Paris: Audot. First edition of the first major study on the sculptor Jean Goujon (c. 1515 - c. 1568) who played a key role in the French School of sculpture.Bottle-green Bradel half paper over marbled paper boards, spine with gilt fillets, navy blue shagreen title piece, edges of covers rubbed.With 85 hors texte engravings, of which 3 double page, accompanied by an explicatory text on each of the monuments for which Goujon provided sculptures.With an essay on the life and works of Jean Goujon at end.A little scattered spotting affecting both text and plates.Rare. [Attributes: First Edition]

(Florentiæ, Philippe Iuntæ (Giunta), 1515). Small 8vo. Contemp. full vellum made of a MS leaf in red a. black (judicial content). Stamps on title-page. (8),492,(26) pp. Last leaf with printers woodcut device. Title-page with some browning and some additions in ink by a later hand. 4 leaves with some ink-spots, otherwise clean with few faint scattered brownspots. ¶ Graesse V, 345 - Not in Adams.

S.l. [Paris]: Venundantur Iodoco Badio Ascensio [Josse Bade]. First Parisian edition of the Libri de re rustica with a frontispiece-title showing a scene in a printing house, bordered with various mythological scenes. Contemporary manuscript note to title. Handsome initials. This edition has the glossary by Giorgio Merula, the commentary by Filippo Beroaldo the Elder on the thirteen books of Columella, as well as the table by Aldus Manutius showing the length of the day and the size of shadows cast, based on Palladius. The third edition by Josse Bade for Macrobii Aurelii Theodosii Viri consularis, after those of 1515 and 1519. It is followed, with an odd pagination, by a short work by Censorinus, De die natali. Frontispiece-title repeated. Same initials as before, a large headpiece representing astronomers as well as several other vignettes and astronomical figures to text. With a very important map by Macrobius showing the climate zones .Contemporary stiff vellum . Spine in seven compartments. Spine titled in ink in contemporary hand in first compartment and later label in second. Traces of clasps. All edges speckled red. A few contemporary underlinings and marginal annotations. A few faint dampstains and marginal tears without lack. Tear to corner without loss of text to leaf miiii of second work. A very fresh copy.The Libri de re rustica is a collection of didactic prose texts on agriculture and rural life by the four great Classical agronomists: Cato the Elder, Varro, Columella and Palladius. The works treat the cultivation of fields and gardens, beekeeping, fishing, ru … [Click Below for Full Description]

Venice In aedibus Aldi, et Andreae soceri. Second and Best Aldine Edition [ALDINE PRESS]. LUCRETIUS. Lucretius [De rerum natura]. [Venice: In aedibus Aldi, et Andreae soceri, January 1515]. Second Aldine edition. Small octavo (6 3/16 x 3 3/4 inches; 157 x 94 mm). [7], 125, [1, colophon, errata], [1, printer's device] leaves. Bound without blank leaf *8 and blank q7. Aldine anchor device on title page and on verso of final leaf. Italic letter. Capital spaces with guide letters. Beautifully bound in full red morocco. Boards ruled in blind. Boards with gilt central device of the Aldine anchor printer's device. Spine lettered in gilt. Gilt board edges and gilt dentelles. Silk page marker. All edges gilt and marbled under the gilt. Marbled endpapers. Previous owner's bookplate on front paste down. Some nearly invisible repairs to corners of the first three leaves, with no loss of text. Overall a very good, internally clean copy. This is the second Aldine edition, previously issued by Aldus in quarto format in 1500. According to Renouard "This edition is effectively far superior to the very rare edition of 1500, in quarto." Adams L1651. Renouard, Alde, p. 74, no. 11. Kallendorf and Wells, 127. HBS 68083. $3,000 [Attributes: Hard Cover]

Venice In aedibus Aldi, et Andreae soceri. Second and Best Aldine Edition [ALDINE PRESS]. LUCRETIUS. Lucretius [De rerum natura]. [Venice: In aedibus Aldi, et Andreae soceri, January 1515]. Second Aldine edition. Small octavo (6 3/16 x 3 3/4 inches; 157 x 94 mm). [7], 125, [1, colophon, errata], [1, printer's device] leaves. Bound without blank leaf *8 and blank q7. Aldine anchor device on title page and on verso of final leaf. Italic letter. Capital spaces with guide letters. Beautifully bound in full red morocco. Boards ruled in blind. Boards with gilt central device of the Aldine anchor printer's device. Spine lettered in gilt. Gilt board edges and gilt dentelles. Silk page marker. All edges gilt and marbled under the gilt. Marbled endpapers. Previous owner's bookplate on front paste down. Some nearly invisible repairs to corners of the first three leaves, with no loss of text. Overall a very good, internally clean copy. This is the second Aldine edition, previously issued by Aldus in quarto format in 1500. According to Renouard "This edition is effectively far superior to the very rare edition of 1500, in quarto." Adams L1651. Renouard, Alde, p. 74, no. 11. Kallendorf and Wells, 127. HBS 68083. $3,000 [Attributes: Hard Cover]

Paris: RARE 1515 'De Re Militari' Flavius Vegetius FINE BINDING. Military History/Plans RARE 1515 'De Re Militari' Flavius Vegetius FINE BINDING. Military History/Plans Click images to enlarge Description ''Flavius Vegetius. Vix Illustris De Re Militari. Sextus Julius Frontinus Vix Consularis De Re Militari. Aelianus De Instruedis Aciebus. Modesti Libellus De Vocabulis Rei Militaris'' By Flavius Vegetius [383-450 AD]. Paris : Jean Petit. Dated : 1515. Quarto. [8.25'' tall x 5.75'' wide x 0.75'' thick] Collates complete [vi], lxxii, xxii. [leaves]. An excellent copy. With some very early marginal manuscript notations in places. An excellent, crisp copy in the main. Minimal marks or light reading wear only. Title in red & black with printers device. Dated colophon at the close. Military formation charts and diagrams in the second part. Bound in full early calf. Finely re-backed in a period style over raised bands. Blind lines and a hand tooled gilt letter label to the spine. A very handsome period binding, finely restored. ********************************************** Buy with confidence. At Humber Books we have been retailing 17th.C. theology and Bibles worldwide since 1972. ********************************************** Images sell! Get Supersized Images & Free Image HostingCreate your brand with Auctiva's Customizable Templates. Attention Sellers - Get Templates Image Hosting, Scheduling at Auctiva.com. Track Page Views With Auctiva's FREE Counter.

Venice: Aldus Manutius / Aldine, 1515. Hardcover. Fine. First edition (1515) edited by Navagero and the last book published by Aldus Manutius the Elder, who died in early February of 1515; the colophon gives January 1515 as the publication date of this book. Small 8vo (16 cm) bound in modern deep red morocco gilt with Aldine anchor and dolphin in gilt on both covers, gilt dentelles, all edges gilt, pp. [7] 125 [2]; lacking blank leaf *8 and blank leaf q7 (the penultimate leaf), has colophon and errata leaf and terminal leaf with anchor and dolphin logo. Fine bright contents, and a lovely binding.

