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Displayed below are some selected recent viaLibri matches for books published in 1517

        S. Thomas Super Physica: Expositio divi Thome Aquinatis Doctoris Angelici super octo libros Physico[rum] Aristotelis cum duplici translatione antiqua videlicet : [et] Joan[n]is Argyropili : correcta [quoque] dilige[n]tissime a fratre Bartholomeo Spineo Pisano Ordinis Predicatorij : cum Tabula ad omnes materias [et] questiones operis : ac cum questionibus de formis eiusd

      Luce Antony de Giunta, Venice 1517 - Scarce. OCLC lists only 5 copies, including those at Cambridge, NYU and University of Pennsylvania. An early edition of Saint Thomas Aquinas' [1225-1274] "great commentary on Aristotle's physics - the most important scholastic commentary on this seminal text of ancient science. Aquinas the philosopher is forever entwined with Aristotle, as the former came onto the scene just as the Aristotelian corpus arrived in Latin translation, and questions of the relation between faith and reason challenged the modus vivendi that had been in effect for centuries." USTC 859417 Illustrated with a fine woodcut headpiece showing St. Thomas teaching; many decorative initials and in-text diagrams throughout, and printer's device at end. [6] 147 leaves with black letter Latin text printed in double columns. Folio, later vellum-backed boards. Venitijs, Impensis domini Luce Antonij de Giunta Florentini, 1517. A tear in the title page has been carefully mended, still a very good tight copy with some contemporary ink marginalia. [Attributes: Hard Cover]

      [Bookseller: Argosy Book Store, ABAA, ILAB]
 1.   Check availability:     IberLibro     Link/Print  


        Divinum ac proinde inestimabile sed omniumcuque hucusque de christifera virgine scripta sunt paeclarissimum Mariale opus a Santio porta sacri ordinis predicatorum [.] feliciter editum nuperque diligentissime recognitum et accuratissime castigatum.

      - (Impressum in famatissimo Lugdunense emporio, arte et industria Johannis Cleyn alemanni, 1517), in-4, leg. otto-novecentesca in piena pergamena, cc. [2], CLXXIII, [8]. Frontespizio impresso in rosso e nero entro cornice xilografica, iniziali xilografiche, marca editoriale sotto al colophon (doppia croce su cerchio ai lati della croce due punti, nel cerchio iniziali I.C.). Non è stata legata la carta y8 che era bianca. Qualche isolato forellino dovuto ad usura o ad ossidazione. Alcune note manoscritte in antico ai margini. Edizione rara in Italia: solo due esemplari segnalati in ICCU, di cui uno mutilo. [Attributes: Hard Cover]

      [Bookseller: Libreria Oreste Gozzini snc]
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        Der Flaschenhals von Schlüsselburg Der Landser, Erlebnisberichte zur Geschichte des Zweiten Weltkrieges Band 1517

      Rastatt Erich Pabel Verlag,. Neuauflage 66 S. Kl.-8°, geh. Gut erhaltenes Exemplar. Seiten alters- und papierbedingt leicht gebräunt, Band 1517 K15180.

      [Bookseller: Antiquariat Buchhandel Daniel Viertel Ei]
 3.   Check availability:     ZVAB     Link/Print  


        Orationes. [Graece].

      Florenz, Giunta, 20. Mai 1517.. Editio princeps. Folio. a-z8:183, (1) Bl. Das erste Blatt im Bug verstärkt, mit einem kleinen Stempel und dem zeitgenössischen Besitzeintrag: " " (Gerhart Reuter). Kleine Wurmlöcher im unteren weißen Rand im Innensteg. Frisches und sehr breitrandiges Exemplar (315 x 205 mm). Zeitgenössischer blindgeprägter Halblederband, der Rücken erneuert, die Deckel mit grün eingefärbtem Pergament bezogen.Contemporary blindstamped half calf over boards pasted with green vellum. Rebacked. Small stamp to title-page, which is reinforced at inner gutter. A few tiny wormholes in inner gutter of lower blank margin. Fresh and wide-margined copy. The Greek font, cut by Kallierges in 1508, went to Bartolomeo Zanetti, who printed for Giunta since 1514; Giunta used it up to 1542.Hoffmann (1838) I, 246f. ("selten, u. theuer"); Adams A-1702; Dibdin I, 293. Druckermarke: Kristeller, Ital. Bücherzeichen 46. Davies, Devices of the early printers, 1457-1560, no. 66 ("one of the most beautiful devices: it would be hard to find its equal for perfect balance and proportion"). (See www.dinter.de, catalogue 13)..

