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

        De duplici copia verborum ac rerum commentarii duo Ab authore ipso diligentissime recogniti and emaculati atque in plerisque locis aucti Strassburg Matthias Schürer Oct 1516 Bound with HUTTEN Ulrich von Greek title OUTIS Nemo Augsburg in officina Millerana 9 Sep 1518 and BURLEY Walter Vita philosophorum et poetarum cum auctoribus et sententiis aureis eorundem annexis Strassburg Joannes Knobloch June

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Stiftskirche zu Thann im Elsass. Bauanfang 1430 Vollendung 1516.

      - Lithographie von Simon Quaglio nach Dominicus Quaglio, ca. 1821. ca. 52 x 67 cm. Einige Knitterspuren im weißen Rand. Zeigt die Stiftskirche von Nord-Westen. Sehr detailreiche Darstellung des Kirchengebäudes, vor allem der Skulpturenschmucks am Westportal. Vor der Nordseite der Kirche liegt ein Marktplatz mit einem Brunnen. Kleine Marktstände sind aufgebaut. Durch das Nordportal verläßt eine kleine Prozession mit Lampenträgern die Kirche. Markt und Kirche sind von Bürgerhäusern umgeben. Unterhalb der Darstellung mit den Künstler- und Druckvermerken: "Aufgenommen u. gemalt von D. Quaglio", "Gedruckt in der Cotta'schen lith. Anstalt" und "Auf Stein gez. v. S. Quaglio". Wie alle Quaglio-Lithographien der Frühzeit ein graphisches Meisterwerk. Shows the collegiate church of North-West. Very detailled illustration of the building, especially the decoration of the sculptures at the west-porch. In front of the north side of the church we find a market and a fountain. Market and church are surrounded by houses. Like all Quaglio-lithographes of the dawn a graphical masterpiece. A few minor wrinkles at the white margin.

      [Bookseller: Antiquariat Peter Fritzen]
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        St. Ouen Abtey zu Rouen in der Normandie. Bauanfang 1318 Vollendung 1516.

      - Lithographie von Gustav Kraus nach Dominicus Quaglio, ca. 1821. ca. 51 x 64 cm. Monumentale Darstellung der Abteikirche St. Ouen von Süd-Osten. Sehr detailreiche Darstellung des Kirchengebäudes, vor allem der Skulpturenschmucks. Um die Kirche führt ein Weg herum, auf dem zahlreiche Kleriker in schwarzen Gewändern spazieren gehen. Eine Gruppe verteilt Almosen, eine weitere nimmt Blumen von zwei Mädchen entgegen. Bäume säumen das Gelände. Östlich der Kirche befindet sich ein Wasserbecken, an dem Frauen Wasser schöpfen. Außerdem wurde Gemüse dort niedergelegt. Unterhalb der Darstellung mit den Künstler- und Druckvermerken: "Aufgenommen u. gemalt von D. Quaglio", "Gedruckt in der Cotta'schen lith. Anstalt" und "Auf Stein gez. v. Gustav Kraus". Wie alle Quaglio-Lithographien der Frühzeit ein graphisches Meisterwerk. Monumental illustration of the abbey church St. Ouen of South-East. Very detailled illustration of the building especially the skulpture decoration. Around the church there is a lane where numerous clerics in black cloth are walking. A group is handing out alms, another is receiving flowers of two girls. Trees seaming the area. Eastern of the church we find a water basin where women are scooping water. Furthermore there has been layed down vegetable. Like all Quaglio-Lithographes of the dawn a graphical masterpiece.

      [Bookseller: Antiquariat Peter Fritzen]
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        Decreti huius plenissimum argumentum

      Jean Petit et Thielman Kerver - Lyon, Jean Cabiller 1516 - (Paris, Jean Petit et Thielman Kerver - Lyon, Jean Cabiller,) 1516 In-4 (23,5cm x 18cm) de 582ff. & (45ff.) Plein veau estampé à froid, dos à trois nerfs orné de filets, plats décorés d'un triple encadrement de trois filets, d'une large roulette feuillagée, de fers d'angles et d'un fleuron central. (Reliure d'époque) Belle édition du Decretum de Gratien donnée par Jean Chapuis, contenant les commentaires de Barthélemy de Brescia et Guido de Baysio. Elle fut imprimée et mise en vente à plusieurs reprises par Jean Petit, Thielman Kerver et l'allemand établi à Lyon Jean Schabeler, dit Cabiller, associé à ces deux libraires de Paris, ville ou il résida de 1504 à 1521 environ. Élégante édition gothique imprimée à deux colonnes, en rouge et noir, ornée de la marque typographique de T.Kerver sur le titre. REMARQUABLE illustration gravée sur bois comprenant au verso du titre une figure presque à pleine page représentant Gratien entouré du pape et de nombreux dignitaires de l'église et de deux figures à pleine page montrant l'arbre de consanguinité et l'arbre des affinités. De la bibliothèque de Card LUCCIARDI (ex-libris) Bel exemplaire, restaurations sur les parties supérieures et inférieures du dos, sur trois des coins et les plats, reliure en bel état malgré tout, papier de reliure des contreplats remplacés probablement au XIXème; bon état intérieur, frais, marge extérieure brunie sur les soixante derniers feuillets, des passages biffer à l'encre noir. [Attributes: Hard Cover]

      [Bookseller: LIBRAIRIE EPPE FRÈRES]
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        USE OF ROME

      Paris: Gillet Hardouin, 1516. 197 x 120 mm. (7 3/4 x 4 1/2"). 104 leaves. FINE CONTEMPORARY BLIND-TOOLED CALF, covers with multiple rules and floral rolls, raised bands, gilt lettering in two compartments, skillfully rebacked in the style of period, four brass clasps and catch plates (possibly renewed), original vellum endleaves. With 23 vignettes and 16 full-page metal cuts within architectural borders, BEAUTIFULLY ILLUMINATED IN COLORS AND GOLD BY A CONTEMPORARY HAND. Front pastedown with engraved bookplate of "J. R. P.," rear endleaves with genealogical information in an early hand. The coloring of one of the vignettes left unfinished. Extremities and raised bands with minor rubbing, minor (and very well done) repairs to a few places at the the corners and edges, but the extremely attractive binding completely sound and pleasing. One miniature with faint creasing (mostly touching the robes of two figures), a few miniatures with insignificant paint erosion, the occasional marginal blemish, otherwise IN VERY FINE CONDITION THROUGHOUT, the text and decoration fresh and bright, and the margins wide and very clean. The popularity of the "Medieval bestseller" did not wane after the invention of print; in fact, the advent of movable type made Books of Hours more widely available and affordable than ever. Still, the present example stands out because of its beautiful and well-preserved contemporary coloring, which is uniformly bright and rich throughout the volume. The painter was clearly a talented illuminator, with a high degree of sensitivity for color and detail. His deft use of shadow to create contours and mould faces and musculature gives each scene a strong sense of vitality. The detail work in particular speaks to the quality of this production: one can distinguish the individual hairs on the hoary beard of David, tiny droplets of blood trickling down the body of Christ, and the carefully rendered facial expressions of most figures. The present work is not only a tantalizing reminder of the power of a good illuminator, but a particularly fortunate survival. Because devotional books like this were normally subjected to frequent use, they are often found in a lamentable state. Although the coat of arms found on the title page remains unfinished, the numerous 16th and 17th century genealogical annotations on the rear endpapers, noting births, deaths, and marriages, tell us that it was in the possession of (and possibly commissioned by) the Mechtild family of Guelders (a duchy at the time that occupies parts of present day Netherlands and Germany). The palpably bright, unsoiled miniatures would suggest that this book had been rarely opened, but it is equally possible that it was just handled with extraordinary care; in fact, the careful annotations suggest that it was treasured by family that owned it, acting as both an object of devotaion and a repository for the most important events of their collective lives. The popularity of the "Medieval bestseller" did not wane after the invention of print; in fact, the advent of movable type made Books of Hours more widely available and affordable than ever. Still, the present example stands out because of its beautiful and well-preserved contemporary coloring, which is uniformly bright and rich throughout the volume. The painter was clearly a talented illuminator, with a high degree of sensitivity for color and detail. His deft use of shadow to create contours and mould faces and musculature gives each scene a strong sense of vitality. The detail work in particular speaks to the quality of this production: one can distinguish the individual hairs on the hoary beard of David, tiny droplets of blood trickling down the body of Christ, and the carefully rendered facial expressions of most figures. The present work is not only a tantalizing reminder of the power of a good illuminator, but a particularly fortunate survival. Because devotional books like this were normally subjected to frequent use, they are often found in a lamentable state. Although the coat of arms found on the title page remains unfinished, the numerous 16th and 17th century genealogical annotations on the rear endpapers, noting births, deaths, and marriages, tell us that it was in the possession of (and possibly commissioned by) the Mechtild family of Guelders (a duchy at the time that occupies parts of present day Netherlands and Germany). The palpably bright, unsoiled miniatures would suggest that this book had been rarely opened, but it is equally possible that it was just handled with extraordinary care; in fact, the careful annotations suggest that it was treasured by family that owned it, acting as both an object of devotaion and a repository for the most important events of their collective lives.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Morgen- und Abendsegen auff alle Tage in der Wochen. Sampt einem Gesangbuechlein und Register. Den Reisenden zu Nutz und gutem.

