribed to the school of Andrea Mantegna, which Hind attributed to Gentile Bellini. The anatomical studies of Leonardo da Vinci were influences by these plates. Excellent works, some additional touch with antique ink, otherwise in excellent condition. Rare. Bibliografia: Landau & Parshall, The Renaissance Print 1470 - 1550, p.37/39. Dimensioni 200x290. Landau & Parshall, The Renaissance Print 1470 - 1550, p.37/39. Dimensioni 200x290.

      [Bookseller: Libreria Antiquarius]
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         Comoediae.

      1511 1511 - PLAUTUS, Titus Macchus. Comoediae. Commentary by Bernardus Saracenus and Giovanni Pietro Valla. 228, "189" [i.e., 89], [1 blank] ff. Text in roman type with commentary surround, a few passages in Greek type, title in gothic type within fine woodcut Renaissance border decorated with putti, grotesques, and a procession of classical sea figures, full-page woodcut of a theater, 316 small woodcut illustrations of scenes from the comedies, assembled from smaller blocks (including many repeats), the characters' names printed in roman type inset in banners in the block; a variety of fine white-on-black floriated initials and small border cuts. Venice: Lazarus de Soardis, 14 August 1511. BOUND WITH: OVIDIUS NASO, Publius. Epistolae Heroides. Commentary by Antonius Volscus and Ubertinus Clericus. Parma: Octavianus Saladus and Franciscus Ugoletus, 15 May 1517. Collation: aa6 a-m8 n10; [6], 106 ff. Text with commentary surrounding, title within fine woodcut border, large woodcut illustration of Ovid and the two commentators, 22 small woodcut illustrations in the text, each with three scenes, printer's sun device at end. Together 2 works in one volume, folio, 311 x 207 mm, bound in contemporary blind-tooled Italian brown calf over pasteboard, sides paneled with triple (two thin, one thick) fillets, two borders of different foliate rolls enclosing two squares each composed of a floral roll around a central lozenge, sewn on three double cords, spine tooled with triple fillets to a saltire design. An extremely fine composite volume bringing together two early Italian illustrated editions of classical texts, preserved in its original Italian blind-tooled binding. Plautus: First fully illustrated edition of Plautus' comedies, second edition with the commentaries of Saracenus and Valla. Lost during the Middle Ages, 20 comedies, plus one fragment, of the 150 plays attributed to Plautus were rediscovered during the Renaissance and widely translated, influencing Shakespeare and later Molière. Filled with jokes, puns, alliteration and often rowdy word-play, bordering on musical comedy with their consistent use of song and recitative, Plautus' plays were free adaptations from the slightly earlier Greek "New Comedy," a pure comedy of manners using stock characters and turns of plot. Plautus' "flow of wit and vigour of language" revived the genre and account for his "supreme popularity on the Roman stage" (Oxford Companion to the Theatre). His surviving plays still provide almost the only extant evidence for spoken Latin during the 3rd and 2nd century B.C. The illustrations of this edition provide some of the earliest visual testimony to Renaissance performance practice. Commissioned by the printer Lazzaro de'Soardi for his 1497 edition of Terence, the striking full-page woodcut of a "coliseum or theatre" unusually depicts the stage and circular seating area from the actors' point of view, showing on either side the curtained compartments from which the players emerge. Prince d'Essling, the eminent scholar of early Venetian book illustration, considered this woodcut among the finest work of the time. Showing from two to six characters, the charming text illustrations are composed of separate small blocks of figures, trees and the same curtained doorways as those depicted in the large theatre cut. This manner of assembling cuts was first used by the Strasbourg printer Johann Grüninger for his 1496 editions of Terence, and seems to be associated with theatre in early Italian book illustration. It is a graphic device that is particularly appropriate for Plautus, whose plays were built up from a variety of stock plots, incidents, scenes, characters and passages of dialogue taken from a hodge-podge of different sources. (Mortimer notes that "there was a certain amount of adjustment of blocks at press," and individual copies vary in the blocks used for the illustrations.) This copy has the first state of the title and its conjugate leaf (aa1.10): the title i

      [Bookseller: William Wyer Rare Books]
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        In hoc volumine continentur infrascripta opera Xenophontis: Paediae Cyri persarum regi, De venatione, De Re publica & De legibus Lacedaemoniorum, De regis Agesilae Lacedaemoniorum laudibus, Apologia pro Socrate, Opusculum de tyrannide

      expensis honesti viri Bartholomei Trot 1511 (al colophon) 8vo (cm. 16,6), 220 cc.nn. Legatura antica in piena pergamena con titolo oro su tassello dipinto al ds. Frontis. stampato in rosso e nero (giglio in rosso), controfondato e con bruniture dovute a cancellazione di firme. Seconda carta con minimo danno al testo. Poche altre bruniture, ma buon esemplare nel complesso. Si tratta di una rara ristampa della prima edizione in questo formato (senza luogo né data, ma Lione, 1505 ca.). Graesse, VII, p. 488; Brunet, V, 1497; Br. Libr., 448; Adams, X42; Ceresoli, 480: â??Edizione rarissima della traduzione latina del Filelfo, di Leonardo Aretino e di Ognibono Leonicenoâ??.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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