Condition: Acceptable. Cordus, Valerius, 1515-1544. Coudenberg, Pierre, 1520?-1594?, Dissaudeau, François, d. 1623, Dubois, Jacques, 1478-1555, L'Obel, Matthiàs de, 1538-1616, Rondelet, Guillaume, 1507-1566. Valerii Cordi Dispensatorium, sive Pharmacorum conficiendorum ratio / Cum Petri Coudenbergii, & Matthiae Lobelii scholiis, emendationibus, & auctariis. Accessit hac editione, praeter Guilielmi Rondeletii De theriaca tractatum, emendatiorem; & Formulas selectiorum pharmacorum, quorum post Val. Cordum usus passim receptus est, auctiores: alius Fr. Dissaldei ejusdem argumenti libellus; & novissime alia nonnulla hactenus nondum edita calci libri adjecta sunt. Lugduni Batavorum : Ex officinâ Joannis Maire. 1651 Vellum binding Flyleaf and first title page missing, as well as back flyleaf. Upper corner of text block has some light waterstaing throughout, mildew spots pp 379-419. Pp 185 and 343 have very small ink spot not affecting text. Original vellum binding, however sewn through spine to attach loose signature. Vellum discolored. Needs a bookbinder's tender mercies. Small Octavo 749 pp plus 15 page Index. 2 small illus in text pp 385,195. Contents include : Dispensatorium, De Venenis Eorumdemque Antidotis Seu Alexipharmacorum, Francisci Joelis - De Curatione Morborum in Genere, Tabula Referens Capulas pp 489-503 Rondelet's De Theriaca Tractatus, Formulae electorium Pharmacorum, quorum usus post Valierium Cordum, Ex ultima Matthiae Lobelii recognitione and Dissalde's Pharmaconetes, sive pharmacitis biblos, Tabella pp 715-721, De Simplicibus medicamentis in Omnibus 722-728. … [Click Below for Full Description]

Aldus [Aldine Press], Venice, 1515. 8 vo. 4 x 6 1/2 inches. [31] [1] 289 [51]. 31 unnumbered preliminary leaves followed by one blank leaf, 289 numbered text leaves, 51 unnumbered commentary leaves. Second state with the corrected "Duernionem" on final leaf. Original contemporary embossed pigskin binding. The 119th publication of The Aldine Press. Condition is Very Good, corners and edges rubbed, 6 wormholes in spine and covers, no worming to pages, numerous contemporary MSS notes in the margins in sepia ink, also contemporary notes on front and rear pastedowns, small printed auction listing on front pastedown, light water stains in margins of last 25 leaves, binding is tight. Photo of book is in color, 4 photos of interior are B&W to aim for better contrast- more photos available. Text in Latin. RRGR [Attributes: Hard Cover]

UNIQUE AND UNPUBLISHED COLLECTION OF MEDICAL RECIPES. Illuminated manuscript on parchment, in French and Latin (with additions in Italian), France (Lyon?), c. 1515-1525. Dimensions 205 x 144-147 mm. 63 folios, written in one or two elegant French bâtarde hands, on ff. 1-42 one-line paraphs painted in gold on red or blue grounds with gold pen decoration, red or blue rectangular line-fillers with gold pen decoration, brown or green branch-shaped line-fillers with gold pen decoration, one- to two-line painted initials in blue or grey, highlighted with white pen decoration, with green, blue, red, white, and yellow foliate or floral infills on painted gold fields, THREE-LINE BLUE OR GRAY MODELLED INITIALS INFILLED WITH FLOWERS ON GOLD GROUNDS, FULL BORDER DECORATED WITH FLOWERS, FOLIAGE, AND ARABESQUES painted in red, green, blue, pink, and purple on a gold background, with MINIATURE ARMS painted in blue, red, and gold at the bottom presented by TWO CHERUBS PAINTED IN GOLD (f. 1). BINDING: CONTEMPORARY BINDING of red velvet over wooden boards, spine with five raised bands, traces of two fore-edge fastenings (now lost), significant wear to velvet over the spine and at the edges of the boards, upper board has visible crack from top to bottom. TEXT: Unique, unpublished collection of medical recipes, illuminated, and written in an elegant calligraphic script, this is a deluxe presentation copy from French aristocrat, François II de Rohan, Archbishop of Lyon to his brother, Charles de Rohan-Gié. The volume includes recipes mostly of the period and used by physicians to Pope Julius … [Click Below for Full Description]

per Zachariam Calergi Cretensem, Roma, 1515. Quarto format, collates complete. Printed in red and black. Zacharias Kallierges brought the font from his earlier typographical work in Venice and prepared this important textual edition of Pindar at the press of the wealthy banker Agostino Chigi. Bound in half-vellum with freckled stiff boards (small vellum tear at the middle of the rear hinge), leather label on the upper spine. First printing of Greek fonts at Rome and the first Pindar with the extensive scholia. Adams, P-1221 (variant). [Attributes: First Edition; Hard Cover]

Firenze, opera & sumptu Filippo I Giunta, 1515. 1515 Silius Italicus PUNICA Second Punic War ROME Philip Junta Epic Latin Poetry The only surviving book of the epic Roman poet Silius Italicus is ‘Punica’, a fascinating work on the Second Punic War. First written during the late 1st-century, ‘Punica’ seems to have been modeled after Virgil, Livy, and Homer and follows General Hannibal of Carthage and his military endeavors. Italicus was known for his stoic influence and focuses on concepts such as emotion, reason, and destiny, through the lens of a historical recounting of Roman military leaders Hannibal and Scipio. This 1515 Philip Junta edition, published in Florence, is an extremely important edition as it was the edition that Aldus used as the basis for his 1523 printing. Edited and collected by Ambrose Nicander. Item number: #3394 Price: $1500 ITALICUS, Silius Silii Italici opus de bello punico secundo, summa cura Ambrosii Nicandri castigatum restitutum multis carminibus quae in aliis desiderantur. Firenze, opera & sumptu Filippo I Giunta, 1515. Details: • Collation: Complete with all pages o [3], 4-208 o Colophon: Florenz, Impress. Florentiae opera et sumptu Philippi Juntae) 1515 • References: USTC 856365; Edit16 28735; Renouard 82; Brunet V 382; Graesse VI 404; Ebert 21223 • Language: Latin • Binding: Vellum; tight & secure • Size: ~6.25in X 4in (16cm x 10cm) 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! 3394 Photos available … [Click Below for Full Description]

HENRICUS STEPHANUS. Legatura coeva in piena pelle con ricche impressioni a secco ai piatti , tracce di legacci, deperditi; al piatto posteriore, ampia etichetta cartacea coeva incollata alla parte superiore con testo manoscritto in caratteri gotici; dorso a 5 nervi rilevati e 1 nervo di rilievo minore alla parte inferiore; al contropiatto anteriore, tracce di etichette asportate; al recto della carta di guardia anteriore, antiche note di possesso manoscritte, una anticamente cassata, l'altra, testimonia il possesso del Padre Iulio Abrissi di Mantova e data al 1530. I volume: 224 carte numerate; alla prima titolo iscritto entro due tondi all'interno di elaborata scena a silografia con due alberi laterali e due aquile a sorreggere i due tondi, il tutto entro una bordura di filetti con testo all'interno; rifilata al bordo inferiore per un'altezza di mm 40, lontano dal testo. All'interno, numerosi capolettera e diagrammi a silografia. II volume: 64 (su 66, mancano le carte 52 e 53) carte numerate, compresa la prima con il frontespizio con titolo iscritto entro elaborata scena incisa a silografia. All'interno, numerosi diagrammi incisi a silografia. Lo pseudo-Dionigi è tradotto da Ambroise Camaldule con ampi commenti sia di Étaples che di Clichtove. Si esprime una corrente di pensiero che identificava la caligine con l'impossibilità di conoscere. L’identificazione tra la tenebra divina e le formule dello Pseudo-Dionigiè del resto una tra le principali caratteristiche identificative di questa corrente. La maggior parte delle opere del grande umanista proveniva dai torchi di Henri … [Click Below for Full Description]