      Auf Pergament gedruckt. Mit Vignette und typographischer Titelbordüre. 35 S. Späterer Samteinband mit goldgeprägtem Rückenschild und Goldschnitt. Ca. 13,5 x 7,5 cm (Blattgr.). VD17 12:656063Z (normale Ausgabe auf Papier) vgl. VD17 12:656012K: "Auf Pergament gedruckte Prachtausgabe". (mit nur einem Standort Bayerische Staatsbibliothek). - Separatausgabe dieses Andachts- und Gesangbuches für Reisende. - Der Verfasser ist der aus Böhmen stammende lutherische Professor für Theologie in Wittenberg Johann Habermann (1516-1590). Reizvoll in kleiner Type, nur in kleinster Auflage auf Pergament gedrucktes Werk. Erschien als Anhang der Endterschen Lutherbibel.- Der Samteinband an den Rändern etwas ausgeblichen.

      [Bookseller: Antiquariat Turszynski]
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        Hortulus anime cum alijs q[uam]plurimis orationibus pristine impressioni superadditis; vt tabulam in huius calce annexa[m] intue[n]ti pate[n]tissim[u]m erit.

      Lyon: Johannes Clein for Koberger in Nürnberg, 1516. 8vo (11,8 x 17,3 cm). (20), 210, (10) lvs. Contemporary calf on wood. Woodcut title page, 84 coloured woodcuts (43 full page), last page with (mounted) the printers's device of Clein. Good copy. Nice example of an early 16th century prayer book. For a full description and more images please visit: www.zaalbooks.nl .

      [Bookseller: Zaal Books]
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        Historia naturale di Caio Plinio Secondo. novamente correcta & da infiniti errori purgada: Aggionte etiam di novo le figure a tutti li libri conveniente.

      Venice: Sessa & Piero di Ravani, 1516. Hardcover. Near Fine. Folio [30 x 21 cm]. (14) ff, CCLIX [i.e. 258] ff. Leaf XCIV omitted in pagination, leaf XCVII repeated; leaf CCII omitted entirely. Title page in red and black, printer's device on title and small device (the orb and cross) at the end of the "Repertorio" (bb7v), woodcut inscription from the tomb of Pliny's parents on bb8r, thirty-seven woodcuts in text, and numerous woodcut initials. Bound in 18th century cartonato. Occasional discreet worm holes not affecting text, very occasional light staining to margins, but mainly a clean, fresh, and complete copy. First illustrated Italian-language edition of this landmark work of the Renaissance. Pliny the Elder's 'Natural History' was effectively an encyclopedia of knowledge, covering everything from geography and physics to medicine and zoology. The fine woodcuts, first used in 1513, depict charming scenes of country life (vine growing, harvesting), metallurgy, animals (elephants, giraffes, lions), etc. The text is that of the first vernacular translation of Pliny, by Christoforo Landino, first published in 1476. The Historia Naturalis was thus one of the first scholarly texts to become available in a vernacular language, cementing its importance as an everyday reference work for scholars and perhaps laymen alike. The publisher Marchio Sessa commissioned a set of 38 woodcuts for his 1513 Latin edition of the work, which are re-employed here (with the exception of a woodcut at the head of Book IX, on aquatic animals). Book XVIII, on agriculture, includes an illustration of vine-growers; Book XXI on flowers depicts Medieval beekeepers; Book XXXV on painting and drawing shows an artist at his easel; and Pliny's geography (Books III-VI) here includes illustrations of some of the monstrous races of the known world as well as two maps, of Europe and of Europe/Africa/Asia Minor. "The 'Natural History' of Pliny the Elder is more than a natural history: it is an encyclopedia of all the knowledge of the ancient world. It comprises thirty-seven books dealing with mathematics and physics, geography and astronomy, medicine and zoology, anthropology and physiology, philosophy and history, agriculture and mineralogy, the arts and letters. The 'Historia' soon became a standard book reference: abstracts and abridgements appeared in the third century" (Printing and the Mind of Man). * Censimento 16 CNCE 30044; Mortimer 38; Sander 5761; Essling 5.

      [Bookseller: Martayan Lan, Inc.]
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        CONCORDATA INTER SANCTISSIMUM DOMINUM NOSTRUM PAPAM LEONUM DECIMUM, & SEDEM APOSTOLICAM, AC CHRISTIANISSIMUM DOMINUM NOSTRUM REGEM FRANCISCUM HUIUS NOMINIS PRIMU, & REGNUM AEDITA. CUM INTERPRETATIONIBUS AEGREGII VIRI D. PETRI REBUFFI. CUM INDICI ALPHABETICO. IIII AEDITIO. PARISIIS. APUD GALLEOTUM PRATENSEM. 1545.

      IN-4 (20 X 26 CENTIMETRES ENVIRON) DE (64) + 432, (2) + 168 ET (2) + 78 PAGES, RELIURE D'EPOQUE PLEIN VEAU BRUN, DOS A CINQ FORTS NERFS ORNE DE CAISSONS A FLEURONS DORES, TITRE DORE SUR ETIQUETTE MAROQUIN HAVANE, DENTELLE DOREE SUR COUPES, TRANCHES ROUGES. ILLUSTRE EN FIN DE VOLUME D'UNE GRANDE VIGNETTE DE L'IMPRIMEUR GALLIOT DU PRE A LA DEVISE "VOGUE LA GUALLEE" (BRUNET. I. 1148). BELLE EDITION PARISIENNE DU CONCORDAT DE 1516 ENTRE LE PAPE LEON X ET LE ROI FRANCOIS 1°, AVEC LES COMMENTAIRES DE PIERRE REBUFFI, SUIVIE DE : "TRACTATUS NOMINATIONUM" (2 + 168 PAGES) ET DE "TRACTATUS DE PACIFIS POSSESSORIBUS" (2 + 78 PAGES). QUELQUES TRACES D'USURE EXTERIEURE, SINON BON EXEMPLAIRE.

      [Bookseller: Librairie du Château de Capens]
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        Gedrucktes Mandat mit Vollziehungsstempel und eigenh. Vollziehungsstrich ("se"): Verbot, in französische Kriegsdienste zu treten. Augsburg, 16. I. 1516.

      1516. Einblattdruck. 1 S. Qu.-Folio (560 x 400 mm). Mit papiergedecktem Siegel über rotem Wachs (weitgehend verloren). Gefaltet. Mandat, "das nyemannd aus dem hailigen Reich unnd sonnderlich Teutscher nacion weder zu Ross noch fuess, dem künig von Franckreich als unnserm und des Reichs offenbaren veinde zu diennst zuziehen" erlaubt sein solle, "sonnder wo dieselben so also des willenns weren, erfarn, angegriffen, und an irem leib gestrafft, auch der die darüber bey Franckreich beleiben, hab und gueter, als verwürckt und haimgefallen, eingezogen werden sollen [...]". - Kaiser Maximilians geschickte Heiratspolitik hatte das Haus Habsburg mit Spanien alliiert; aus der daraus entstehenden Einklammerung Frankreichs erwuchs der zweieinhalb Jahrhunderte währende sog. habsburgisch-französische Gegensatz, der erst mit Kaunitz' "Renversement des Alliances" ausklingen sollte. Das vorliegende Mandat geht dem Tod Ferdinands II. von Aragón und dem darauf folgenden Thronantritt von Maximilians Sohn Karl (als Carlos I., später Kaiser Karl V.) um eben eine Woche voraus. - Mit gedr. Handzeichen des Kaisers und einer gedr. Gegenzeichnung von Kanzler Cyprian von Serenthein. Kl. Fraßspur (etwas Papierverlust im Text). Verso von zeitgenöss. Hand bezeichnet: "Mandata das niemant in Franckreich zu roß oder fuß ziehenn soll".

      [Bookseller: Antiquariat Inlibris]
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        Die Ritterlich und lobwürdig reiß [...] Sagend von den landen, Egypto, Syria, von beiden Arabia Persia, India und Ethiopia, von den gestalten, sitten, und dero menschen leben und glauben. Strasbourg, Johann Knobloch, 1516.