      [Bookseller: Antiquariat Jürgen Dinter GbR]
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        DE RELIGIONE CHRISTIANA .. Aureum Opus: Evangeliorum ordine .. Continens Elucidationem

      Basel: Adam Petri de Langendorff. Second Latin edition, 1517. Hardcover. Good+. Fine border of cherubs riding dragons, nudes, men in armour, foliage, columns etc. signed Urs Graf (U.G.) and with date 1516. Folio bevelled wooden covers with wide rolled pigskin spine handsomely blind stamped with rampant lions in lozenges between parallel strands of vines & flowers. TP is printed in red & black. Spines with three raised bands and diamond shaped alternating with stylized flower tools (lacks clasps/some worm holes to wood and vellum) Fore-edge lettered Simon de Cassea (14)+469 leaves + colophon with large printer's mark for Alantsee of 2 griffons suporting a shield with cipher ALT and supporting an oak tree above (total fatness of book just under 11cm) TP with three ownerships (2 on top margin one with a single line through it the 3rd to side of text) Fore-edge of TP slightly rough & tanned. Some large foliated initial capitals and fine double column typography of this near incunabulum. Some worm holes usually isolated not affecting integrity of the paper nor readability of the print as they are mostly confined to the margins, mainly at the beginning & end of the book. There are a few old scholarly comments or marginal marks (affects about 6 or 7 pages) Two clean marginal tears without loss and one corner lost but affecting less than half the width of the margin at the corner (STC302 Adam C857 collations a-HH6+JJ8). A duplicate copy from the Royal Bavarian Court Library (old provenance/shelf mark on pastedown) and a really beautiful copy.

      [Bookseller: Abbey Antiquarian Books]
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        Die geuerlicheiten und einsteils der geschichten des loblichen streytparen und hochberümbten helds und Ritters herr Tewrdannckhs.