(A la fin:) Roma, Marcellus Silber, Anno Salutis 1515, Mense Octob. in-folio. 106ff. (le dernier blanc). Vélin souple de l'époque. Edition Originale de ces traités sur la prose latine du cardinal et humaniste italien Adriano Castellesi (c. 1460-1621), profond connaisseur de la langue latine et écrivain "au style très-pur" (Larousse). Le volume est dédié, avec une préface, à "Carolo Principi Hispania", le futur empereur Charles-Quint. Castellesi fut chargé en 1488 d'une mission diplomatique en Angleterre par le pape Innocent VIII, à la suite de laquelle il fut nommé par le roi Henri VII cardinal de Hereford, Bath et ensuite Wells. De retour à Rome il entra dans une conspiration contre le pape Leon X mais fut découvert et obligé de fuir. Il disparut alors de la scène publique peut-être retiré à Venise ou encore selon une rumeur, refugié chez les Ottomans. Le titre de ce beau volume est entouré d'une large bordure typographique gravée sur bois, illustrée de figures diverses. Au centre on trouve les armoiries de l'auteur coloriées en rouge à l'époque. Traces de vers dans les marges de quelques feuillets, quelques mouillures claires. Bon exemplaire dans sa première reliure en parchemin souple (quelques manques au dos). Cf. Grewing, "Lateinische Grammatik in Stilistik in du Renaissance" (1999). Cf. Paschini, "Tre illustri prelati des Rinascimento: Ermola Barbaro, Adriano Castellesi, Giovanni Grimani" (Rome, 1957). Manque à Brunet qui ne cite qu'une reédition. [Attributes: First Edition]

" - Philippi Iuntae (Giunta), Florentiae (Florence) 1515, In 8, (24) 279pp. (1), relié. - Edition originale rare et précieuse des oeuvres de Macrobe par Niccolo Angeli. Les indications éditoriales se trouvent au colophon, la page de titre n'affichant que le titre in extenso : Impressum Flor?tiae opera & sumptu Philippi Iuntae. Anno à natiuitate D. XV. supra mille mense Iulio. Leone Decimo Pontifice. On notera la typographie en italique et même celle de l'ensemble de l'ouvrage particulièrement en avance sur son temps, notamment par rapport à la France, l'Allemagne et l'Angleterre où elle sera plus tardivement imitée, vers 1550. 7 vignettes dans le songe de Scipion, dont la représentation du monde en 5 zones climatiques de Macrobe, représentation qui aura durablement marqué le Moyen-âge. Plein Velin d'époque. Dos lisse muet. Bon exemplaire, bien frais. Lecture classique de la Renaissance, Les deux textes réunis dans cette édition constituent les uvres majeures de Macrobius, lequel vivait vers l'an 400 et dont on sait peu de chose sinon qu'il était un philosophe néoplatonicien et stoïcien opposé au christianisme de plus en plus répandu. L'idée du songe de Scipion est extraite de la république de Cicéron dans laquelle celui-ci attribue un rêve au jeune Scipion où se déroule une conversation entre les héros décédés de la République, et notamment son père et son grand-père. L'ouvrage est constitué des commentaires de Macrobius, notamment sur la constitution de l'univers. Le deuxième texte réfère aux Saturnales, journées de fêtes pour les romains , Macrobius y relate les discus … [Click Below for Full Description]

(In fine, f.IV verso: "Finito lamento di ser Cosaccia: stampato a pitione di Meo'' ''lamento di ser Cosaccia: stampato a pitione di Meo Chastelli". Senza note tipografiche (Siena, 1515 circa?). in-8 piccolo (mm140x100), 4 fogli impressi recto e verso in carattere romano. Sulla prima pagina, sotto il titolo, vi è una grande incisione in legno (di 100x74 mm), raffigurante quattro personaggi (attori, tre uomini e una donna, in piedi, in atto di conversare). La "commedia del Tozzo" occupa le prime cinque pagine; "Il Lamento di Ser Cosacca Buffone" le pp. 6 a 8. Bella legatura 900sca francese d'amatore in pieno marocchino bruno, dorso a nervi con titolo oro, dent. int. Una delle più importanti edizioni dell'intera produzione teatrale italiana. Estremamente rara, mancante alle bibliografie teatrali consultate. Allacci, Crescimbeni e Sander citano brevemente altre edizioni cinquecentesche. Esemplare assai bello e perfettamente conservato. La magnifica silografia sulla pagina iniziale è ottima impressione. Sander n.7334 (ediz. 1542). (Altri esemplari alla Biblioteca Trivulziana e alla Marciana di Venezia); Acclusa lettera del 1959 del direttore della Nazionale di Firenze a Breslauer in cui si scusa per avere ordinato questo esemplare, possedendone già un altro: "non è una stampa senese, ma fiorentina. Ne ho appena vista un'altra copia in Biblioteca nazionale centrale di Firenze. Bartolomeo, o Meo, Castelli è uno stampatore fiorentino di stampe popolari attivo negli anni '20 del '500. Effettivamente questa edizione non è presente nel censimento, ma esistono forse altre copie oltre a … [Click Below for Full Description]

1515 Cicero Philippicae ROMAN Speeches Mark Antony Julius Caesar P. Incunable “A room without books is like a body without a soul.” ― Marcus Tullius Cicero An incredibly rare and impressive 16th-century book collecting the speeches of Cicero against Mark Antony. The name of this work is derived from the similarity in these speeches to Demosthenes’ speeches against Philip of Macedon. Cicero was shocked when Julius Caesar was named emperor and assassinated on the Ides of March. At that point, Mark Antony was scheming ways to avenge Caesar’s murder. Cicero was disappointed that Mark Antony had not been included in the plans to be assassinated. These speeches provide important details on the murder of Julius Caesar and the political turmoil of the Roman Republic. Item number: #3202 Price: $1250 ******* Author: Cicero Title: Philippicae Imprint: Firenze, opera & sumptu Filippo I Giunta, 1515. Collation: 108p References: USTC 822104; Edit16 12198 Works included: • ‘Philippicae’ by Cicero o Series of speeches condemning Mark Antony Details: • Collation: Complete with all 108 leaves • References: above • Language: Latin • Binding: Leather; tight & secure • Size: ~6.5in X 4.25in (16.5cm x 10.5cm) 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! 3202 Photos available upon request [Attributes: First Edition; Hard Cover]

1515. CLASSIC UNCOLORED PRINTED BOOK OF HOURS BY AN IMPORTANT EARLY PRINTER. Printed book on parchment, in Latin and French, Paris, SIMON VOSTRE, c. 1515. Dimensions c. 178 x 114 mm. 140 ff., 21 FULL-PAGE METALCUTS, 29 SMALLER METALCUTS, and SEVERAL HUNDRED BORDER METALCUTS after designs by the MASTER OF THE TRÈS PETITES HEURES OF ANNE OF BRITTANY, JEAN PICHORE, and an anonymous Master working in the STYLE OF DÜRER. BINDING: Bound in mid-19th-century dark green morocco, tooled and stamped in gold with "Heures" and sunbursts on the spine and with a gilt frame on the upper and lower boards. ILLUSTRATION: The book's illustrations combine works by two of the most prolific illuminators of late-fifteenth- and early-sixteenth-century Paris, both of whom actively supplied designs for the printing trade, but had differing artistic outlooks. The combination of new and old border cycles, and the presence of two paired opening miniatures at folios d4v-e1r and m7v-m7r, which contrast the two artists' styles, is noteworthy. Additionally, the present book includes two full-page images by an artist closely connected to the style of Albrecht Dürer, part of a set of metalcuts that Simon Vostre inserted into his books beginning around 1512. PROVENANCE: Printed in Paris by Simon Vostre, bookseller and printer in Paris. It was then in a private European collection. CONDITION: good condition. Full description and photographs available. (BOH 75)