      1516. 4to. 226 pp., final blank f. With title woodcut and 47 woodcuts in the text (including 1 full-page illustration). Blindstamped dark blue morocco by Riviere & Son with giltstamped spine title. All edges gilt. Marbled endpapers. The first illustrated edition (in its second issue) of one of the most famous early travel reports and the first western encounter with the Arab world. Of the utmost rarity; not a single copy could be traced on the market for the past sixty years; not a single copy in the USA (cf. OCLC). Lodovico de Varthema's "Itinerario" describes the first recorded eyewitness account by a westerner of the holy cities of Mecca and Medina. All early editions of Varthema's "Itinerario" are exceedingly rare (even the 2013 Hajj exhibition at the MIA, Doha, only featured the 1654 reprint; cf. below). This - the first illustrated one - is certainly the rarest of them all: international auction records list not a single copy. The 1510 editio princeps was offered for US$ 1 million at the New York Antiquarian Book Fair in April 2011. - Varthema, a gentleman adventurer and soldier from Bologna, left Venice at the end of 1502. In 1503 he reached Alexandria and ascended the Nile to Cairo, continuing to Beirut, Tripoli, Aleppo and Damascus, where, adopting Islam and taking the name of Yunas, he joined a Mameluke escort of a Hajj caravan and began the pilgrimage to Mecca. Varthema was amazed by what he observed: "Truly I never saw so many people collected in one spot as during the twenty days I remained there", he begins, and arriving at the Great Mosque, continues, "it would not be possible to describe the sweetness and the fragrances which are smelt within this temple." Thanks to his knowledge of Arabic and Islam, Varthema was able to appreciate the local culture of the places he visited. Impressed and fascinated, he describes not only rites and rituals, but also social, geographical, and day-to-day details. "I determined, personally, and with my own eyes", he declares in the prefatory dedication, "to ascertain the situation of places, the qualities of peoples [...] of Egypt, Syria, Arabia Deserta and Felix, Persia, India, and Ethiopia, remembering well that the testimony of one eye-witness is worth more than ten hear-says." His good fortune did not continue unabated, however: after embarking at Jeddah and sailing to Aden, he was denounced as a Christian spy and imprisoned. He secured his release and proceeded on an extensive tour of southwest Arabia. Stopping in Sanaa and Zebid as well as a number of smaller cities, he describes the people, the markets and trade, the kind of fruits and animals that are plentiful in the vicinity, and any historical or cultural information deemed noteworthy. Returning to Aden, and after a brief stop in Ethiopia, he set sail for India. In addition to visiting Persia, Varthema explored the coasts of Malabar and Coromandel, including a very documented stay at Calicut at the beginning of 1505. He also purports to have made extensive travels around the Malay peninsula and the Moluccas. Returning to Calicut in August 1505, he took employment with the Portuguese at Cochin and, in 1508, made his way back to Europe via the Cape of Good Hope. - First published in 1510, Varthema's account became an immediate bestseller. In addition to his fascinating account of Egypt, Syria, the Arabian Peninsula, and the holy Muslim cities, "Varthema brought into European literature an appreciation of the areas east of India [...] which it had previously not received from the sea-travelers and which confirmed by firsthand observations many of the statements made earlier by Marco Polo and the writers of antiquity" (Lach, I. i. 166). "Varthema was a real traveller. His reports on the social and political conditions of the various lands he visited are reliable as being gathered from personal contact with places and peoples. His account of the overland trade is of great value in that we are made to see it before it had begun to give way to the all-seas route. He even heard of a southern continent and of a region of intense cold and very short days, being the first European probably after Marco Polo to bring back the rumor of Terra Australis" (Cox I, 260). - A few contemporary underlinings and marginalie. Some slight browning and staining as usual; stamp of the Dukes of Saxe-Meiningen on the reverse of the title. VD 16, ZV 15157. BM-STC 66. IA 113.543 (includes copies in BSB Munich and Wolfenbüttel). Benzing (Strasbourg) 100. Schmidt (Knobloch) 132. Ritter (IV) 932 und 2000. Muller 132, 170. Kristeller 383. Paulitschke 296. Ibrahim-Hilmy II, 305. Röhricht 574. Cf. exhibition cat. "Hajj - The Journey Through Art" (Doha, 2013), p. 90 (1655 Dutch ed. only). Macro, Bibliography of the Arabian Peninsula, 2239 (other editions only).

      [Bookseller: Antiquariat Inlibris]
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        Baptista Mantuanus, Carmellitta. Ad Mortalium oblectatio nem. Auctoris Effigiem. Huic Divino Oper : Ste Phanus Basignanas Gorgonius : Carmelita; Theologus : Ponendam curavit. Cum Gratias et privilegio apostolico et victorio sissimi Francisci Francorum Regis Ultima pars Operis (tome 1, vendu seul).

      Impressum in Floretissima Lugdunensi Ciutate, 1516, 1/2 volume in-16 de 155x102x20 mm environ, non paginé (130 pages environ), 1 feuillet blanc, 1 page de titre en rouge et noir avec un portrait de l'auteur en vignette, colophon en fin de volume, plein vélin crème avec petites traces de liens (liens absents). Cet ouvrage fait partie de la publication des Oeuvres complètes de Baptista Mantuanus, tome seul/2 (il s'agit ici du premier volume) Ce premier tome comprend entre autres les poèmes en l'honneur de St Jean Baptiste, St Georges etc. Extraits du [De sacris Diebus], et autres poèmes religieux, d'après Brunet, II, 1375 : c'est probablement sur l'édition in-folio de 1513, "qu'a été faite celle de Lyon 1516, laquelle se compose de parties non chiffrées"... Très à trouver complet. Baptista Mantuanus, dit en français le Mantouan ou Baptiste de Mantoue (né Battista Spagnoli dit aussi Battista Spagnoli il Mantovano ou Battista Mantovano ) ; né le 17 avril 1447 à Mantoue, dans le marquisat de Mantoue, dans l'actuelle région Lombardie, au nord de l'Italie et mort le 20 mars 1516 (à 68 ans) dans sa ville natale ; est un religieux catholique italien de l'Ordre des Carmes, dont il devient le prieur général. Poète célèbre et auteur de plus de 50 000 lignes de poésie latine, il est considéré comme un des principaux représentants italiens de l'humanisme chrétien. Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.

      [Bookseller: Librairie Diogène]
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        Missale ad usum Cistercien[sis] ordinis. [Ed. Mathurin de Cangey]. Paris, Jean Petit f. Jean Kerbriand & Jean Adam, 1516.

      1516. 8vo. (8), CXVI ff., CLXII (but: 160) pp. With printer's device on t. p., 2 full-page woodcuts, numerous initials and small woodcuts in the text (a few in contemp. colour), with musical notes, printed in red and black throughout. All edges red. Auburn calf (c. 1890) with attractive giltstamping to spine and leading edges. Moirée endpapers. Beautifully illustrated Missal for use of the Order of Cistercians. The fine full-page woodcuts show King David and the Crucifixion; some 450 small woodcut illustrations throughout the text. - T. p. shows 17th c. ms. ownership (from the library of Franz Braun von Braunthal). Several pages carefully remargined; full-page illustrations trimmed closely (slight loss to image near edges). 24 ruled blank pages bound before, within and after the text. Very slight chafing to lower edges of the appealing binding. BM-STC French 283. Moreau 1438. Weale/B. 1759.

      [Bookseller: Antiquariat Inlibris]
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        De liberalibus studiis et ingenuis moribus liber.

      Filippo Giunti, 1516. In 8vo, pergamena coeva con unghie, cc. 12. Marca al titolo. Lievi fioriture, ma ottima copia. Rara prima edizione giuntina di questo classico della pedagogia stampato in elegante carattere corsivo. Legato con: Aristides, Publius Aelius (117-189). Oratio de Urbe Roma Scipione Carteromacho interprete. Colophon: Firenze, Filippo Giunta, January 1519. In 8vo, pp. (4), 281-301, (3). Trattao da: G.B. Egnazio, In hoc volumine haec continentur Ioannis Baptistae Egnatij Veneti De Caesaribus libri III a dictatore Caesare ad Constantinum Palaeologum, hinc a Carolo Magno ad Maximilianum Caesarem. Eiusdem&hellip, Addita in calce Heliogabali principis ad meretrices elegantissima oratio non ante impressa. Insuper oratio Aristidis de urbe Roma a Scipione Carteromacho latinitate donata. Edit 16, CNCE4582, Decia-Delfiol, nr. 90, Pettas, nr. 94, Renouard, p. XLI, nr. 88.

      [Bookseller: Libreria Govi Alberto]
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        Le Concordat de Bologne.

      Manuscrit du Concordat de Bologne, divisé en 22 livres, non daté (1516), non signé (Jean de Pins) - 348 pages. Copie manuscrite du XVIIème. Extrait de la première page : "Le concordat transigé et conclût à Bologne entre le pape Léon dixième et le Saint siège d'une part, et le roy François 1er et le royaume de France d'autre. Préface. Le Roy François premier explique dans sa préface les raisons qui l'obligent à consentir au concordat; ces raisons sont...". Le concordat de Bologne est signé à Rome le 18 août 1516, lors du Ve concile du Latran, entre le pape Léon X et le chancelier Antoine Duprat qui représentait le roi de France François Ier. Largement conçu par l'humaniste Jean de Pins, il est le fruit des discussions engagées à Bologne en décembre 1515 entre François Ier, auréolé du prestige de sa victoire de Marignan, et Léon X. Il régit les relations entre l'Église catholique romaine et le roi de France jusqu'en 1790. Il donne au roi de France un pouvoir sur l'Église dans son royaume dont ne disposait aucun autre souverain catholique. Jean de Pins joue un rôle très important dans les négociations entre François 1er et le pape Léon X qui conduit en 1516 au concordat de Bologne, qui a régi les relations entre l'Église et le royaume de France jusqu'en 1790. Il est nommé ambassadeur à Venise en 1516, et obtient, en 1517, un traité d'appui réciproque entre la République et la France. En 1520, il est nommé ambassadeur à Rome, d'où il rentre en 1523 pour déposer à Fontainebleau la considérable bibliothèque qu'il a constituée. Reliure plein veau de l'époque. Dos à nerfs orné et doré avec pièce de titre maroquin rouge. Pas de rousseur mais léger transfert d'encre. Tranches jaspées rouge. Coiffes manquantes. Coins émoussés. Bon état intérieur. Parfaitement lisible. Format in-12°(17x12).

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        Nova legenda Anglie.

