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]

Imprimé à Paris par la veufve feu Jehan Trepperel et Jehan Jehannot [1515 ca] 1Imprimé à Paris, par la veufve feu Jehan Trepperel et Jehan Jehannot, sans date [1515 ca]. In-4 gothique à deux colonnes (180 x 120 mm) de 101 ff. mal chiffrés CVII et (1) f. de table (sign. A8 B4 C8 D4 E4 F8 G4 H8 I4 K4 L8 M4 N8 O4 P8 Q4 R4 S6), maroquin janséniste olive, dos à nerfs orné à froid, coupes filetées, frise intérieure, tranches dorées sur marbrure (reliure du XVIIIe siècle). Édition en lettres gothiques batardes de la Veuve Trepperel partagée avec Jehannot, en second tirage distinct du premier tirage par son titre (Les Vigilles du Roy Charles contre S'ensuyt les Vigilles du Roy Charles) et par l'explicit où le nom de Jehannot est mentionné. Titre en rouge et noir illustré d'un bois gravé sous-titré Le lis de justice suivi au verso du titre d'un grand bois gravé pleine page représentant Charles VII gisant, ce dernier répété au verso du dernier feuillet. Les Vigiles de Charles VII, long poème composé entre 1477 et 1483 à la louange du feu roi Charles VII comprend neuf psaumes et neuf leçons alternant par groupes de trois. Les psaumes en quatrains d'octosyllabes forment une chronique de la vie de Charles VII (1402-1461), versifiée sur les données des chroniques du héraut Berry et de Jean Chartier, truffée d'exempla empruntés au Livre de bonnes meurs de Jacques Legrand et au Jeu des échecs moralisés de Jacques de Cessoles, traduction de Jean Ferron. Les leçons sorte d'intermèdes lyriques à la chronique, mettent dans la bouche de France, Noblesse, Labour ou Marchandise, les regrets du b … [Click Below for Full Description]

Venise, Alde et André d'Asola, 1515. 1 vol. petit in-8° (161 x 88 mm.), veau jaspé, dos lisse orné de fleurons dorés, pièce de titre en maroquin rouge, filet doré sur les coupes. Reliure du XIXe siècle dans le style du XVIIIe s. Cachet de l'Académie royale de Nîmes sur le titre. 137 ff., (3) ff. Marque à l'ancre au v° du dernier feuillet. Signatures : [a-r]8 s4. Mouillure pâle dans la marge inf. en fin de vol. Annotations marginales dans une fine écriture du XVIe siècle (quelques unes en partie coupées à la reliure). Exemplaire assez grand de marges malgré sa reliure tardive. Seconde édition aldine des uvres de Lucain. Elle reproduit fidèlement la première, imprimée en 1502, avec la même préface dédiée par Alde l'ancien à Antonio Mauroceno qui lui avait communiqué un bon manuscrit sur lequel il avait pu corriger les fautes qu'il avait trouvées dans l'édition vénitienne de 1493 qui lui servit de base. Le texte de la Pharsale (poème inachevé en dix livres, qui raconte essentiellement la guerre entre César et Pompée) est suivi de la vie de Lucain et d'un extrait de Tacite sur le même sujet. Bon exemplaire. Renouard (Alde), 72; Adams L1564; cat. "Alde Manuce (1450 - 1515) une collection" (P. Bergé, 2004), n°93.