CLASSIC UNCOLORED PRINTED BOOK OF HOURS BY AN IMPORTANT EARLY PRINTER. Printed book on parchment, in Latin and French, Paris, SIMON VOSTRE, c. 1515. Dimensions c. 178 x 114 mm. 140 ff., 21 FULL-PAGE METALCUTS, 29 SMALLER METALCUTS, and SEVERAL HUNDRED BORDER METALCUTS after designs by the MASTER OF THE TRÈS PETITES HEURES OF ANNE OF BRITTANY, JEAN PICHORE, and an anonymous Master working in the STYLE OF DÜRER. BINDING: Bound in mid-19th-century dark green morocco, tooled and stamped in gold with "Heures" and sunbursts on the spine and with a gilt frame on the upper and lower boards. ILLUSTRATION: The book's illustrations combine works by two of the most prolific illuminators of late-fifteenth- and early-sixteenth-century Paris, both of whom actively supplied designs for the printing trade, but had differing artistic outlooks. The combination of new and old border cycles, and the presence of two paired opening miniatures at folios d4v-e1r and m7v-m7r, which contrast the two artists' styles, is noteworthy. Additionally, the present book includes two full-page images by an artist closely connected to the style of Albrecht Dürer, part of a set of metalcuts that Simon Vostre inserted into his books beginning around 1512. PROVENANCE: Printed in Paris by Simon Vostre, bookseller and printer in Paris. It was then in a private European collection. CONDITION: good condition. Full description and photographs available. (BOH 75)

- Jacopo Mazzochi, Rome 15 novembre 1515, petit in-4 (14x20cm), (6f.), relié. - Prima edizione, illustrata da un titolo di frontespizio architettonico. - [FRENCH VERSION FOLLOWS] Edition originale, ornée d'un titre frontispice architectural. Titre en caractères gothiques, texte en romains et en grecs. Les deux dernières pages de l'ouvrage contiennent un poème de Giano Vitali dédié à Francesco Santilio intitulé « Ne petat ubi bella exercentur ». Reliure moderne en plein maroquin brique, dos lisse janséniste uniformément insolé, portant le titre, la date et le lieu d'édition en doré, roulette dorée en encadrement des contreplats, gardes et contreplats de papier à la cuve. Un très infime frottement en tête du dos. Ancien tampon effacé sur la page de frontispice. Provenance : de la bibliothèque de Gianni de Marco avec son ex-libris et son timbre à sec. L'ouvrage a été publié par Jacopo Mazzochi, l'un des imprimeurs les plus prolifiques de la Rome du début du XVIème siècle. Dès 1510, il initia la tendance du frontispice architectural, portique d'entrée dans le livre (E.P. Goldschmidt). Dans cette lettre ouverte adressée à son ami Ottavio Silvio, le poète humaniste Giano Vitali relate, en témoin oculaire, l'entrée triomphale de François Ier à Milan et le siège de la cité impériale. Le monarque, dans la lignée des guerres italiennes entreprises par Charles VIII vingt ans plus tôt, revendique la possession du duché de Milan. Au printemps 1515, après avoir réuni 30.000 hommes, il marche sur l'Italie, réussissant à déjouer le blocus des Suisses sur la route du Mont-Cenis. Le vainque … [Click Below for Full Description]

in Aedibus Aldi, et Andreae Soceri. First of two Aldine editions published in 1515 of Gellius' only known work, with "duerniorem" on the final leaf as prescribed by Renouard. The iconic Aldine printer's device appears on both the title-page and the final leaf of text, with the fore-edge of the title-page having been slightly repaired long ago at the margin. Gellius's Attic Nights, supposed to have been written for the entertainment and education of his children, offers a rich tapestry of the life and times of the Roman Empire under the five good emperors. In an informal style Gellius ranges from law, grammar, history, and literary criticism to evening chats with fellow students and visits to the awe-inspiring villas of Herodes Atticus, the most famous philanthropist of Athens. Editor Giovanni Battista Egnazio (1478-1553), an important part of the Aldine literary circle and executor of Manuzio's will, here presents a newly revised text -- complete with two indexes and explanation of the Greek passages.

Ghent and Bruges, ca. 1515-1520. 835 folia. Crimson velvet binding, richly decorated with gilt ornaments, 2 clasps, gilt-edged and gauffred text block, presented in an accompanying casket, small Folio Breviary: H. 30 x L. 24 x W. 17,5 cm. Casket: H. 34,5 x L. 30 x W. 28 cm. (Extremely fine facsimile edition of the Breviary of Cardinal Domenico Grimani, copy 238 of 750 published by Salerno Editrice at Rome, 2009. The Grimani Breviary is the most elaborate and arguably the greatest work of the history of Flemish manuscript illumination. In 1520 the breviary was purchased by Cardinal Domenico Grimani for the enormous sum of five hundred ducats. The breviary brought together the leading illuminators of the time and each of these artists created for this manuscript some of their most exquisite and original miniatures. The breviary contains 50 full-page miniatures, 18 large miniatures, 18 small miniatures, numerous historiated borders, 12 full-page calendar miniatures, and 12 bas-de-page calendar miniatures, all painted in vivid colours and embellished by the use of gold. The miniatures depict both sacred and secular subjects, including a calendar, psalms, hymns, texts from the holy scriptures, and prayers for the canonical hours of the day. The work is bound with crimson velvet and decorated with elegant frames, finely chiselled, that enclose golden bronze scrolls and medallions portraying on the front cover the Doge Antonio Grimani and on the back cover the cardinal Domenico. The work comes with an information folder: Breviario Grimani (ms. Lat. I 99 = 2138 della Biblioteca azi … [Click Below for Full Description]

[Paris]: Veneunt in Gormotiana libraria e regione Colegii Coquerettici ad insigne geminarum cipparum, [1515]. 4to (19 cm, 7.5"). [95 of 98] ff. (lacking final 3 prelim. ff.). First edition printed in France of a scarce geographical dictionary. The text is printed in single columns using roman font, with a => gorgeous decorative initial at the start of each new section — except for sections of X and Z and a few others, which have unaccomplished guide letters — and an extensive index in double columns following the main text; Jean de Gourmont's sizable device appears on the title-page. There is no mention of the New World in this though it is listed in Sabin, and Henry Stevens in one of his catalogues explains its importance to Americana collectors: "The object of this curious and learned geographical work, originally written just before the discovery of the new continent, seems to have been to post up into one little book all the knowledge and all the ignorance respecting our globe that could be collected from the ancients as well as mediaeval writers, so as to start fair with the new light to be let in by Columbus."    Searches of the NUC, WoldCat, and COPAC reveal => no copies of this edition held in the United States. First published in 1493, the text went through several editions in 15th and early 16th centuries, and the place of publication and date for this offering have been taken from the privilege statement.    Evidence of Readership: An early reader has helpfully added artistically written marginal place names throughout the text until reaching "Laconia"; a more re … [Click Below for Full Description]

