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Displayed below are some selected recent viaLibri matches for books published in 1516

        Breviarium Frisingen Pars hyemalis

      Venice: Petrus Liechtenstein, at the expense of Joannes Oswalt, 1516. Reference: Essling, 289. Good/Originally paired with a companion "breviarium estivalis." A fine example of Gothic printing styles surviving in early 16th-century Venice specifically for religious texts. Extraordinary woodcuts.. Octavo (17cm); [12],329,[2] leaves (last leaf with extraneous woodcut on verso apparently bound in from a different text). Gothic type. Text in two columns. Printed in black and red, with six full-page woodcuts (one repeated, one extraneous), historiated initials and illustrated borders. Title page woodcut of Virgin in majesty. Benefactor's monogram on f. 233. Old flexible vellum, soiled. Straps not present. Title page artlessly mounted with masking tape. First quire sprung but holding. Few blemishes and stains, but basically clean. Inscription of music in contemporary hand on last blank. Ownership inscription on title page in contemporary hand (Christorpher Vuidman).

      [Bookseller: Rodger Friedman Rare Book Studio]
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        Vitae... novissime post Jodocum Badius Ascensium longe diligentius repositae... - (Colophon:)

      Venezia, Sessa e Ravani, 1516.In-folio. Legatura del '700 in mezza pergamena, titolo impr. in oro sul dorso. Frontespizio in rosso e nero e con marca tipografica, 76 belle silografie n.t. di avvenimenti mitologici e storici (la prima a mezza pagina, le altre di 7,8 x 8,7 cm.), e diverse graziose iniziali inc. in legno su fondo nero. (26), 360 (recte 359) ff.; esemplare abilmente rinfrescato, e con l'angolo superiore esterno delle prime 12 carte accuratamente restaurato. Pregiata edizione, la prima così ampiamente illustrata. Lo storico e filosofo greco vi confronta le vite di 23 illustri greci con 23 personaggi dell?antica Roma. Per le decorative e vivaci illustrazioni, espressamente disegnate ed incise per questa edizione, cf. la dettagliata descrizione in Essling. Le precedenti edizioni figurate ne hanno una sola, mentre le successive, fino al 1538, ne contengono un massimo di 52. Essling 597. Sander 5785. Nicolardi, Sessa e Ravani, 8. The first profusely illustrated edition of Plutarch's lives. With a printer?s device on title, many decorative initials and 76 lively text woodcuts with scenes from mythology and Greek and Roman history (earlier edns. only had one illustration). Expertly washed and upper outer corner of the first 12 leaves neatly repaired. Generally an attractive copy bound in 18th century half vellum, gilt title on spine.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Quos Ego

      Bulino, circa 1516. Da un soggetto di Raffaello. Esemplare del primo stato di due avanti l?indirizzo del Salamanca. Bellissima prova, impressa su carta vergata coeva con filigrana ?ancora in un cerchio?, rifilata alla linea marginale, leggere abrasioni nella parte superiore ed inferiore destra, per il resto in ottimo stato di conservazione.La composizione illustra alcuni episodi tratti dal primo libro dell?Eneide. Derivata dalla celebre Tabula Iliaca, ne rappresenta una contemporanea traduzione a stampa, espressamente richiesta da Raffaello a Raimondi, e da quest?ultimo eseguita, con ogni probabilità, nello stesso anno. Le scene, chiuse entro pannelli, sono riprodotte alla maniera dei rilievi antichi mentre il grande campo nel mezzo è concepito alla maniera di un quadro. La scena principale descrive le flotte troiane in balia di una tempesta, con Enea che alza le braccia al cielo in gesto implorante. In primo piano Nettuno, a cavallo della quadriga, placa le onde del mare pronunciando minaccioso le celebri parole ?Quos ego!? Bellissima e rara opera del Raimondi. Engraving, about 1516. After Raphael. Example of the first state of two before the address of Salamanca. Beautiful proof, printed on contemporary laid paper with watermark "ancre in a circle", trimmed the margin line, light abrasions on the top and bottom right, otherwise in excellent condition. The composition shows some episodes from the first book of the Aeneid. Derived from the famous Tabula Iliaca, represents a simultaneous translation in print, specifically requested by Raffaello to Raimondi, and performed by him, in all probability, in the same year. The scenes, closed by panels, are reproduced in the manner of ancient reliefs and the large field in the middle is designed in the manner of a painting. The main scene describes the Trojan fleet at the mercy of a storm, with Aeneas, who raises his arms to the sky in a gesture of entreaty. Featured Neptune, riding on quadriga, calms the waves threatening pronouncing the famous words "Quos ego!" Beautiful and rare work of Raimondi. Bartsch 352 I/III, Delaborde 102; Oberhuber, Roma e lo stile classico di Raffaello, p. 299; Dimensioni 333x420.