par la veufve feu Jehan Trepperel et Jehan Jehannot [1515 ca], Imprimé à Paris. In-4 gothique à deux colonnes (180 x 120 mm) de 101 ff. mal chiffrés CVII et (1) f. de table (sign. A8 B4 C8 D4 E4 F8 G4 H8 I4 K4 L8 M4 N8 O4 P8 Q4 R4 S6), maroquin janséniste olive, dos à nerfs orné à froid, coupes filetées, frise intérieure, tranches dorées sur marbrure (reliure du XVIIIe siècle). Édition en lettres gothiques batardes de la Veuve Trepperel partagée avec Jehannot, en second tirage distinct du premier tirage par son titre (Les Vigilles du Roy Charles contre S'ensuyt les Vigilles du Roy Charles) et par l'explicit où le nom de Jehannot est mentionné. Titre en rouge et noir illustré d'un bois gravé sous-titré Le lis de justice suivi au verso du titre d'un grand bois gravé pleine page représentant Charles VII gisant, ce dernier répété au verso du dernier feuillet. Les Vigiles de Charles VII, long poème composé entre 1477 et 1483 à la louange du feu roi Charles VII comprend neuf psaumes et neuf leçons alternant par groupes de trois. Les psaumes en quatrains d'octosyllabes forment une chronique de la vie de Charles VII (1402-1461), versifiée sur les données des chroniques du héraut Berry et de Jean Chartier, truffée d'exempla empruntés au Livre de bonnes meurs de Jacques Legrand et au Jeu des échecs moralisés de Jacques de Cessoles, traduction de Jean Ferron. Les leçons sorte d'intermèdes lyriques à la chronique, mettent dans la bouche de France, Noblesse, Labour ou Marchandise, les regrets du bon vieux temps ; écrites dans des mètres variés, elles ne manquent pas d'agrément. Le règne … [Click Below for Full Description]

- Foral das Terras de Coyra. Transcrição de Manuscrito nº 141 iluminados, da Biblioteca Nacional ? Secção de Reservados. Lisboa. 1960. De 28x21 cm. Com 47 fólios. Encadernação do sec. xx em percalina azul com ferros a ouro em super-libris. Transcrição dactilocopiada e iluminada por M. R. Serra de Carvalho (Lisboa. 15-7-1960), reproduzindo por processo dactilográfico e manual o documento original existente na BNP. Location/localizacao: 8-5-C-23

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

- Kupferstich / Linienstich, 1515-1527. Von Marcantonio Raimondi, nach Raffael. 15,9 x 11,1 cm (Darstellung / Einfassungslinie). In der Platte auf einer am Baum lehnenden Tafel rechts unten das tragische Motto in Griechisch, etwa bedeutend: "Selbstmord ist Leben". - Gegenseitige Kopie nach Raimondis Kupferstich von 1510 (Bartsch 187), der die Figur einer Zeichnung von Raffael und die Landschaft einem Kuperstich von Lucas van Leyden entlehnte. - Feines Büttenpapier des 16. Jahrhunderts mit 21-24 mm Stegabständen. - Selten! Weiteres Exemplar im British Museum in London. - Oben und unten knapp in der Platte beschnitten, seitlich bis in die Darstellung. Zwei winzige Löchlein am oberen Rand, Ränder und Ecken partiell hinterlegt, verso diverse Montagespuren. Insgesamt mäßig guter bis guter Zustand. Marcantonio Raimondi (um 1480 in Argini bei Bologna - 1534 in Bologna). Älter auch Marcanton. Italienischer Kupferstecher der Renaissance. Fertigte über 300 Kupferstiche nach Werken zeitgenössischer Künstler sowie der Antike. Gilt als Begründer der künstlerischen Sparte Reproduktion von Kunstwerken durch Kupferstiche. Er bildete sich an Stichen und Holzschnitten Albrecht Dürers und Lucas van Leyden. Ab 1510 lebte und arbeitete er in Rom für Raffael. Hier fertigte er zahlreiche Stiche nach Zeichnungen, Gemälden und Kartons des Künstlers und trug somit wesentlich zu dessen Wertschätzung und Bekanntheitsgrad bei. Raimondis Werk hatte großen Einfluß auf nachfolgende Generationen von Kupferstechern, die sich vor allem der Reproduktion von Kunstwerken verschrieben. Raffael (1483 Urbino - 152 … [Click Below for Full Description]