      London: Wynkyn de Worde, 27 February , 1516. Folio (276 x 194 mm), ff. [6], 334, [2] (the last blank). Early 19th-century russia, rebacked with original spine laid down, with crest and arms of Sir Richard Colt Hoare (1758?1838). Full-page woodcut of Saints in Glory on A1r, repeated on verso and on recto of penultimate leaf; full-page woodcut royal arms on A6v; printer's device on verso of penultimate leaf. Printed in black letter. Lower corners worn, occasional soiling, scattered marginal stains, small marginal repairs without text loss on A1, X5, h4, and n5, upper margin of A2 restored with top line of text partly supplied in manuscript, blank outer margin of n5 and 2c1-2d5 restored with few letters in manuscript on 2d5, small hole in t1 repaired with few letters in manuscript, leaves 283?293 supplied from a shorter copy. Signature of the antiquary Sir Roger Twysden (1597?1672) dated 1631 on recto of first leaf, notes in his hand on blank leaves bound in front; bookplates of John Arthur Brooke and Viscount Mersey; signature of G. Boyle dated 1978. First edition of an alphabetically arranged version of the Sanctilogium, a compilation of English saints' lives by the chronicler John Tynemouth (as distinct from the geometer John of Tynemouth). The chronicler also wrote the Historia aurea, compiled c.1350, a world history extending from the creation to 1347. The Sanctilogium contains 156 lives of British saints. The work was misattributed by Leland, Bale, and their followers to the theologian and historian John Capgrave (1393?1464), prior of Bishop's Lynn, a mistake repeated in this volume with a manuscript note at the head of the full-page woodcut and the insertion of 11 leaves at the front with a biography of Capgrave, some of the notes in Twysden's hand.

      [Bookseller: Peter Harrington]
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        Gesù Cristo

      1516. Bulino, 1516 circa, monogrammato in lastra in basso a sinistra. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'incisione appartiene alla serie Gesù Cristo e gli Apostoli. I disegni preparatori del ciclo - oggi conservati a Chatsworth - sono tradizionalmente attribuiti a Raffaello, mentre è ormai abbandonata l'attribuzione a Giulio Romano, che pure era stata avanzata. Passavant, a torto, ha ritenuto i disegni copie degli apostoli della sala dei Chiaroscuri in Vaticano. È più verosimile che l'Urbinate abbia creato la serie proprio come modello per essere trasposti incisioni. Oltre a Marco Dente, i disegni furono utilizzati anche dal Raimondi. Una parte dei critici ritiene che la serie del Dente sia stata realizzata prima, in ordine di tempo, e provenga direttamente dagli originali di Raffaello, rispetto ai quali risultano in controparte; al contrario, il ciclo del Raimondi sarebbe derivato proprio da queste incisioni, e nello stesso senso dei disegni. Proprio come nei disegni di Chatworth, le aureole di Dente hanno una forma a raggiera, mentre in Marcantonio costituiscono cerchi chiusi. Con ogni probabilità, le incisioni furono realizzate nella stessa epoca dei disegni originali; la tecnica è, infatti, riferibile alle opere giovanili del Dente: le lunghe linee parallele a creare contrasti forti tra chiaro e scuro; la linea di contorno delle figure è la medesima che ricorre nella Venere Anadiomene, del 1516. La serie del Raimondi appare invece più tarda, e incisa all'epoca della morte di Raffaello, o subito dopo. Engraving, about 1516, monogrammed in the plate in the bottom left corner. Magnificent proof, rich tones, printed on contemporary laid paper, trimmed to copperplate, in perfect condition. The incision belongs to the series Jesus Christ and the Apostles. The preparatory drawings of the cycle - now preserved at Chatsworth - are traditionally attributed to Raphael, but is now abandoned the attribution to Giulio Romano, who also had been made. Passavant, wrongly, considered the drawings copies of the apostles of the room Chiaroscuri in the Vatican. It is more likely that the Urbinate has created the series just like the model to be transposed incisions. In addition to Marco Dente, the drawings were also used by Raimondi. One of the critics believed that the series of the tooth has been done before, in chronological order, and comes directly from the original by Raphael, in respect of which result in the counterparty; on the contrary, the cycle of Raimondi would be derived from these incisions, and in the same sense of the drawings. Just as in the drawings of Chatsworth, the halos of tooth have a form in a radial pattern, while Marcantonio are closed circles. In all likelihood, the incisions were made in the same period of the original drawings; the technique is, in fact, referring to the early works of the Tooth: long parallel lines to create strong contrasts between light and dark; the outline of the figures is the same as that used in the Venus Anadiomene, 1516. The series appears instead of Raimondi later, and engraved at the time of Raphael's death, or shortly thereafter. Bartsch, XIV, n. 74; Delaborde, p. 283; Le Blanc, III, p. 275; Oberhuber, pp. 79 - 81. 134 205

      [Bookseller: Libreria Antiquarius]
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        Homiliarius doctoru[m] qui omeliarius dici solet: in euagelia sacratissima dieru dnicalium....cum additis ... sancto[rum] sermonibus ... ac ... tractatu d[omi]ni Alcuini de Trinitate ...

      Lugduni (Lyon): Iohannes Clein. 1516 Quart. 143, 63 Bll. 2 in 1 Band. Titel in Rot und Schwarz. Mit 2 Holzschnitttitelbordüren (wiederholt) und 2 (unterschiedl.) Titelholzschnitten. Schweinsleder über Holzdeckel mit reicher Rollenstempelprägung, Rotschnitt u. 2 Metallschließen. sehr gutes Exemplar Versand D: 4,80 EUR [Inkunabel, Postinkunabel]

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        Opusculum multarum bonarum refertum ut sunt. Divi Augustini Meditationes [...]

      Venezia, Pietro Quarengi, 1516. Petit in-8, (160) ff. (complet), reliure d'époque plein vélin (reliure : maniée, trous de vers ; mouillures). / Small 8vo, (160) ff., full vellum binding (binding: worn out, worm holes ; waterstains). Edition vénitienne du début du XVIe siècle, en latin, contenant les Méditations de St. Augustin, les Lettres de St. Bernard, les Sermons de Pierre-Damien, les Méditations de St. Anselme, etc. Gardes pleines d'annotations, de gribouillis et d'un joli dessin ancien. / Early XVIth-c. Venetian edition in Latin of St. Augustine's Meditations, St. Bernard's Letters, St Peter Damian's Sermons, St. Anselm's Meditations, etc. Endpapers filled with notes, scribbles and one fine drawing. * Venice, Venise. * Voir photographie(s) / See picture(s).* Frais de port en sus. * Membre du SLAM et de la LILA / ILAB Member. * La librairie est ouverte du mardi au samedi de 14h à 19h. * Si vous souhaitez passer à la librairie pour un livre, merci de nous prévenir au préalable, l'ensemble du stock visible en ligne n'étant pas immédiatement consultable. *

      [Bookseller: Chez les Libraires Associés]
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        Les Croniques de France: excellens faictz et vertueux gestes des très chrestiens Roys et princes qui ont regne audict pays depuis l'exidion de Troye la grande jusques au règne du très chrestien, vertueux et magnanime Françoys premier de ce nom...

      Paris, Michel Le Noir, 8 mai 1516. In-folio gothique de [12] feuillets, 244 feuillets, belle marque de Le Noir au titre. Elle est ornée de 15 compositions gravées sur bois dont cinq à pleine page: clercs dans un scriptorium; femme devant un écritoire; saint Denis et saint Remy; Bataille de Tolbiac et Baptême de Clovis (deux sujets sur un même bois à double compartiment, figure répétée vers la fin). Les autres gravures représentent le couronnement du roi; le roi entouré de courtisans; l'auteur écrivant; des scènes de batailles; etc. Le premier feuillet un peu défraîchi a été restauré, les six derniers ont été renmargés sans atteinte au texte, traces d'anciennes mouillures n'affectant pas la qualité du papier mais ayant entrainé quelques bavures d'encre. En tête: note manuscrite du marquis de la Grange, ex-libris du marquis de Luppé et de son épouse Albertine de Broglie. Reliure du début du XIXe siècle en demi-basane granitée, armes dorées sur les plats du marquis de la Grange, dos lisse, pièces de titre beige rosé. Cest vers 1250 que le roi Louis IX (connu aujourdhui sous le nom de saint Louis) commande à un moine de Saint-Denis, Primat, un énorme travail : réaliser une chronique de la monarchie française, véritable compilation duvres latines antérieures, rédigée en français, en "roman langue vulgaire parlée par les laïques, langue du plaisir et de la récréation". Primat appelle son livre le Roman des Rois, car il sagit pour lui de "fere cognoistre la geste des rois". Le succès des chroniques royales est considérable, surtout à partir du règne de Charles V. Avec le retour de la paix vers 1450, on se remet à copier les Grandes Chroniques (30 manuscrits en vingt ans), puis à les imprimer fréquemment après 1477. Le succès des Grandes Chroniques séteint alors très vite, dès la fin du XVe siècle, peut-être parce que le public lettré est un peu las de cette histoire purement et simplement monarchique. Robert Gaguin 1423-1501, général de l'ordre des Mathurins fut chroniqueur et diplomate en Allemagne, à Rome et Florence. Il fut l'un des promoteurs de l'humanisme sous sa première forme et réunit autour de lui un petit cénacle littéraire où figuraient notamment Tardif et Erasure, ses élèves. Jolie édition gothique de la traduction du latin due à Pierre Desrey. Bechtel 303, G-4.