      [Colophon on A8v:] Nuremberg: Johann Schönsperger, [1517]. - folio. 353 x 248 mm. [ff. 290, incl. blank P5]. xylographic title. 118 large woodcuts in the text. A very nice tall copy bound in 19th century antique-style blind-stamped morocco by Clarke & Bedford, all edges gilt (some wear to edges & joints but binding solid, p6, t1 & the 8 leaves of the last gathering remargined & possibly supplied from a smaller copy, occasional light spotting, scattered tears & paper defects skilfully repaired - these are mainly marginal but in a few instances the text is slightly affected, on t4 with some letters supplied in pen facsimile, & on m8 & x5 with parts of some letters supplied in pen facsimile). mezzotint portrait (foxed) of Pfintzing inserted. the Huth-Boies Penrose copy, with leather ex-libris & bookplates. First Edition of one of the most celebrated German woodcut books of the sixteenth century. This allegorical poem of knight-errantry celebrates the heroic exploits of the Emperor Maximilian I [1459-1519] on his journey to marry Mary, duchess of Burgundy. A key to the names of the characters and an index are given on the last eight leaves; these are often wanting. After the Emperor had written several initial drafts with the assistance of Marx Treitzsauerwein, the completion and final editing of the text were entrusted to his private secretary Melchior Pfintzing, and the typographical execution to Augsburg printer Johann Schönsperger, who apparently was brought to Nuremberg for this specific purpose as it is the only one of his books with a Nuremberg imprint. Five years were spent preparing the work for printing, which was done at the Emperor's expense. Special types were designed for the book by Vincenz Röckner, court calligrapher, and cut by Hieronymus Andrae. They depart from the usual severe gothic type-faces, and are ornamented with large flourishes in imitation of the best current calligraphic styles. The one hundred and eighteen large woodcuts, among the finest in early German book illustration, were designed by some of the most notable contemporary artists: Leonhard Beck (77), Hans Schäufelein (20), Hans Burgkmair (13), Erhard Schön (3), Wolfgang Traut (2), the Master NH (1), Hans Weiditz (1: doubtful), and Jörg Breu I (1). The same cuts were used in later editions but the finest and darkest impressions are found in the first. Among them are depictions of battles and tournaments, and scenes of hunting (bears, boers, chamois, &c.). Fairfax-Murray notes that this edition is to be considered as a privately printed book, not intended for sale, with no copies passing out of the possession of Maximilian before his death in 1519. ".the whole stock of copies lay in six chests at Augsburg until March 1526, when the Archduke Ferdinand decided to distribute, through Marx Treitzsauerwein, the contents of five of the chests to different subjects as memorials of the late Emperor. The other chestful the archduke kept for himself." Adams P962. BM STC German p. 690. Brunet V 767. Fairfax Murray, German, 329. Graesse VII 106. Proctor 11180. Rosenwald 634. Updike, Printing Types, I 140. [Attributes: First Edition; Hard Cover]

      [Bookseller: D & E LAKE LTD. (ABAC/ILAB)]
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        DE RELIGIONE CHRISTIANA . Aureum Opus: Evangeliorum ordine . Continens Elucidationem

      Adam Petri de Langendorff. Second Latin edition, Basel 1517 - Fine border of cherubs riding dragons, nudes, men in armour, foliage, columns etc. signed Urs Graf (U.G.) and with date 1516. Folio bevelled wooden covers with wide rolled pigskin spine handsomely blind stamped with rampant lions in lozenges between parallel strands of vines & flowers. TP is printed in red & black. Spines with three raised bands and diamond shaped alternating with stylized flower tools (lacks clasps/some worm holes to wood and vellum) Fore-edge lettered Simon de Cassea (14)+469 leaves + colophon with large printer's mark for Alantsee of 2 griffons suporting a shield with cipher ALT and supporting an oak tree above (total fatness of book just under 11cm) TP with three ownerships (2 on top margin one with a single line through it the 3rd to side of text) Fore-edge of TP slightly rough & tanned. Some large foliated initial capitals and fine double column typography of this near incunabulum. Some worm holes usually isolated not affecting integrity of the paper nor readability of the print as they are mostly confined to the margins, mainly at the beginning & end of the book. There are a few old scholarly comments or marginal marks (affects about 6 or 7 pages) Two clean marginal tears without loss and one corner lost but affecting less than half the width of the margin at the corner (STC302 Adam C857 collations a-HH6+JJ8). A duplicate copy from the Royal Bavarian Court Library (old provenance/shelf mark on pastedown) and a really beautiful copy. 1 volume.

      [Bookseller: Abbey Antiquarian Books]
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        Aureum opus de veritate contritionis in quo mirifica documenta eterne salutis aperiuntur

      Paris: François Regnault, 17 May 1517 [colophon on t8 recto] - Lovely example of this popular devotional, first printed in Lyon, 1503 (?), and several times thereafter through theearly of the 16th century. Regnault, the Parisian printer, first printed it in 1508 Small 8vo. Title printed in red and black, with printer's woodcut device elephant and monogram; text in black letter with criblé initials. a-y8Z2. 186 leaves, misfoliated i-clii [cliii-clxxviii]. Nineteenth-century floral- patterened boards. Printer's device on title page tinted in an early hand, title slightly soiled, otherwise a pleasant, crisp copy. Rare -- Not in OCLC; not in RLIN; not in Adams; the only copies we have found were in the British Library and Bibliothèque Nationale [Attributes: Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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        De Arte Cabalistica Libri Tres