1515. « Lorsque, dans le silence de l'abjection, l'on n'entend plus retentir que la chaîne de l'esclave ou la voix du délateur : lorsque tout tremble devant le tyran, et qu'il est aussi dangereux d'encourir sa faveur que de mériter sa disgrâce, l'historien paraît chargé de la vengeance des peuples. C'est en vain que Néron prospère. Tacite est déjà né dans l'Empire. » (Chateaubriand).  Édition Princeps.  Rome, 1515. Anno m.d.xv. kl. Martii. (mars 1515).In-folio composé de 232 ff. sous les signatures A-QQ, y compris le frontispice (seuls les ff. 4 à 73, contenant les 5 premiers livres des Annales, sont chiffrés), et 10 ff. Demi-veau sur ais de bois, dos à nerfs, traces d'attaches, « Cornelius Tacitus » calligraphié à l'encre brune sur la tranche inférieure. Reliure strictement de l'époque. 335 x 230 mm. / "When in the silence of abjection, the only sounds that can be heard are the chains of slaves and the voice of the collaborator, when everything trembles before the tyrant, when it is as dangerous to curry his favour as to merit his disgrace, the historian appears, charged with the vengeance of the peoples. Nero prospered in vain, for Tacitus was already born during the Empire." (Chateaubriand).  Editio Princeps.  Rome, 1515. Anno m.d.xv. kl. Martii. (mars 1515).Folio [335 x 230 mm] composed of 232 ll. under the signatures A-QQ, including the frontispiece (only the ll. 4 to 73, containing the first 5 books of the Annals, are numbered) and 10 ll. Half-calf over wooden boards, spine ribbed, remains of ties, "Cornelius Tacitus" calligraphed in brown ink on the lower edge. Stric … [Click Below for Full Description]

Veneunt in Gormotiana libraria e regione Colegii Coquerettici ad insigne geminarum cipparum, 1515. First edition printed in France of a scarce geographical dictionary. The text is printed in single columns using roman font, with a => gorgeous decorative initial at the start of each new section -- except for sections of X and Z and a few others, which have unaccomplished guide letters -- and an extensive index in double columns following the main text; Jean de Gourmont's sizable device appears on the title-page. There is no mention of the New World in this though it is listed in Sabin, and Henry Stevens in one of his catalogues explains its importance to Americana collectors: "The object of this curious and learned geographical work, originally written just before the discovery of the new continent, seems to have been to post up into one little book all the knowledge and all the ignorance respecting our globe that could be collected from the ancients as well as mediaeval writers, so as to start fair with the new light to be let in by Columbus." Searches of the NUC, WoldCat, and COPAC reveal => no copies of this edition held in the United States. First published in 1493, the text went through several editions in 15th and early 16th centuries, and the place of publication and date for this offering have been taken from the privilege statement. Evidence of Readership: An early reader has helpfully added artistically written marginal place names throughout the text until reaching "Laconia"; a more recent reader has marked a few passages of text as well as added a series of … [Click Below for Full Description]

in aedibus Aldi et Andreae Soceri,, Venetiis, 1515. In-8° (cm. 15,2), legatura antica in p. vitello con supralibros (parzialmente abraso) inquadrato in cornice e fregi in nero al piatto anteriore, giglio in nero al posteriore (abrasioni, mancanza delle cuffie, una cerneira allentata), tagli spruzzati; cc. [32] 289 [51] in ottimo stato (e comprensive della 2D8 bianca), con àncora aldina al frontespizio e al colophon (leggera abrasione di una nota di possesso alla prima carta, strappo riparato alla carta 2A8 senza perdita di alcunché). Prima edizione aldina nella prima impressione con l'errore duernioremalla carta V4r, corredata di molti indici e della spiegazione latina di tutte le parole greche citate da Gellio. E' uno dei primi libri stampati nell'officina di Aldo Manuzio dopo la sua morte. Prefazione del filologo Giovanni Battista Cipelli detto Egnazio. Cfr. Adams G343; Renouard 73. Esemplare molto buono. [Attributes: First Edition]

nelle Case d'Aldo et d'Andrea di Asola,, In Vinegia, 1515. In-8° (cm. 15,5), legatura settecentesca in p. pergamena floscia con fregio inchiostrato a mano al dorso; cc. [2] 244 [4] in carattere corsivo (la penultima bianca); àncora aldina al frontespizio, al recto della carta a1 e in fine; illustrazione silografica dell'inferno a doppia pagina e schema dei cerchi dell'inferno e del purgatorio su tre pagine (rifilate). Antiche firme di appartenenza al frontespizio, appunti al foglio di guardia; lievissime gore marginali, piccoli strappi ricomposti al margine di un paio di carte, segni di restauro ai risguardi, piccoli difetti. Seconda edizione Aldina e prima illustrata, interamente curata da Aldo Manuzio prima della sua morte, avvenuta nel gennaio dello stesso anno. «Più ricercata della prima» [Martini 29]: il testo è quello rivisto dal Bembo per l'edizione del 1502 e «niuna osservabile differenza ha in fatto dalla prima» [Gamba 385n] ma per questa seconda Aldo «si servì anche del Codice Palatino di Lucca n.101, conservato ora presso la Palatina di Parma» [Martini 29] tanto che il Castelvetro la preferì. Cfr. Renouard 73; Haym II, 6. Esemplare più che discreto.

nelle Case d'Aldo et d'Andrea di Asola,, In Vinegia, 1515. In-8° (cm. 15,5), legatura settecentesca in p. pergamena floscia con fregio inchiostrato a mano al dorso; cc. [2] 244 [4] in carattere corsivo (la penultima bianca); àncora aldina al frontespizio, al recto della carta a1 e in fine; illustrazione silografica dell'inferno a doppia pagina e schema dei cerchi dell'inferno e del purgatorio su tre pagine (rifilate). Antiche firme di appartenenza al frontespizio, appunti al foglio di guardia; lievissime gore marginali, piccoli strappi ricomposti al margine di un paio di carte, segni di restauro ai risguardi, piccoli difetti. Seconda edizione Aldina e prima illustrata, interamente curata da Aldo Manuzio prima della sua morte, avvenuta nel gennaio dello stesso anno. «Più ricercata della prima» [Martini 29]: il testo è quello rivisto dal Bembo per l'edizione del 1502 e «niuna osservabile differenza ha in fatto dalla prima» [Gamba 385n] ma per questa seconda Aldo «si servì anche del Codice Palatino di Lucca n.101, conservato ora presso la Palatina di Parma» [Martini 29] tanto che il Castelvetro la preferì. Cfr. Renouard 73; Haym II, 6. Esemplare più che discreto.

nelle Case d'Aldo et d'Andrea di Asola, 1515. In-8° (cm. 15,5), legatura settecentesca in p. pergamena floscia con fregio inchiostrato a mano al dorso; cc. [2] 244 [4] in carattere corsivo (la penultima bianca); àncora aldina al frontespizio, al recto della carta a1 e in fine; illustrazione silografica dell'inferno a doppia pagina e schema dei cerchi dell'inferno e del purgatorio su tre pagine (rifilate). Antiche firme di appartenenza al frontespizio, appunti al foglio di guardia; lievissime gore marginali, piccoli strappi ricomposti al margine di un paio di carte, segni di restauro ai risguardi, piccoli difetti. Seconda edizione Aldina e prima illustrata, interamente curata da Aldo Manuzio prima della sua morte, avvenuta nel gennaio dello stesso anno. «Più ricercata della prima» [Martini 29]: il testo è quello rivisto dal Bembo per l'edizione del 1502 e «niuna osservabile differenza ha in fatto dalla prima» [Gamba 385n] ma per questa seconda Aldo «si servì anche del Codice Palatino di Lucca n.101, conservato ora presso la Palatina di Parma» [Martini 29] tanto che il Castelvetro la preferì. Cfr. Renouard 73; Haym II, 6. Esemplare più che discreto.