      [Bookseller: Librairie Bertran]
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        Gloriosorum Christi confessor. Uldarici e Symperti: nec non beatissime martyris Aphre historie.. (In fine:) Augsburg, Silvan Otmar, 14 Aprile 1516

      Otmar Silvan, 1516. in - 4, ff. (90), leg. mod. marocch. bruno con impressioni a secco sui piatti. Front. a stampa rossa e nera racchiuso da bordura a motivo architett.; testo della seconda parte, comprendente l'officio e le preghiere per le festività dei Santi menzionati, impresso in rosso e nero. Con 5 stupende silografie a piena pag. di Leonhard Beck, di cui le prime 4 raffigurano i Santi e l'ultima la Basilica del Cenobio di Augsburg, edificio che da poco si era iniziato a ricostruire e che fu l'opera principale di Burkard Engelberg. Bellissima edizione, stampata nel convento di S. Benedetto, dedicato ai SS. Ulrich, Sympert e Afra, in cui era attiva una delle più importanti tipografie di Augsburg del XVI secolo. Di particolare interesse l'agiografia di Ulrico (890 - 973), vescovo e santo patrono della città di Augsburg, le cui azioni e miracoli qui descritti s'intrecciano con fatti della storia della città e della tradizione popolare. Rarissimo.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Libro sulla verità della fede Cristiana sul glorioso Triompho della croce di Christo. (In fine:) Firenze, Io. Stephano di Carlo da Pavia, 1516

      1516. in - 4, ff. (76) in bel caratt. tondo, leg. d'amatore a imitazione '500 in p. pelle, filett. e fregi a secco e dorati sui piatti e al dorso. Titolo entro splendida larga bordura silogr. fig., al centro della pag. stupenda vignetta raffig. Dio Padre che regge Cristo in croce, attorniato da cherubini; altra piccola Crocifissione in fine. (La bordura era già stata usata nell' "Arte del ben morire" del 1497. Il legno centrale e quello in fine compaiono per la prima volta). Edizione rarissima, esemplare assai bello.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        La Speranza

      1516. Bulino, circa 1516 - 18, monogrammato in lastra in basso, al centro. Della serie le Virtù teologali e cardinali, da un soggetto di Raffaello. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana "ancora nel cerchio", rifilata al rame, in buono stato di conservazione. I disegni preparatori della serie non sono noti, e sono attribuiti dal Vasari a Raffaello, mentre il Delaborde li assegna a Giulio Romano, ed altri studiosi al Peruzzi. Per ragioni stilistiche, le opere vengono ricondotte all'ultima fase tecnica del Raimondi, in cui rappresenta le figure con ricchezza di contrasti e con un senso dello spazio notevolmente accentuato, conferendo al corpo una decisa plasticità mediante l'uso di un sistema di linee curve e regolari che incidono a fondo la lastra. Magnifica prova. Ex collezione Federico Augusto di Sassonia (Lugt 971). Engraving, about 1516 - 18, monogrammed on plate at the bottom center. Series of the Theological and Cardinal Virtues, after Raphael. Magnificent proof, rich tone, printed on contemporary laid paper with watermark "still in the circle", trimmed with copper, in good condition. The preparatory drawings of the series are not known, and are attributed by Vasari to Raphael, and the Delaborde assigns them to Giulio Romano, and other scholars to Peruzzi. For stylistic reasons, the works are taken back to the last stage technique Raimondi, which represents the figures with a wealth of contrasts and a significantly heightened sense of space, giving the body a strong plasticity through the use of a system of curved lines and regular affecting to the bottom plate. Magnificent proof. Ex - collection Frederick Augustus of Saxony (Lugt 971). Bartsch XIV, 391 ; Oberhuber, Roma e lo stile classico di Raffaello, p. 127, 68. Dimensioni 106x215.

      [Bookseller: Libreria Antiquarius]
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        Rituum Ecclesiasticorum sive Sacrarum Cerimoniarum SS. Romanae Ecclesiae libri tres non ante impressi. (In fine:) Venetiis, Gregorii de Gregoriis fratres, 21 nov. 1516

      De Gregoriis, 1516. in - folio, ff. (6), CXLIII, (1b.), leg. settec. p. perg. rigida, tass. in pelle con tit. oro al dorso, tagli cesellati e dor. (quello super. annerito). Nei fogli prelim. il privilegio papale e del Senato Veneto, l'indice e la lettera di dedica a Papa Leone X (Giovanni de' Medici) da parte dell'arcivescovo di Corfù Cristoforo Marcello. Testo in nitidissimo car. rom., spazi con lettera - guida per le iniz. Con 3 grandi magnifici legni (mm. 95 x 125) all'inizio dei tre libri, raffig. il Papa in diverse situazioni cerimoniali. Prima edizione di quest'opera importantissima per la storia della Chiesa, la quale sopperì alla necessità di riunire in un'unica raccolta le prescrizioni da osservarsi nella sacra liturgia. Agostino Patrizi, detto Piccolomini, cerimoniere pontificio, l'aveva compilata fin dal 1488, dedicandola ad Innocenzo VIII, ma ''la compilazione rimase inedita fino al 1516, quando Cristoforo Marcello, fatte alcune mutazioni, la pubblicò e dedicò a Leone X senza presentarsi come autore. Contro il Marcello, il Grassi, allora cerimoniere pontificio, fece un'acre requisitoria..per la divulgazione delle cerimonie pontificie, il che per lui significava esporle al disprezzo. Tuttavia il libro ebbe molte edizioni..'' (Encicl. Catt. III, 1317 - 8). Bellissimo esempl. su carta forte, a grandi margini (alcune antiche note di possesso e forellini di tarlo sul tit., rare sottolineature e postille di mano coeva qua e là).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Opusculum de potestate et utilitate monetaru[m].

      (Oppenheim, Jakob Köbel, 1516). 4°. Mit großem heraldischem Titelholzschnitt u. zahlr. Initialen im Text. 6 nn., 18 num. Bll., Mod. grün gefärbter flex. Pgmt.-Bd. m. drei durchzogenen Bünden. Erstausgabe dieser bahnbrechenden Veröffentlichung über Macht und Nutzen des Geldes und einer der frühesten Abhandlungen über Geldtheorie überhaupt. - „One of the earliest disquisitions on the nature of money; Aquila discusses problems which have become acute again: depreciation of currency, compulsory acceptance of debased money, and other legal problems arising from monetary variation“ (Antiquariat Goldsmith, Kat. 36, Nr. 7). - Der erste Teil behandelt in zehn Hypothesen praktische Fragen der Geldherstellung unter Berücksichtigung von wichtigen historischen Bezügen (Münzhoheit, Falschgeld, Münzmaterial usw.), der zweite Teil in zehn Lehrsätzen die Fragen des Geldverkehrs (u.a. auch über Inflation, den Wert von Geldschulden oder das Gläubiger-Schuldner-Verhältnis). - Besonders schöner Antiqua-Druck (nur die Überschriften in Fraktur) mit eleganten Renaissance-Initialen versch. Formats. Der prächtige Titelholzschnitt zeigt das Wappen des Astronomen Johannes Stöffler, dem die Schrift gewidmet ist. - Der Jurist Johannes Aquila (um 1474-1518) war Hochschullehrer und zweimaliger Rektor der Universität Tübingen. - Titel m. fachm. restaurierten Eckabrissen (ohne Textverlust). Das erste u. letzte Bl. mit zeitgen. Anmerkungen. Schwach feuchtigkeitsrandig bzw. fleckig. - Insgesamt schönes Exemplar dieser seltenen Postinkunabel. - Humpert 10888; Benzing, Köbel 42 u. Abb. 7; VD16, G 1307 (Gentner); DG 6.100; IA 106.677; Panzer VII, 490, 17 u. IX, 551, 17; Proctor 11932; vgl. Lipsius/L. 13; nicht bei Kress; Goldsmith, Adams etc. Versand D: 12,00 EUR Aquila, Adler, Gentner, Opusculum de potestate et utilitate monetaru[m], monetarum, Geld, Geldwesen, Bankwesen, Geldtheorie, Zahlungsverkehr, Nationalökonomie, Wirtschaftswissenschaften, Staatswissenschaften

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        La Temperanza

      1516. Bulino, 1516 - 1518 circa, monogrammata in basso a destra MAF, e numerata "5", in basso a sinistra. Da un disegno perduto già attribuito a Raffaello. Bella prova, impressa su carta vergata coeva, priva di filigrana, rifilata alla linea marginale, in ottimo stato di conservazione. L'incisione è la numero 5 della serie le Sette Virtù, che rappresenta le tre virtù teologali e le quattro cardinali collocate all'interno di nicchie. La figura della Temperanza è ritratta con una leggera ed elegante torsione del corpo verso sinistra, mettendo in mostra le redini appoggiate sul braccio, con un capo stretto nella mano. I disegni preparatori per questa serie non si sono conservati. L'attribuzione a Raffaello, accolta da Bartsch e Passavant, risale al Vasari che, nella Vita del Raimondi (V, 413) afferma appunto che la serie sia stata incisa su disegno dell'Urbinate. Già Delaborde dubitava dell'attribuzione, pensando invece ad un possibile allievo come Giulio Romano. Frommel, seguendo un'indicazione di Oberhuber, ne attribuisce l'invenzione al Peruzzi, datando la realizzazione al 1524 - 27 circa. Bianchi, riprende Delaborde solo in parte, sostenendo che Giulio Romano abbia disegnato solo le tre virtu teologali, mentre quelle cardinali sarebbero invenzione di Raffaello. La serie però è stilisticamente molto omogenea, e senz'altro riconducibile a un progetto unitario. Se l'attribuzione a Raffaello risulta dubitativa per l'assenza della morbidezza e organicità che caratterizzano le sue figure, l'attribuzione al Peruzzi risulta invece più plausibile: sono infatti diverse le corrispondenze tra alcune figure di questa serie con altre opere firmate dal Peruzzi. La datazione sarebbe riconducibile al 1516 - 1518, a favore della quale depone anche la tecnica esecutiva delle incisioni stesse, con le linee distanziate le une dalle altre a formare incroci semplici che si riscontra in altre opere del Raimondi riferibili allo stesso periodo. Engraving, 1516 - 1518 c., signed with monogram 'MAF' lower centre, numbered lower left: '5'. After a drawing formely attributed to Raphael. Only state. Good example, printed on contemporary laid paper, trimmed to the margins, in very good conditions. The engraving is the plate 5 from The Seven Virtues, series of seven prints representing the three theological and the four cardinal virtues placed in niches. The figure of Temperance is turned slightly to the left, holding a bridle. The preparatory design, now lost, of the series was assigned to Raphael by Bartsch and Passavant, by following Vasari, and to Giulio Romano by Delaborde. Frommel, following an indication of Oberhuber, attributes the invention to Peruzzi, dating the realization about 1524 - 27. Bianchi, resumes Delaborde in part, arguing that Giulio Romano has only drawn the three theological virtues, while the Cardinals would invention of Raphael. The series, however, is stylistically homogeneous, and certainly due to a single project. If the attribution to Raphael is doubtful for the absence of softness and organic unity that characterize his figures, the attribution to Peruzzi is instead more plausible: they are different correspondences between some of the figures in this series with other works signed by Peruzzi. The dating would be attributable to 1516 - 1518, and it's supported by the engravings technique, with lines spaced from each other to form simple crosses that found in other works of Raimondi referable to the same period. Bartsch, XIV, p. 295 n. 390; Passavant, VI, p. 34 n. 205 - 211; A. Gnann, Roma e lo stile classico di Raffaello, pp. 122 - 127 110 224