1515. Antique print, titled: 'De Guilielmo caio, Bredano, Pictore.' - (Willem Key, Breda, Painter.) Willem Key (c. 1515-1568) was a Dutch/Flemish renaissance painter, active in Antwerp. This item is framed. Etching / engraving on handlaid paper. Description: This rare plate originates from an unknown edition of Henricus Hondius' "Theatrum Honoris in quo nostri Apelles, saeculi seu pictorum.", first published in 1610. Later ed. by Johan Janssonius, 1618. Ref: Dutch Hollstein 86-157. Artists and Engravers: Made by 'Henricus Hondius' after own design. Hendrik Hondius I, Henricus Hondius I or Hendrik Hondius the Elder (Latinised form of 'Hendrik de Hondt') (1573–1650), was a Flemish-born and trained engraver, cartographer and publisher who settled in the Dutch Republic in 1597. He had a flourishing printing business in The Hague which was continued by his sons Willem and Hendrik. Initially he hired printers to do his printing until he bought his own printing press in 1620. He turned more to publishing rather than engraving and printing in the 1630s. His publications were mainly maps, books about fortifications and official portraits. He also reused original plates and blocks by earlier artists for reprinting and such reprints represented almost a third of his publishing output. In the 1640s he returned to printing concentrating exclusively on etching. He remained active as a printmaker and draughtsman until his final years. Condition: Very good, given age. Framed, not inspected out of frame. General age-related toning and/or occasional minor defects from handling. Please study … [Click Below for Full Description]

Aldus] in Aedibus Aldi, et Andreae Soceri, Venetiis [Venice. First Aldine edition. Printer's device on title of Lactantius [A2] and verso of colophon of Tertullian [A5]. Collation: 2a-2b^8, a-z^8, A-Y^8; *^4, 2A-2F^8, italic type, rubricated in red and some blue throughout with initials and paraphs. 8vo. Rubricated Throughout. Sixteenth-century Aldine printing of the early Christian authors Lactantius and Tertullian. This volume includes the De Ira Dei, a treatise against the Stoics and Epicureans, the De Opificio Die, written during Diocletian's persecution of the Roman Christiahs, as well as the Divine Institutes, Lactantius' most important work. It concludes with a interpretive Greek to Latin dictionary of commonly-used Lactantian phrases, printed in both the Roman and Greek alphabets. The Lactantius is bound with another Aldine classic, Tertullian's Apologeticum, an apologetic work on behalf of the persecuted Christians of the early Roman Empire. Tertullian writes as a jurist, rather than an orator. This edition was published just after the death of Aldus in January 1515 and the preface to the Lactantius notes his death. This copy fully rubricated in red and blue ink, unusual for an Aldine octavo. Ahmonson-Murphy 132; Adams L16; Renouard 1515/5. Provenance: Earls of Macclesfield (South Library armorial bookplate, dated 1860, and small embossed armorial stamp to first 3 leaves) 17th-century English red morocco, tooled in gilt to a panel design. Binding worn, with front joint cracking, small library shelf labels affixed to spine, worming to lower margin of 2a1 just touchi … [Click Below for Full Description]

(Colophon: Venetiis in Aedibus Aldi, et Andreae Soceri, 1515). Small8vo. Nice later (17th century) full vellum. A small nick to spine. Faint Ms title to spine. 150 leaves (1 unnumb. 2-148 numb., 149-50 unnumb.). F 2 with a neath repair to upper right corner. The first 80 leaves with neath small annotations in contemporary hand. Title-page with Aldus' large printers device, likewise on last leaf verso. The last 2 leaves seems to be strenghtened on verso, no loss of letters and paper<br>. A few marginal brownspots, but internally in general clean and fine. ¶ Second edition of this scarce Aldus-edition, the fist issued 1502. "Of the two editions, the last (the offered of 1515) seems the more correct and valuable (according to Harles,) and was the basis of many subsequent ones in the sixteenth century." (Dibdin I:374). - Adams C 1139.

Aldo Manuzio, 1515. In 8° (16,2 x 10,2). Cc. (31), 286, (51).Manca la carta bianca DD8. Bella marca del tipografo al titolo e in fine. Qualche modestissima gora tra le cc. 55 e 80; leggera ingiallitura uniforme della carta. Manca la carta libera anteriore. Firme di appartenenza (datate 1562 e 1602) al titolo. Bella legatura cinquecentesca tutta pelle di scrofa riccamente impressa a secco e datata 1562 al piatto anteriore. Una piccola mancanza in basso al piatto anteriore; piatto posteriore molto macchiato. Buona edizione (prima aldina) dell’importante testo di letteratura e filologia composto dal rétore romano vissuto nel II secolo d.C. La presente è la rara prima tiratura, con l’errore al colophon "duerniorem". Un esemplare d’amatore per l’inconsueta legatura germanica della metà del XVI secolo. First Aldine edition, first printing. Complete, except for the blank leaf DD8. Two ownership inscription (dated 1562 and 1602) in title-page. A pleasant copy in an unusual German binding (dated 1562) in pigsking over boards; Some stains especially in the rear cover and a small loss in the front one. RENOUARD, 73, n. 9. AHMANSON-MURPHY, n. 119. ADAMS, G-343. [Attributes: Hard Cover]