" - Jacopo Mazzochi, Rome 15 novembre 1515, petit in-4 (14x20cm), (6 f.), relié. - Édition originale, ornée d'un titre frontispice architectural. Titre en caractères gothiques, texte en romains et en grecs. Les deux dernières pages de l'ouvrage contiennent un poème de Giano Vitali dédié à Francesco Santilio intitulé »Ne petat ubi bella exercentur ». Reliure moderne en plein maroquin brique, dos lisse janséniste uniformément insolé, portant le titre, la date et le lieu d'édition en doré, roulette dorée en encadrement des contreplats, gardes et contreplats de papier à la cuve. Un très infime frottement en tête du dos. Ancien tampon effacé sur la page de frontispice. Provenance : bibliothèque de Gianni de Marco avec son ex-libris et son timbre à sec. L'ouvrage a été publié par Jacopo Mazzochi, l'un des imprimeurs les plus prolifiques de la Rome du début du XVIème siècle. Dès 1510, il initia la tendance du frontispice architectural, portique d'entrée dans le livre (E.P. Goldschmidt). Dans cette lettre ouverte adressée à son ami Ottavio Silvio, le poète humaniste Giano Vitali relate, en témoin oculaire, l'entrée triomphale de François Ier à Milan et le siège de la cité impériale. Le monarque, dans la lignée des guerres italiennes entreprises par Charles VIII vingt ans plus tôt, revendique la possession du duché de Milan. Au printemps 1515, après avoir réuni 30 000 hommes, il marche sur l'Italie, réussissant à déjouer le blocus des Suisses sur la route du Mont-Cenis. Le vainqueur de Marignan arrive plusieurs mois plus tard, le 16 octobre 1515, dans la cité milanaise. Giano Vital … [Click Below for Full Description]

Mit gest. Titelvign. und Noten im Ttext. 516 S. Lederband d. Zt. Kloss 1515 Taute 2320 Wolfstieg 39707 (gibt als den wahren Verfassernamen Jean Jos. Joniot an): "217 Gesänge mit Melodien, darunter 40 in holländ. Sprache". - Mit zeitgen. Besitzeintrag Mademoiselle J. J. Hopman, 1773, und Wappenexlibris John Adam Milne. - Bestoßen.

Rome: Jacopo Mazzochi, 1515. Fine. Jacopo Mazzochi, Rome 15 novembre 1515, petit in-4 (14x20cm), (6f.), relié. - First edition, decorated with an architectural frontispiece title. - [FRENCH VERSION FOLLOWS] Edition originale, ornée d'un titre frontispice architectural. Titre en caractères gothiques, texte en romains et en grecs. Les deux dernières pages de l'ouvrage contiennent un poème de Giano Vitali dédié à Francesco Santilio intitulé « Ne petat ubi bella exercentur ». Reliure moderne en plein maroquin brique, dos lisse janséniste uniformément insolé, portant le titre, la date et le lieu d'édition en doré, roulette dorée en encadrement des contreplats, gardes et contreplats de papier à la cuve. Un très infime frottement en tête du dos. Ancien tampon effacé sur la page de frontispice. Provenance : de la bibliothèque de Gianni de Marco avec son ex-libris et son timbre à sec. L'ouvrage a été publié par Jacopo Mazzochi, l'un des imprimeurs les plus prolifiques de la Rome du début du XVIème siècle.  Dès 1510, il initia la tendance du frontispice architectural, portique d'entrée dans le livre (E.P. Goldschmidt). Dans cette lettre ouverte adressée à son ami Ottavio Silvio, le poète humaniste Giano Vitali relate, en témoin oculaire, l'entrée triomphale de François Ier à Milan et le siège de la cité impériale. Le monarque, dans la lignée des guerres italiennes entreprises par Charles VIII vingt ans plus tôt, revendique la possession du duché de Milan. Au printemps 1515, après avoir réuni 30.000 hommes, il marche sur l'Italie, réussissant à déjouer le blocus des Suisses sur la … [Click Below for Full Description]

Giunti Filippo, 1515. in-8, ff. (4), 367 (per errore num. 369; con vari altri errori, completo, 1 f. in fine con impresa tipogr.silogr. del Giunti, caratt. corsivo. Bella legatura fiorentina del tempo in piena pelle bruna decorata a secco con bordura a motivo floreale e figure di delfini sui piatti, fregi al centro, dorso a nervi (alcuni lievi restauri ben eseguiti). Sul primo foglio: "M. F. Quinti/lianus", al verso dedica di Filippo Giunta a Roberto Acciaioli. Bella e rara edizione, a cura di Niccolò Angeli, della celebre opera del grande grammatico e retore latino (nato in Spagna tra il 35-40 d.C. e morto a Roma verso la fine del secolo), considerato un'autorità della cultura per tutto il Medioevo, meritevole di un posto importante nella storia dell'educazione, della retorica e della critica letteraria romana. Esempl. genuino, assai fascinoso nella sua preziosa legatura coeva (con due ex-libris manoscritti sul titolo.

VITALI Giano Epistola de ingressu Gallorum in Mediolanum Jacopo Mazzochi, Rome November 15, 1515, small in-4 (14 x 20 cm), (6f.), full red polished moroccoFirst edition embellished with an architectural title frontispiece. The title is in gothic font, and the text is in Roman and Greek fonts. The last two pages of the book contains a poem by Giano Vitali dedicated to Francesco Santilio called "ne petat ubi belle excercentur."Binding in full red polished morocco, spine uniformly sunned Jansenist binding, with the title, gilt date and place, gilt roll-stamp framing the endpapers and pastedowns in marbled paper. A very tiny scratch on the spine head.An old stamp erased on the page of the frontispiece.Provenance: the library of Gianni de Marco with his book plate and his seal.The work was published by Jacopo Mazzochi, one of the most prolific publishers in Rome in the beginning of the 16th century. From 1510, he started the trend of the architectural frontispiece, an entry gate in the book (E.P. Goldschmidt).In this open letter addressed to his friend, Ottavio Silvio, the humanist poet Giano Vitali relates, an eyewitness account of the triumphant entrance of Francis I of France in Milan and siege the of the imperial city. The monarch, inspired by the Italian war undertaken by Charles VII twenty years earlier, claimed possession of the duchy of Milan. In the spring of 1515, after having assembled 30,000 men, he marched on Italy, succeeding in thwarting the Swiss blockade on the route of Mont-Cenis. The victory of Marignan occurred several months later, the 16th of October 1515, … [Click Below for Full Description]

1515. Folio (218 x 304 mm). 101 ff., final blank. With woodcut printer's device at the end and numerous woodcut initials. Modern red morocco, blindstamped to style, with gilt spine and inner dentelle. Marbled endpapers. All edges sprinkled in red. In cloth slipcase. A rare medical compendium drawing strongly on the Arabic physicians who dominated the medieval medical schools of France and Northern Italy, including the author's treatise on fevers (fol. 68 ff.), based on Avicenna, who is variously quoted. Some of the surprisingly modern ailments discussed include tinnitus (fol. 40), diabetes (fol. 61), and manic depression (an extensive chapter, fol. 13-16). This is the third edition of the collection first published thus in 1501 (not counting the only incunabular edition of 1485). "Concoreggio, born in Milan around 1380, was made professor in Bologna in 1404 before teaching at the Universities of Pavia, Florence and (in 1439) Milan. His works are composed after the model of the Arabs, without much personal observation, and were published as a collection after his death in Pavia around the year 1440" (cf. Hirsch). - Some waterstaining to margins (more pronounced near beginning). Bound in a sumptuous modern morocco binding decorated with rollstamps showing Renaissance heads, likely for the 20th-century physician and collector Piergiorgio Borio (his bookplate on the front pastedown). Only 3 copies in Italy (Biblioteca comunale dell'Archiginnasio Bologna; Biblioteca Angelica Roma; Biblioteca Casanatense Roma). Edit 16, CNCE 14741. Durling 1008. Hirsch VI, 645. Sangiorgio, Cenni … [Click Below for Full Description]

Original-Kupferstich, um 1515. Ca. 20 x 25,2 cm (Blattformat). Bartsch 417; Nagler 338. Späterer Abzug (ca. 1650), mit der Adresse von Gio. Batt. di Rossi in piazza navona in Roma am unteren Bildrand. Vorlage war eine Zeichnung von Raphael (Die phrygische Pest) nach der Erzählung in Virgils Aenäis (Gesang III, Vers 140ff) in der die Trojaner auf ihrer Flucht in Kreta von der Pest befallen werden und Aeneas in einem Traum seine Bestimmung erkennt, mit seinem Volk nach Italien zu ziehen. Bei Bartsch als "extrémement rare" bezeichnet. Vorderseite leicht angestaubt und teils etwas fleckig, bis zur Einfassungslinie beschnitten, hinterlegte und retouschierte Fehlstellen und Einrisse am unterem Rand, alt auf dünnem Trägerpapier aufgezogen, überstehendes Trägerpapier unter einfachem Passpartout mit getuschten Kanten montiert.