      [Bookseller: Libreria Yelets]
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        La danza delle fiaccole

      Xilografia, circa 1516, priva della firma. Il lavoro è l?ultima delle cinque incisioni realizzate per illustrare il Freydal, opera sulla vita dell?imperatore Massimiliano I. Esemplare di primo stato, avanti l?indirizzo dell?editore Glaser, nella seconda variante di sette descritta dal Meder. Bellissima prova, impressa su carta vergata coeva priva di filigrana, con sottili margini oltre la linea marginale, in ottimo stato di conservazione. Molto rara. Timbro di collezione al verso non identificato.Bibliografia: Bartsch appendice 38, TIB 533, Meder 250 b/g. Dimensioni 243x223. Woodcut, 1516 circa, without signature. This work is the last engraving, out of five, realized to illustrate Freydal, a book describing the life of the emperor Maximilian I. Example in the first state, before the addition of the address of the publisher Graser, and second version of seven, described by Meder. Excellent work, printed on contemporary laid paper without watermark, with thin margins beyond the marginal line, in perfect condition. Very rare. Unidentified collection stamp on verso. Bartsch appendice 38, TIB 533, Meder 250 b/g. Dimensioni 243x223.

      [Bookseller: Libreria Antiquarius]
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        ANTOINE WATTEAU 1684-1721. Catalogue raisonné des dessins.

      Editore: Leonardo 3 voll. in cofanetto, cm.24,5x31,5, pp.1516, 4280 ill. e tavv. di cui 180 a colori.

      [Bookseller: Editoriale Umbra]
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        Divi Ambrosii Episcopi Mediolanensis, Omnia Opera

      Basel: Adam Petri, 1516. Issued in 3 parts, this copy contains first 2 only, with 3 woodcut title paged engraved by Urs Graf for Omnia Opera, Prima Pars and Secunda Pars. The vellum binding is elaborately blind-stamped, over original wooden boards. All edges tooled with patterns (gauffered). Brass clasps at fore-edge damaged, but mostly present. Some worming on lower inner front board, extending approx. 50 pgs. into text block.. Contemporary Full Vellum. VG. Illus. by Urs Graf. Quarto.

      [Bookseller: Contact Editions]
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        Testamenti Novi; Editio Vulgata; New Testament

      Two parts bound in one volume; 3.5 x 4.9 inches (90 x 125 mm); 496, 393, [16] pages.  Mid-20th century leather binding, retaining the original tooled leather panels with initials AT, all edges gilt and gauffered.  Owner's name cut from title page, cleverly repaired long ago with a hand-colored border decoration from a book of similar vintage.  Pages are generally in good to very good condition, although a brownish stain starts at around page 190 of the second part, and increases in size and color from there through the end of the book (The scan from Revelations shows the worst of it.). A wonderfully illustrated edition of the Vulgate New Testament, with 96 metal cuts by Jacob Faber (also known as Jacques Lefèvre), a block-cutter active in Basel and Lyon circa 1516-1550.    Faber got his start working for the great humanist printer Froben in Basel, earned his reputation adapting the work of Hans Holbein for book illustration, and eventually established himself as an independent supplier of printing blocks, trading in his own work as well as that of other artists.  Faber's initials IF appear in the lower right corner of some vignettes.  This set of cuts was first used by Sebastian Gryphius (1492-1556) in his 1542 New Testament; he reprinted this edition at least six times before his death.  His heirs brought out an edition in 1564, and his son Antoine published this edition five years later.  After 27 years, the plates show varying degrees of wear.A little gem of sixteenth-century printing and illustration.