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        Vitae Plutarchi Cheronei, novissime post Jodocus Badius Ascentium longe diligentius repositae: maioreque diligentia castigatae cum copiosiore: verioreque indice. Nec non cum Aemilii Probi vitis. (In fine, colophon:) Summa diligentia nouissime recognitas; Impressas Venetiis exactissima cura p. Melchiore Sessam e Petrus de Rauanis socios. Anno Domini MDCCCCCXVI (Venezia, Melchior Sessa e Piero Ravani, 1516)

      Sessa, 1516. in - folio (292x212 mm), ff. (26), 360, carattere romano. Legatura coeva piena pergamena flessibile, titolo ms. al dorso. Al verso del foglio di titolo vi è l'indice delle vite descritte nell'opera: ''Clarorum virorum cathalogus''. Pregiata edizione delle Vite descritte da Plutarco ed Emilio Probo, la prima così largamente illustrata, adorna di 78 bellissime silografie, la prima a mezza pag., le altre di cm 10x10 circa. ''The Lives are works of great learning and research..'' (PMM, 48). Le figure sono di particolare importanza in quanto illustrano puntualmente episodi descritti nel testo e sono state espressamente disegnate e incise per questa edizione e quindi stampate per la prima volta (Essling I, 2, pp. 62 - 68 ne dà un'ampia descrizione). Frontespizio impresso in rosso e nero, con impresa del gatto, numerose grandi iniziali su fondo nero elegantemente ornate con vari motivi decorativi. Plutarco di Cheronea (46 - 120 d.C.), facendo propria un'idea già attuata da altri scrittori antichi, vi narra le vite di 23 grandi personaggi Greci contrapponendo ognuna a quella di un Romano. La traduzione dal greco, le note e l'ampio indice sono opera dell'umanista francese ed editore Josse Bade. Bell'esempl. (lavoro di tarlo nel margine bianco inferiore di 20 fogli: 5 a 10 nn. preliminari, I a XVI delle Vite).

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        De Situ Orbis (graece). (Colophon:) Venetiis, in aedibus Aldi et Andreae Soceri mense Novembri MDXVI (Venezia, Aldo Manuzio, 1516)

      Aldo, 1516. in - folio, ff. 14, pp. 366, (2), legatura 700esca inglese in pelle, riquadro di filetti in oro ai piatti, tit. in oro al dorso liscio, dentelle (restauri alle cerniere e agli angoli). Ancora aldina al primo e all'ultimo f.; precedono il testo un copioso indice, l'errata e la prefazione di B.Tirreno ad Alberto Pio, principe di Carpi. Il volume, veramente splendido per impaginazione e concezione grafica, è arricchito da 17 elaborate bordure alla greca e 17 grandiose iniziali ornate da fregi geometrici e floreali, il tutto impresso in rosso con estrema eleganza. Editio princeps del più vasto e pregevole trattato di geografia che l'antichità greca ci abbia lasciato, diviso in 17 libri. Gli intenti di Strabone (63 a.C. - 19 .C.) erano di comporre un'opera che, tralasciati gli aspetti più propriamente scientifici, descrivesse lo stato attuale della terra abitata, perchè risultasse di utilità soprattutto ai politici. I primi due libri costituiscono una sorta di introduzione generale; i libri III - X trattano dell'Europa; i X - XVI dell'Asia; il XVII dell'Egitto e dell'Africa settentrionale. Bellissimo esempl. marginoso di questa rara edizione, tra le poche pubblicazione scientifiche uscite dalla tipografia aldina. (Lieve alone di polvere e timbro al tit.). Di illustri provenienze: William Horatio Crawford e John Alfred Spranger (2 ex - libris alle sguardie).

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        Abramo ripudia Agar

      1516. Bulino, 1516, datato e monogrammato in lastra in basso al centro. Esemplare nella prima variante di tre. Bellissima prova, impressa su carta vergata coeva priva di filigrana, irregolarmente rifilata alla linea marginale, in buono stato di conservazione. La scena rappresenta l'episodio biblico, raccontato nella Genesi, di Agar ripudiata e abbandonata nel deserto insieme al figlioletto Ismaele. Poiché Sara, moglie legittima di Abramo non riesce ad avere figli, offre al marito la schiava Agar, da cui nascerà Ismaele. Quando però Sara dà alla luce Isacco, impone ad Abramo di allontanare la donna e anche il piccolo Ismaele. Abramo così li mandò via, lasciando alla donna del pane e dell'acqua. La donna si smarrì col piccolo nel deserto e quando l'acqua finì Dio intervenne in soccorso, mostrando alla donna un pozzo d'acqua. Il soggetto incontrerà grande fortuna anche nella pittura, basti pensare - solo per citarne alcune tra le più famose - alle tele del Guercino, di Van Dick e di Malatesta, con variazioni che riguardano l'ambientazione, il numero di figure - spesso sono rappresentati anche Sara e Isacco, l'espressione di Abramo più o meno commossa. Qui è rappresentato il momento del congedo di Abramo dalla donna e Ismaele, appena fuori dalla città. Sul viso di Agar si coglie sofferenza mentre il bimbo osserva innocente e timoroso Abramo, nascondendosi dietro la madre. L'espressione di Abramo è un misto tra fermezza e dolore, il gesto della mano sinistra che tocca il braccio della donna lascia intuire che il distacco è duro anche lui, benché ineluttabile. Engraving, 1516m signed and dated on plate. Example of the first state of three. A very good impression, printed on laid paper, irregularly trimmed at the platemark, good conditions. The scene represents the Biblical story, as told in Genesis, Hagar repudiated and abandoned in the desert along with her son Ishmael. As Sarah, Abraham's legitimate wife is unable to have children , it gives the husband the slave Hagar, Ishmael, from whom will be born. But when Sarah gave birth to Isaac, requires Abraham to remove the woman and also the little Ishmael. Abraham so he sent them away, leaving the woman of bread and water. The woman was lost in the desert with little water and when finished God intervened in the rescue, showing the woman a well of water. The subject will meet with great success in painting , just think - just to name some of the most famous - the paintings by Guercino , Van Dick and Malatesta, with variations that affect the environment , the number of figures - often are also represented Sarah and Isaac, Abraham 's expression more or less moved. Here is accounted for by the time the leave of Abraham and Ishmael woman , just outside the city. On the face of suffering Agar is gathered while the child looks innocent and timid Abraham, hiding behind her mother. The expression of Abraham is a mixture of firmness and pain, the gesture of the left hand touching the woman's arm suggests that the gap is too hard, though inevitable. The New Hollstein, p. 47, 18 a/c; Filedt Kok (1978) 18 a/b; Bartsch 18; Salamon, Lucas van Leyden, n. 69. 125 1

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        Tusculanae Quaestiones Marci Tullij Ciceronis novissime post omnes impressiones ubque locorum excussa..Addito eleganti alphabetico inditio nunc primum excogitato.. (In fine:) Venetiis, per Augustinum de Zannis de Portesio, MDXVI (Venezia 1516)

      De Zannis de Portesio Agost, 1516. in - folio, ff. (6), CXXIV, leg. coeva p. perg. floscia, titolo ms. al dorso e sul taglio di piede (piccoli difetti al dorso).Titolo a stampa rossa e nera con silografia nella parte inferiore raffigurante S. Bartolomeo a figura intera; nel testo 5 vignette, all'inizio di ciascuno dei cinque libri, della larghezza di una colonna; numerose belle iniz. grandi e piccole, ornate ed istoriate su fondo criblé. Testo in carattere romano, titolo in gotica. Pregevole edizione del celebre testo ciceroniano curata da L. Panaetius, con i commenti di P. Beroaldo e Omnibono vicentino che inquadrano il testo. Discreto esemplare (lievi macchie d'umido e imbrunimento ai primi 7 fogli; nota ms. di possesso abrasa al tit.) di rara edizione.