(opera & sumptu Philippi Iuntae), 1515. In-8 p. (mm. 217x148), p. pergam. antica, dorso a cordoni con tit. oro su tassello, cc.nn. 284 + 4 (Alphabetum Hebraicum). L'ultima c. "B8" (la 284) così termina al recto: "Finis Phocylidis Carminum. & deo gloria" ed è senza colophon. Testo latino e greco a fronte. Epistola di Bernardo Giunti a Pier Vettori. L'opera contiene: "Constantini Lascaris Byzantini de octo partibus orationis Lib. I - Eiusdem de constructione Liber Secundus - Eiusdem de nomine & uerbo Liber Tertius - Eiusdem de pronomine in omni idiomate loquendi, ac ut poete utuntur opusculum - Cebetis Thebani Tabula - Plutarchi de his quae apud Homerum linguis - De literis graecis ac diphthongis & quemadmodum ad nos ueniant - De potestate litterarum graecarum, & quo modo quis per se discat legere graeca uerba - Item quare Christus & Iesus sic scribimus Xps IHS - Cur in alphabeto ypsilon quibusdam fio dicitur - Oratio dominica & duplex salutatio ad Beatiss. Virginem - Euangelium diui Ioannis Euangelistae - Carmina aurea Pythagorae - Phocylidis Poema ad bene, beateque uiuendum - Introductio per breuis ad hebraicam linguam..". Cfr. Annali dei Giunti,I,80: "Esistono due serie di esemplari, con e senza data" (il ns. esempl. è stato collazionato con quello della Bibl. Braidense che porta data e stampatore) - Renouard, p. XL,75 - Brunet,III,858. Solo lieve alone margin. sulle prime 2 cc.; qualche lieviss. fiorit., altrimenti esemplare ben conservato. "L'umanista Costantino Lascaris (Costantinopoli 1434 - Messina 1501), fatto prigioniero dai Turchi alla caduta di Costantinopoli (145 … [Click Below for Full Description]

Ghent and Bruges ca. 1515-1520. 835 folia. Crimson velvet binding, richly decorated with gilt ornaments, 2 clasps, gilt-edged and gauffred text block, presented in an accompanying casket, small Folio Breviary: H. 30 x L. 24 x W. 17,5 cm. Casket: H. 34,5 x L. 30 x W. 28 cm. (Extremely fine facsimile edition of the Breviary of Cardinal Domenico Grimani, copy 238 of 750 published by Salerno Editrice at Rome, 2009. The Grimani Breviary is the most elaborate and arguably the greatest work of the history of Flemish manuscript illumination. In 1520 the breviary was purchased by Cardinal Domenico Grimani for the enormous sum of five hundred ducats. The breviary brought together the leading illuminators of the time and each of these artists created for this manuscript some of their most exquisite and original miniatures. The breviary contains 50 full-page miniatures, 18 large miniatures, 18 small miniatures, numerous historiated borders, 12 full-page calendar miniatures, and 12 bas-de-page calendar miniatures, all painted in vivid colours and embellished by the use of gold. The miniatures depict both sacred and secular subjects, including a calendar, psalms, hymns, texts from the holy scriptures, and prayers for the canonical hours of the day. The work is bound with crimson velvet and decorated with elegant frames, finely chiselled, that enclose golden bronze scrolls and medallions portraying on the front cover the Doge Antonio Grimani and on the back cover the cardinal Domenico. The work comes with an information folder: Breviario Grimani (ms. Lat. I 99 = 2138 della Biblioteca azio … [Click Below for Full Description]

Venice (Venetiis, In aedibus Aldi et Andreae soceri, mense Septembri, 1515). 8vo. (LXIV) p.; 289 ff; (102) p. Mottled calf. 16 cm A favorite author of the Renaissance (Ref: Renouard, Annales p. 73; Schweiger 2,376; Brunet 2,1523; Dibdin 1,339; Moss 1,202; Graesse 3,45; Ebert 8276) (Details: Back with 5 raised bands. Aldus' printer's mark on the title and on the last page. Printed completely in italics. The edition has no notes, but the last 102 pages contain a double index, one of them with an explanation of the Greek passages in Gellius. § There are two slightly different editions of this date, 1515, copies with a printing error in the colophon of the last page (duerniorem), and copies with the correct reading (duernionem). Our copy has the error) (Condition: Cover very scuffed, and worn at the extremities. Corners bumped. Back very rubbed. Upper board loose. Lower hinge cracking, but strong. Shield and gilt on the back gone) (Note: The Roman author Aulus Gellius, ca. 125-180 AD, was never counted as a major author in antiquity, nor later. His only work 'Noctes Atticae' or 'Attic Nights', is a miscellany that 'ranges from literature to law, from wondrous tales to moral philosophy; one of his favorite topics is the Latin language'. (.) The exposition, in a mildly archaizing but never difficult Latin, often takes the form of dialogues with or between culturally eminent persons whom Gellius had known'. It derives its name from the fact of its having been written during the long nights of a winter which the author spent in Attica as a young itinerant student. The Noctes Attica … [Click Below for Full Description]

Venetiis per Georgius de Rusconibus Mediolani, 1515. testo in latino; capilettera ornati; 16 vignette xilografate, una all'inizio di ogni satira; numerose sottolineature e glosse manoscritte

Iohnnes Clein, Lyon. [c.1515]. 4to. pp. [280]. p.[280 blank]. Colophon dated "nono kale[n]das Octobris" (23 Sept.). Title page printed in red and black inside woodcut architectural border. Woodcut printer's device (Sylvestre 132). Printed in Roman font with the surrounding commentaries printed in Gothic. Text contains decorative initials. Bound in contemporary blind stamped paneled calf boards; re-backed preserving original spine. Later antique endpapers with inscription on front-free endpaper dated "1925"; front and rear blank fly-leaves worn. Pages are generally clean with occasional marginalia in an old hand (i.e. several small inscriptions written on the title page); minor spotting; lower corner of leaf c7 clipped in margin; The hinges and inner margins to the first gathering are neatly strengthened / repaired. The outer edges to this same gathering show some wear - i.e. a few marginal tears (sealed), and light soiling. The bottom margins on conjugate leaves a2 and a7 are trimmed about ½" (12 mm). Anicius Manlius Boethius (480-524) was a late Roman philosopher and statesman. He became embroiled in a plot against Theodoric, the Ostrogothic ruler of Rome, and was eventually executed. Boethius wrote his most famous work, the "Consolation of Philosophy," while awaiting his fate in prison. The five sections discuss the capriciousness of fortune, the influence of good and evil, and the nature of God's control over the universe (i.e. free will, providence and fate). The work employs the Platonic notion of an ascent of the soul to the Godhead through a process of contemplation … [Click Below for Full Description]