1515. Antique Master Print, titled: 'Veni sponsa Christi accipe coronam qvam tibi dominus praeparavit in aternum.' - The Martyrdom of St. Cecilia. The Saint is shown in the middle of the image, in a pot with water under which a fire is being stoked. To men approach her holding the severed heads of her husband Valerius and his brother. Their bodies lie a little ways to the back. Several dignitaries are seated on the left while audience gathers around a statue of Zeus on the right. An angel with a garland and martyr's palm hovers above St. Cecilia. Etching/engraving on hand laid paper. Description: A copy by unknown engraver of the print by Marcantonio Raimondi originally published ca. 1515. After the lost fresco by the Raphael workshop for the Villa Magliana, Rome.Artists and Engravers: Made by an anonymous engraver after 'Rafael Urbinas'. Raffaello Sanzio da Urbino (1483 - 1520) known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Condition: Good, given age. Several tears in paper edges, all reinforced using contemporary paper backed with acid free archival tape. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPCRC-A19-38 The overall size is ca. 16 x 9.7 inch. The image size is ca. 15.6 x 9.5 inch. The overall size is ca … [Click Below for Full Description]

[colophon: Venetiis: In aedibus Aldi, et Andreae soceri, 1515]. 8vo (16.3 cm, 6.375"). [16], 348, [12], [4], 48 ff. First Aldine edition for Lactantius' three major works, the editio princeps having been printed in 1465. Another Aldine version appeared in 1535. The text includes a preface by Giovanni Battista Egnazio (addressed to Antonio Trivulzio) which serves as a => eulogy for Aldo Manuzio, who died earlier that year, as well as a => Latin–Greek dictionary following the main text for the phrases used within the work. Also appearing after Lactantius' text is a short "Apologieticus contra gentes" by Tertullian, with a preface by Egnazio; UCLA's Aldine catalogue notes the two must have been released together, as corrections for the Tertullian appear at the end of the Lactantius.    Lucius Caecilius Firmianus Lactantius (ca. 240–320), born a pagan before converting to Christianity, was a North African writer whose polished style earned him, during the Renaissance, the sobriquet of "the Christian Cicero." According to the New Catholic Encyclopedia, Jerome admired his writings, judging their strengths and weaknesses as apologetics somewhat wistfully: "Would that he had been able to establish our teachings as well as he demolished that of others."    Spaces with guide letters are found throughout the work but have been left unaccomplished, no scribe having provided decorative initials; the whole is => in Aldine italic with a few phrases in Greek; and the Aldine dolphin and anchor is found on both title-pages and the last page.    Provenance: From the library of American collec … [Click Below for Full Description]

Filippo Giunta, 1515. Prima edizione Giuntina. In 4°, c.nn. 20, numerate 339,cb. La celebre raccolta comprende i libri "De re rustica" di Catone, Varrone e Columella, il "Liber de arboribus" di Columella e il "De re rustica" di Palladio. Ottimo esemplare. Annotazioni di mano antica sul foglio di risguardo, firma di appartenenza al frontespizio e qualche altra nota ai margini. Poche pagine con arrossatura dovuta a foglia "segnalibro". Legatura settecentesca in pergamena con titoli calligrafici al dorso. (Renouard, Filippo Junta, 67).