      [Bookseller: Archway Books]
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        Euclidis Megarensis Geometricorum elementorum libri XV. Campani Galli transalpini in eodem commentariorum libri XV. Theonis Alexandrini...Zamberto interprete...commentariorum libri XIII. Hypsiclis Alexandrini in duos posterriores...Zamberto ...interprete, commentariorum libri II.

      Paris, Henrici Stephani (Henri Estienne), (1516). Folio. (30x21 cm.). Bound in a fine recent full vellum. 262 leaves (last leaf I 11, blank). 8 leaves misnumbered. Numerous fine initials in various sizes throughout, numerous diagrams arranged in the broad outer margins. Title-page having the printer's name crossed out in old ink, leaving a small hole in paper. An ink-spot on title-page. A few small worm-tracts on the first 7 leaves and in inner margins on a few leaves at the end. A tear to one corner repaired. A few marginal repairs. The first 6 books extensively annotated in the margins in a contemporary hand (in Latin), comments and references, and sometimes proposing other ways of representing the problem, sometimes calculations added. In general fine and clean and printed on good, strong paper.. The scarce first edition thus, being the most important edition of the text before the appearance of the Greek editio princeps (1533). The present edition is the first Euclid-edition printed in France, the first printed outside of Italy and the first to contain both Campanus's and Zamberti's translations. It was edited by the famous founder of the French humanistic School, Jacques Lefévre (Jakob Faber Stagulensis), who, in this edition, solved many of the editorial problems of the previously printed editions. This beautifully printed edition, with the diagrams presented in the margins of the text, became the standard for many following editions.The work also comprises the proofs of Theon of Alexandria. During the Middle Ages it was thought that the proofs were made by Theon alone and that Euclid himself only formulated the propositions. "The most notable of Theon's editions is that of Euclid's "Elements", which was so influential that it consigned the original text to near oblivion." (D.S.B. XIII:322)."The most famous source of Greek geometry is the monumental work of Euclid of Alexandria, called the "Elements" (around 300 B.C). No other book of science had a comparable influence on the intellectual development of mankind. It was a treatise of geometry in thirteen books which included all the fundamental results of scientific geometry up to his time. Euclid did not claim for himself any particular discovery, he was merely a compiler. Yet, in view of the systematic arrangement of the subject matter and the exact logical procedure followed, we cannot doubt that he himself provided a large body of specific formulations and specific auxiliary theorems in his deductions. It is no longer possible to pass judgment on the authorship of much of this material; his book was meant as a textbook of geometry which paid attention to the material, while questions of priority did not enter the discussion." (Cornelius Lanczos in "Space through the Ages"). Adams E 982 - Riccardi 1516 (4) - Thomas-Stanford No. 6. - Max Steck III.14

      [Bookseller: Lynge & Søn A/S]
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        Homilie doctorum omniu De sanctis (presumably second (and final) part of Homilie hoc est Conciones populares sanctissimorum ecclesie doctorum Hieronymi, Ambrusij, Augustini, Gregorij, Origenis, Ioannis Chrysostomi, Bede presbyteri, Maximi episcopi, et aliorum).

      (Colophon:) Basel, Johannes Froben, August 12. 1516. Folio. Bound in a recent half vellum in old style. A very nice and clean copy with one full page woodcut as title page, consisting of one large central illustration depicting a religious gathering of bishops and other holy men, sorrounded 12 smaller illustrations (6 on each side of the large one), each depicting a saint. Rubricated initials throughout. 77, (1) ff. (144, (1) pp.).. Following saints are treated in this (part of the) work: Andreas, Agnes, Paul, Maria, Phillip, Jacob, Crucis, Johannes the baptist, Maria Magdalene, Laurentius, Bartholomeus, Mattheus, Michael the archengel, Luce. BMC (German), p. 412

      [Bookseller: Lynge & Søn A/S]
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