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        Vita philosophorum et poetarum; cum auctoritatibus et sententiis aureis eorundem annexis.

      Strassburg, Johann Knobloch d. Ä., 1516. - circa 20,3 x 14,8 cm. 8 ff., LII pp. Modern half-calf VD16 B 9848; Schmidt, Rep. VII, 115. Rare Strasbourg edition, introduced by a "Carmen tumultuarium" on the title. The "De vita ac moribus philosophorum" is considered to be the "first attempt in modern times at writing a history of ancient philosophy" (Sandys). It starts with Thales and characterizes many ancient philosphers up to the times of Seneca. Walter Burley (1275-1345?) was teaching at Paris and Oxford and opposed the views of his contemporary William of Ockham. For the present work his sources were Diogenes Laertius, Vincent of Beauvais and others. Its elegant style and entertaining way of presenting the personal lives of eminent philosophers and their theories made it a favorite book in the later Middle Ages up to the Renaissance. This edition starts with twelve pages of index listing first the names of the philosophers and then enumerating sentences and authorities. - Minor browning, little spotting, mostly fine. Few old annotations ("barba decet virum", "homines bestias vocavit" etc.). "

      [Bookseller: Antiquariat Thomas Rezek]
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        Sicuti antiquarum lectionum commentarius concinnarat olim vindex Ceselius, ita nunc eosdem per incuriam interceptos reparavit Lodovico Caelius Rhodiginus. Mit 2 Holzschnitt-Druckermarken (wdh., 1 in Rot gedruckt).

      Aldus Manutius & Andreas Torresanus, Febr. . -, Venedig 1516 - Hpgt. d. 18. Jhs. mit RSch. Folio. 40 nn. Bll., 862 S., 3 Bll. Erste Ausgabe. Schöner einspaltiger Aldus-Druck mit griechischen Einsprengseln, der Titel mit Druckermarke ganz in Rot gedruckt. "Ce recueil (Antiquarum lectionum lib. XVI) s'etend a toutes les branches des connaissances humaines; mais l'auteur s'attache principalement a discuter le sens philologique des innombrables passages d'ecrivains anciens qu'il a extraits ." (NBG XLII, 134). 10 Kapitel behandeln Musik der Antike. Mit Widmungsvorrede des Autors an Jean Grolier. - Tls. gering fleckig und vereinz. gebräunt, gegen Ende etw. wasserrandig, Titel mit rasiertem Besitzeintrag, Vorsätze tls. mit Wurmspuren. Einbd. mit leichten Feuchtigkeitsspuren, Gelenke gelockert, Rücken am ob. Kap. mit Fehlstelle.Aldinen-Slg. Berlin 265. - Renouard I, 79, 11. - Adams R 450. - BM STC, Italian Books S. 555. First edition. With 2 woodcut printer's devices (rep., 1 in red). 18th cent. half vellum with label. - Partly minor staining, here and there browned, some waterstaining towards end, title with erased inscription, front endpapers partly with worming. Binding with slight traces by damp, joints loosened, upper spine end chipped. 2600 g. [Attributes: First Edition]

      [Bookseller: Ketterer Kunst Hamburg GmbH]
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        Biblia cu[m] concordantijs veteris et noui testamenti et sacrorum canonum: necnon et aditionibus in marginibus varietatis diuersorum textuum....

      [colophon: Lugduni: per M. Jacobum Sacon, expe[n]sis...Antonii Koberger Folio (37.7 cm; 14.875"). [14], 317, [26 (first a blank)] ff.; illus. Lacks final blank (only).. 1516] Jerome's Vulgate Bible, here printed in double-column format with Gothic typography (i.e., black-letter) and illustrated with => two full-page and 146 in-text woodcuts (including a few repeated images), some by Hans Springinklée. One full-page cut shows the six days of Creation while the other depicts the manger scene; the => additional nearly full-page cut on the red and black title-page is of St. John. Darlow and Moule explain that "This is one of a series of editions printed by J. Sacon for A. Koburger of Nuremberg. The earliest was a folio Bible of 1512, which was followed by similar editions dated 1513, 1515, 1516, 1518 and 1519." The preliminaries include an "impressor ac bibliopola lectori salutem," four "tabulae" of the books, chapters, and contents of the Bible, an "exhortatio," untitled notes on "translatores" and "modi intelligendi scripturam," and "Diuisio totius biblie." The Eusebian canons, printed in red and black, are at the beginning of the New Testament with marginal references to them in the Gospels. Other marginal references refer to parallel Biblical passages, Josephus, and other works. Darlow and Moule believe this edition to be => the first appearance of Johannes de Gradibus' references to Josephus. The volume ends with the "Interpretationes nominum Hebraicorum." Provenance: 17th-century manuscript ownership "Ex Bibliothecam Amorbacesem Ord. S. Benedicti" (i.e., the Benedictine abbey of Amorbach in Bavaria); 19th-century stamp of the "Fu?rstl. Leining. Hof-Bibliothek" (i.e., the Leiningen family library); in the 20th century in John Howell's personal collection; later in The Howell Bible Collection, Pacific School of Religion (properly released). Evidence of Readership: 16th-century marginalia and underlining scattered throughout the text. Brown goat over beech boards, covers ruled in blind with diamond shapes within a frame; rebacked and spine with blind-tooled center devices and gilt lettering in compartments, binding abraded with some loss of leather, especially at corners; lacks final blank (only). All page edges darkly age-toned and a few brittle, wormwork (virtually all pinhole-type) throughout with the occasional loss of a letter or letters (but not sense); title-page with short tear in gutter, a few leaves with chipped edges, one leaf with hole to foremargin and another foremargin torn with loss of paper; two leaves additionally with soiling and tears with loss of some paper, repaired of old and repair areas darkened. Old private library stamp as above within woodcut of title-page, library numeric stamp and pencilling on title-page verso; bookplate and booklabel of John Howell to pastedowns with bookseller's description of another copy on front one. => A substantial, handsomely illustrated Bible showing evidence of extensive use.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Index Eorvm, Quae hoc in Libro Habentur. Iamblichus de mysteriis Aegyptiorum, Chaldaeorum, Assyriorum. Proclus in Platonicum Alcibiadem de anima, atq[ue]; demone. Proclus de sacrificio, & magia. Porphyrius de divinis atq[ue]; daemonibus. Synesius Platonicus de somniis. Psellus de daemonibus. Expositio Prisciani, et Marsilii in Theophrastum de sensu, phantasia, et intellectu. Alcinoi Platonici philosophi, liber de doctrina Platonis. Speusippi Platonis discipuli, liber de Platonis definitionibus. Pythagorae philosophi aurea verba. Symbola Pithagorae philosophi. Xenocratis philosophi platonici, liber de morte. Mercurii Trismegisti Pimander. Eiusdem Asclepius. [Interprete Marsilio Ficino.] Marsilii Ficini de triplici vita Lib. II. Eiusdem liber de voluptate. Eiusdem de Sole & lumine libri II. Apologia eiusdem in librum suum de lumine. Eiusdem libellus De magis... .

      Venetiis In aedibus Aldi, et Andreae Soceri, mense Novembri M.D.XVI. 1516 1516. Folio, 297x197mm, in recent, superb quality mid-brown goatskin binding by Flora Ginn, with blind-tooled panelling with a large gilt decoration in the arabesque style at the centre of both boards. Spine with eight raised bands with blind-rule outlines, with the author's name gilt in the second compartment. Small sepia ink-spot on foredge. [1], 177 [i.e. 175], [1] leaves. Guide letters with spaces left for initials. Imprint from colophon (Y7 verso). Woodcut Aldine device on title-page and verso of last leaf. Referenced by: Adams, I1. National Library of Scotland: No actual punctuation after ?Venetiis? and ?soceri?. Various errors in foliation. Title-page in exceptional-quality letterpress facsimile, almost undistinguishable from the original leaf. Early manuscript marginalia throughout the volume. A truly exceptional quality, crisp and clean copy of this important Aldine edition.(Further information and photographs available on request.)

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        De duplici copia verborum ac rerum commentarii duo Ab authore ipso diligentissime recogniti and emaculati atque in plerisque locis aucti Strassburg Matthias Schürer Oct 1516 Bound with <b>HUTTEN Ulrich von<b> Greek title OUTIS Nemo Augsburg in officina Millerana 9 Sep 1518 and <b>BURLEY Walter<b> Vita philosophorum et poetarum cum auctoribus et sententiis aureis eorundem annexis Strassburg Joannes Knobloch June

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Martyrilogium viola sanctorumandnbsp

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Rituum Ecclesiasticorum sive Sacrarum Cerimoniarum SS. Romanae Ecclesiae libri tres

      non ante impressi. (In fine:) Venetiis, Gregorii de Gregoriis fratres, 21 nov. 1516, - in-folio, ff. (6), CXLIII, (1b.), leg. settec. p. perg. rigida, tass. in pelle con tit. oro al dorso, tagli cesellati e dor. (quello super. annerito). Nei fogli prelim. il privilegio papale e del Senato Veneto, l'indice e la lettera di dedica a Papa Leone X (Giovanni de' Medici) da parte dell'arcivescovo di Corfù Cristoforo Marcello. Testo in nitidissimo car. rom., spazi con lettera-guida per le iniz. Con 3 grandi magnifici legni (mm. 95 x 125) all'inizio dei tre libri, raffig. il Papa in diverse situazioni cerimoniali. Prima edizione di quest'opera importantissima per la storia della Chiesa, la quale sopperì alla necessità di riunire in un'unica raccolta le prescrizioni da osservarsi nella sacra liturgia. Agostino Patrizi, detto Piccolomini, cerimoniere pontificio, l'aveva compilata fin dal 1488, dedicandola ad Innocenzo VIII, ma ''la compilazione rimase inedita fino al 1516, quando Cristoforo Marcello, fatte alcune mutazioni, la pubblicò e dedicò a Leone X senza presentarsi come autore. Contro il Marcello, il Grassi, allora cerimoniere pontificio, fece un'acre requisitoria.per la divulgazione delle cerimonie pontificie, il che per lui significava esporle al disprezzo. Tuttavia il libro ebbe molte edizioni.'' (Encicl. Catt. III, 1317-8). Bellissimo esempl. su carta forte, a grandi margini (alcune antiche note di possesso e forellini di tarlo sul tit., rare sottolineature e postille di mano coeva qua e là). Sander 5662. Essling 1905. STC It. 383. Adams L-976. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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        @Regra & statutos da hordem adujs.