Venise, Alde et André d'Asola, avril 1515. 2 parties en 1 vol. petit in-8°, basane marbrée, dos à nerfs orné de fleurons dorés, pièce de titre en maroquin rouge, filet doré sur les coupes, tranches rouges. Reliure du XVIIIe s., qq. épidermures, coins râpés. Bon exemplaire. Cachet des jésuites de Lyon sur le titre, ex-libris C. Dupré au v° du dernier f., avec indication d'achat (3 livres, le 28 Juillet 1780, frais de reliure : 16 sols). (16) ff., 348 ff., (12) ff.; (4) ff., 48 ff. Signatures : [aa-bb]8 [a-z]8 [A-Y]8; a4 [AA-FF]8. Exemplaire très frais hormis qq. petites mouillures ang. sur les premiers ff. Première édition aldine des oeuvres complètes de Lactance. Notre exemplaire contient bien, à la suite, l'Apologétique de Tertullien qui, bien que non annoncée au premier titre, doit figurer à la suite du Lactance, selon Renouard (et dont la date d'impression est la même). Chaque ouvrage comporte néanmoins une page de titre spécifique et une pagination séparée, ce qui porte à croire que certains exemplaires ont quand même dû être vendus séparément. Ces deux éditions de Lactance et de Tertullien ont été établies avec soin par G.B. Egnatio qui les a fait précéder chacune d'une longue préface. Alde l'ancien venant de mourir en Février, la préface du Lactance est une sorte d'éloge funèbre du célèbre imprimeur vénitien. Cette édition servit de base à presque toutes les éditions suivantes. Graesse IV, 66; Renouard (Alde), 70, n°2; Adams, L16; cat. vente Alde Manuce, une collection (2004), n°91.

Venundantur Parisius : apud Galiotum Du Pré, 1515 ; In-4° , plein veau brun de l'époque estampé à froid sur les deux plats et le dos ; traces de lacets.Titre en rouge et noir avec la marque de Galiot de Pré et au verso " Extrait des registres du Parlement", 10 ff., 1f. (blanc) , X-341 ff. et 2ff. " Tabula Materiarum " avec à la dernière page la marque de Galiot du Pré. Texte sur 2 colonnes. Plusieurs erreurs de foliotage .Lettres historiées en bois. Devise manuscrite au 1er feuillet blanc "Ad te oeus spes mea " ? et 4 annotations manuscrites de l'époque de la même main en marge. Une transcription moderne manuscrite( vers 1900) a été faite de l' Extrait des Registres du Parlement, sur un petit feuillet in-12°et collé ! dans la marge du feuillet en regard ( Tabula Alphabetica). Des feuillets un peu jaunis, quelques piqûres, ou traces de mouillures pales, reliure frottée avec très petits manques de cuir en bordure des plats, ou à la charnière supérieure, petit manque de papier en marge ou angle de 3 feuillets sans aucune atteinte au texte. Le dos a été restauré à l' imitation du XVIe siècle ( la partie centrale ayant été conservée). Galiot du Pré I , exerça entre 1511 et 1561. Le 16 mai 1515 il s'installe à la " 32ème maison du Pont Notre-Dame reconstruit " et donne comme adresse "sub pontem divi virginis marie sub signo vulgariter nuncupato La Galee.. . ", adresse que l'on retrouve sur le présent ouvrage ( cf. Renouard Philippe, Répertoire des Imprimeurs parisiens ). L'extrait des registres du Parlement au verso du titre est daté du 17 janvier de 1515 et signé Anto … [Click Below for Full Description]

(1515) Brunet IV, 238. Mortimer, "French 16th Century books", n° 396 (éd. de 1526). Rare édition de cette compilation historique, imprimée en caractères gothiques, sur deux colonnes. "Ce livre n'est pas, comme on pourrait le croire, une simple traduction de Paul Orose, mais bien une compilation historique, extraite de différents auteurs, et écrite dans le XIVe siècle, puis retouchée plus tard par un anonyme qui l'a dédiée au roi Charles VIII" (Brunet). Riche illustration gravée sur bois composée de deux superbes grandes lettres décorées aux titres, de 2 planches hors-texte, de 6 illustrations à mi-page et de 108 vignettes, soit un total de 116 gravures sur bois, parfois répétées. En outre, présence de nombreuses lettrines gravées. Très bel exemplaire, aux armes du baron A. de Seillères.