Alde Venise 1515. In-8, 148 feuillets et (2 feuillets), le dernier portant au verso l'ancre aldine. Signatures: A-D8 E10 AA-DD8 EE4 a-i8. Plein maroquin brun ; encadrement de deux filets à froid, et d'un filet droit doré lié dans les angles par des demi-cercles dorés. Au centre du plat supérieur, inscrites dans un tondo doré, les lettres CAT, TIB, PRO. Au centre du plat inférieur, allégorie de la Fortune. Emplacement pour quatre lacets. Reliure italienne du temps, très probablement issue d'un atelier travaillant pour Alde. (Coiffes et coins anciennement restaurés ; dos changé, probablement au XIXème siècle ; mors légèrement épidermés. Gardes renouvelées. Quelques petites taches d'encre et salissures dans les marges. Un manque dans la marge de gouttière de i1 a été comblé ; une déchirure sur i2 a été restaurée). Belle impression en caractères italiques, gravés en 1499 par Francesco Griffo, à la demande d’Alde Manuce. Il existe deux éditions aldines de ces trois poètes. La première édition sortie des presses d’Alde Manuce (1449-1515) est de janvier 1502. Elle est en 150 feuillets non chiffrés. Elle n'a pas d'ancre aldine au dernier feuillet, sur lequel sont simplement repris les trois noms du titre : Catullus, Tibullus, Propertius. La deuxième édition est publiée en mars 1515. Elle est identique à la première pour la composition typographique et la collation. C’est en fait une remise en vente de l’édition de 1502, mais avec des feuillets chiffrés ; elle s'achève par l'ancre aldine, qui est apparue pour la première fois dans l’édition des Poetae christiani veteres de janvier 1 … [Click Below for Full Description]

Venetiis: Aedibus Aldi et Andreae soci (Aldo Manuzio), 1515. Un volume (10x16,5 cm) di (32)-289-(51) carte. Áncora aldina al titolo e all'ultima pagina. Esemplare di prima tiratura, con la scritta errata “duerniorem” al colophon. A cura di Giovanni Battista Egnazio, il cui nome figura nella prefazione. Buoni margini, glosse manoscritte coeve alle carte 138, 141, 144, 179, 193, 216 e 239. Frammenti di codice manoscritto e di altra opera a stampa incollate da precedente proprietario alle ultime due carte bianche (un angolo mancante). Notevole legatura cinquecentesca in tutta pelle, cornice a secco ai piatti e ornamento dorato (ramo con ghianda) al centro dei piatti con fregio dorato ai quattro angoli. Restauro al dorso, dove rimane parzialmente il titolo dorato. Tagli blu. Importante ed unica edizione aldina delle Notti Attiche, impressa “mense septembri 1515”, sette mesi dopo la morte di Aldo Manuzio. Molto rara in questa prima tiratura.

Venice, In aedibus Aldi et Andreae Soceri, September 1515. 8vo. (xxxii), 289, (51) lvs. Modern blind-stamped vellum, title on spine in gold. (waterstain in preliminaries and in last ten leaves; a few old scores; a fresh copy) ¶ Adams G-344; Schweiger II/376: "Recognition des Textes von Jo.Bapt.Egnatius, welcher e.zwiefachen Index u.die Erklg.der griech.Worte beifügte. Man kennt 2 verschd.Ausgg.mit diesem Datum. In der einen steht auf dem letzten Blatte 'duerniorem', in den andern ist der Druckfehler in 'duernionem' berichtigt." Our copy has 'duerniorem', is therefore the first issue.

Impressum Florentiae Sumptu Philippi Iuntae, 1515. LATINO 0,71 Due cinquecentine in 8°, buono stato, coperta rigida in pergamena, su dorso tassello in pelle con cornice e caratteri incisi in oro, poche macchie, punte e bordo appena sfregati, dorso del II volume con piccolo foro, tracce di fioritura sparsa, tagli di colore giallo, lievemente bruniti, pagine in buono stato, con scolii e qualche sottolineatura, prime pagine del I volume con macchia d'umidità sul margine di testa. Presenta registro, indice, segnatura dei fascicoli e richiami. Sulla facciata precedente l'incipit, di entrambi i volumi timbro a secco. Opera completa. USATO

(In fine, colophon:) Venetiis, in aedibus Aldi et Andreae Soceri, settembre 1515. in-8, ff. (32, ultimo bianco), 289, (51), magnifica inusuale legatura coeva ? probabilmente toscana ? in marocchino bruno, con bordura a secco sui piatti a decorazione floreale racchiudente altro motivo che si sviluppa in verticale, dorso a tre nervi con trapezi a filetti che s'intersecano sul lato minore sui cui sorge un fiore; assolutamente genuina, con piccole mancanze agli spigoli ed agli angoli. Impresa tipografica al titolo, ripetuta in fine; carattere corsivo e passi in greco. Dedica del curatore G.B. Egnazio (Cipelli) al proprio notaio Antonio Marsilio, unico esempio di dedicatoria nelle Aldine di quegli anni ispirata da un sentimento di amicizia e non da fini commerciali; del medesimo Egnazio sono anche i due ampi indici, il primo con i titoli dei capitoli, il secondo con la spiegazione dei passaggi in greco. Prima ed unica edizione aldina, in seconda tiratura, recando nel registro al recto dell'ultimo foglio il termine corretto "duernionem" (nella prima tiratura "duerniorem"). Esemplare appartenuto a Teofilo Gallaccini del quale sono la firma e lo stemma con tre galli, parzialmente cancellati con striature ad inchiostro bruno, ma leggibili sopra il titolo a stampa; di suo pugno è una lunga nota sulla storia romana, che cita Gellio e Tacito, ed una chiosa nel margine del f. 49. Del Gallaccini bibliofilo è testimonianza il "Catalogo di opere antiche e moderne italiane e forestiere" della Libreria Giovanni Gallarini librajo bibliografo (agosto 1856, p. 296 n. 10126 1.60) in cui figurava … [Click Below for Full Description]

- S.l., Signée en bas à droite des initiales HD, première moitié du XIXe siècle, plaque de verre peinte en couleurs sur les deux côtés, 25,4 x 22 cm, coins coupés en biseau (sur 7,5 cm). Delteil 1515. "Inventaire du Fonds Français XIXe s.", p. 503, n° 201, pl. 39. Rarissime spécimen de peinture sur verre réalisée d'après Daumier. Dans une chambre, une homme en chemise, des savates aux pieds, bâille et s'étire ; par terre une paire de guêtres, et sur une chaise une carnassière et un fusil de chasse. L'artiste a employé une technique particulière: le verre est peint sur les deux faces afin d'obtenir un effet de profondeur. La lithographie originale avait été insérée dans la suite "Les bons bourgeois" (82 planches, 1846-49) ; Jean Adhémar ajoute au titre: "le réveil du chasseur". Le support, certes insolite, n'est peut-être pas le fruit du hasard: rappelons en effet que le père de Daumier, Jean-Baptiste, exerçait à Marseille la profession de verrier et encadreur, avant de venir se fixer en 1816 à Paris, où il présenta ses productions poétiques à Louis XVIII. Cette belle peinture sur verre pourrait dès lors témoigner d'une tentative de perpétuation de la tradition familiale. Cette plaque a fait autrefois partie d'une série de quatre peintures sur verre d'après Daumier, toutes situées dans des chambres et représentant des scènes nocturnes ou des réveils: on peut imaginer que ces peintures étaient destinées à orner un paravent ou une fenêtre de chambre à coucher. Objet de grande curiosité, en parfait état. [Attributes: Signed Copy]