      

      [Bookseller: Richard C. Ramer Old & Rare Books]
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        La Graunde Abridgement. Three Volumes [complete] [with the ?Wyer setting of the title page of volume 3]. S.T.C. 10954; Cowley 6; Beale R456, R458, and R459. Folio

      London: Printed by John Rastell and Wynkyn de Worde, 1516. Modern calf, the first title with the woodcut and text only, small loss on its verso, some dampstaining and strengthened margins; the Taussig copy The magisterial first edition of "the decisive book--the book that 'made' the Common Law", containing over 13,000 abridged case-notes in some 263 titles and digesting hundreds of years of medieval case law, including those cases otherwise lost

      [Bookseller: Meyer Boswell Books, Inc.]
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        Libre discours fait au roy, sur la conclusion de la paix.

      Paris: Abraham Saugrain 8vo (17.6 cm, 6.9"). 8 pp.. 1516 [i.e., 1616] Also published as Harangue prononcée au roi en sa ville de Blois, following the negotiations between Condé and Marie de Medici, this is apparently a variant — not bearing the attribution "Par un Seigneur de qualité." The title-page features a vignette of the royal coat of arms (per pale France and Navarre). WorldCat and Lindsay & Neu combine to locate only three copies in the U.S. Recent paper–covered boards, front cover with printed paper label. Title-page verso with inked numeral; all four leaves institutionally pressure-stamped. Inner margins reinforced. Clean.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        De Situ Orbis (graece).

      (Colophon:) Venetiis, in aedibus Aldi et Andreae Soceri mense Novembri MDXVI (Venezia, Aldo Manuzio, 1516), - in-folio, ff. 14, pp. 366, (2), legatura 700esca inglese in pelle, riquadro di filetti in oro ai piatti, tit. in oro al dorso liscio, dentelle (restauri alle cerniere e agli angoli). Ancora aldina al primo e all'ultimo f.; precedono il testo un copioso indice, l'errata e la prefazione di B.Tirreno ad Alberto Pio, principe di Carpi. Il volume, veramente splendido per impaginazione e concezione grafica, è arricchito da 17 elaborate bordure alla greca e 17 grandiose iniziali ornate da fregi geometrici e floreali, il tutto impresso in rosso con estrema eleganza. Editio princeps del più vasto e pregevole trattato di geografia che l'antichità greca ci abbia lasciato, diviso in 17 libri. Gli intenti di Strabone (63 a.C. - 19 .C.) erano di comporre un'opera che, tralasciati gli aspetti più propriamente scientifici, descrivesse lo stato attuale della terra abitata, perchè risultasse di utilità soprattutto ai politici. I primi due libri costituiscono una sorta di introduzione generale; i libri III-X trattano dell'Europa; i X-XVI dell'Asia; il XVII dell'Egitto e dell'Africa settentrionale. Bellissimo esempl. marginoso di questa rara edizione, tra le poche pubblicazione scientifiche uscite dalla tipografia aldina. (Lieve alone di polvere e timbro al tit.). Di illustri provenienze: William Horatio Crawford e John Alfred Spranger (2 ex-libris alle sguardie). Renouard p.77,n.7. Hoffman III, p.640. Dibdin II, 432. UCLA II, n.130. [Attributes: Hard Cover]

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        Gloriosorum Christi confessor. Uldarici e Symperti: nec non beatissime martyris Aphre historie.

      (In fine:) Augsburg, Silvan Otmar, 14 Aprile 1516, - in-4, ff. (90), leg. mod. marocch. bruno con impressioni a secco sui piatti. Front. a stampa rossa e nera racchiuso da bordura a motivo architett.; testo della seconda parte, comprendente l'officio e le preghiere per le festività dei Santi menzionati, impresso in rosso e nero. Con 5 stupende silografie a piena pag. di Leonhard Beck, di cui le prime 4 raffigurano i Santi e l'ultima la Basilica del Cenobio di Augsburg, edificio che da poco si era iniziato a ricostruire e che fu l'opera principale di Burkard Engelberg. Bellissima edizione, stampata nel convento di S. Benedetto, dedicato ai SS. Ulrich, Sympert e Afra, in cui era attiva una delle più importanti tipografie di Augsburg del XVI secolo. Di particolare interesse l'agiografia di Ulrico (890-973), vescovo e santo patrono della città di Augsburg, le cui azioni e miracoli qui descritti s'intrecciano con fatti della storia della città e della tradizione popolare. Rarissimo. STC, German p.80. Dodgson, German e Flemish woodcuts II, 123. Rosenwald Coll. 631. Hollstein II, 172. [Attributes: Hard Cover]

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        Sententiarum textus [...] Henrici Gorichemij positiones Egidij de Roma elucubratio[n]es Henrici de Urimaria additio[n]es [...].

      Basel, Adam Petri von Langendorff für Ludwig Hornken, 20. Januar 1516. Fol. Titel in Rot u. Schwarz mit einer breiten Holzschn.-Bordüre von Urs Graf u. einem Holzschn.-Verlagssignet (diese am Ende wiederholt) sowie mit zahlr. Holzschn.-Initialen im Text. 6 nn., 213 num., 27 nn. Bll., Einf. HLwd.-Bd. (um 1900) m. goldgepr. Rückentitel. Seltener Basler Druck von Petrus Lombardus‘ Hauptwerk in der Bearbeitung des Henricus de Gorrichem. - Das Verlagssignet Hornkens zeigt das Wappen von Köln, seiner Heimatstadt. - Der in der Lombardei geborene Lombardus (gest. 1164) studierte in Bologna, Reims und Paris. 1159 wurde er Bischof von Paris. - Sein vorliegendes Hauptwerk „ward unzähligemale kommentiert und behauptete bis auf die Reformation ein fast klassisches Ansehen. In ihm erscheint zum erstenmal im Abendlande die Dogmatik zusammengeschlossen als ein systematisches Ganzes. Ihren Stoff bilden die Aussprüche der Kirchenväter, die dann unter Widerlegung der verschiedenen Einwendungen wissenschaftlich begründet werden sollen. Dies ist die Methode der Sententiarier geblieben“. - Einband berieben, bestoßen u. etw. gelockert. Rückenkanten am oberen Kapital eingerissen. Titel m altem Besitzvermerk u. (wie auch der Innendeckel) gestempelt. Wenige Bll. mit Quetschfalten im unteren weißen Rand. Ein Bl. mit alt ausgebessertem Randabriß, eines mit geklebtem Eckeinriß (beide ohne Textverlust). Tlw. etw. wasserrandig. Vereinzelt alte Marginalien. Durchg. mit kl. Wurmspuren. Nur vereinzelt min. fleckig. - VD16, P 1873; Adams P 898; BM STC, German Books 688; Panzer VI, 198, 171; Hollstein XI, 288. Versand D: 12,00 EUR Petrus Lombardus, Sententiarum textus, Postinkunabel, Urs Graf, Henricus de Gorrichem

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Resolutorium dubiorum circa celebratione[m] missarum occurentium: per venerabilem patre[m] d[omi]n[u]m Joannem de Lapide [...]. Ex sacrorum canonum probatorumque doctorum sententiis diligenter collectum. Summa dubiorum in hoc opere resolutorum CLXVI.

      (Venedig, Giovanni [Joannes] Tacuinus, 1516). 8°. 40 num. Bll., Mod. HPgmt. Der kathol. Priester und Kartäusermönch Johannes Heynlin (nach seinem Geburtsort Stein bei Pforzheim auch Johannes de Lapide; um 1430-1496) wirkte als Theologe und akademischer Lehrer zwischen Scholastik und Humanismus, Prediger und Buchdrucker. Außerdem war er Rektor der Pariser Sorbonne und Mitbegründer der Tübinger Universität. Heynlin stand mit Gelehrten wie Reuchlin, Brant, Geiler, Wimpfeling, Agricola, Trithemius, Celtis u.a. in Gedankenaustausch. - Von größter Seltenheit, diese Ausgabe für mich weder bibliographisch noch in Bibliotheken (u.a. KVK weltweit) nachweisbar. - Etw. gebräunt, fleckig u. leicht wasserrandig (dadurch der Gelbschnitt vereinzelt etwas in den Rand verlaufen). - Nicht im EDIT16, bei Adams u. im BM STC, Italian Books. Versand D: 12,00 EUR Johannes de Lapide (Johannes Heynlin, Resolutorium dubiorum circa celebrationem missarum occurrentium

      [Bookseller: Antiquariat Wolfgang Friebes]
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