      Hagenau Thomas Anselm 1517. - Small folio [29.5 x 18.5 cm], (4), 79 (1) ff., including author’s woodcut arms on title as well as numerous passages of Hebrew and Greek, with several woodcut Cabbalistic figures (LXXXVIII v) A4,B6-N6,O8. Bound in 17th-century stiff vellum, calf title label gilt. Ownership inscription of D. Wyttenbach 1786 on front endleaf. Later purchase inscription from Payne & Foss 1824 10/. Discrete former library stamp on verso of final leaf; early marginalia cropped at time of rebinding. Apart from even toning, fresh, unsophisticated copy, excellent. Scarce first edition and fine copy of Reuchlin’s cabalistic studies, ‘la Bible de la Kabbale Chrétienne’ (Secret, Les Kabbales Chrétiennes de la Renaissance, p. 57). "Inspired by the work of Pico della Mirandola, Reuchlin became one of the founders of Christian Kabbalah with the publication of De verbo mirifico (1494) and, more important, De arte cabalistica (1517). The latter work, which is dedicated to Leo X, is a Socratic-style dialogue set in Frankfurt. The interlocutors are Philolaus (a Pythagorean), Marranus (a Muslim), and Simon (a Jew). Simon, an exile of the 1492 Spanish expulsion, teaches the others at great length about the Kabbalah, with particular emphasis on numerology (and its particular compatibility with Pythagorean numerology) and the mysteries of the hidden meaning of Hebrew characters. Reuchlin, however, applies the mysteries to Christianity and, in fact, appropriates the Kabbalah as a source of Christian revelation. At a high point in the work, Philolaus concludes that "all our studies in both [that is, both Pythagoreanism and Kabbalah] lead back to the salvation of mankind Scholem has identified Reuchlin’s primary source, a medieval miscellany of Kabbalistic texts now in the collection of the Jewish Theological Seminary (Halberstamm 444)" (Hotchkiss/Price, The Reformation of the Bible/The Bible of the Reformation I.20). "In De arte cabalistica, Reuchlin incorporated Pythagorean ideas on number mysticism and metempsychosis; notions which Pythagoras shared with Cabbala and which made him a ‘Greek cabbalist’. Reuchlin describes the Cabbala as an alchimia, internalising external perceptions into images and thoughts and eventually into light. The process of becoming like god is symbolized by the position of Adam Kadmon in the middle of the seraphic tree" (F. van Lamoen, The Hermetic Gnosis. Catalogue of Exhibition in the Bibliotheca Philosophica Hermetica, 37).Reuchlin promoted the study of Greek and is credited with introducing neo-Latin comedy into his native Germany, but it is his pioneering study of Hebrew language and Cabbala—the latter undertaken under the aegis of Pico—which gained him lasting significance. He used his extensive travels to make contacts with other humanists and other Jews and to acquire manuscripts and printed books for his library, one of the most substantial of its time (Contemporaries of Erasmus). * Adams R-381; Proctor 11,685; Benzing (Reuchlin) 99; Caillet 9333; Scholem, Kabbalah, p. 198. [Attributes: First Edition; Hard Cover]

      [Bookseller: Martayan Lan, Inc]
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        In hoc volumine haec continentur. Officiorum lib III cato maior, sive de sene ctute laelius, sive de amicizia somnium scipionis ex VI de rep. Excerptum paradoxa¿(in greco)

      In fine: Florentiae, Philippi iunta anno a virginia nuncio D.XVII supra mille mense ianuarii. 1517, Florentiae - [Giunti Greco] (cm.17,5) ottima piena pergamena con unghie e lacci in pelle, del XX secolo.-cc.4 nn., cc.156 (ma 159) + 1c. con la marca editoriale. (cfr. Camerini ¿Decia marca n°1) Rara edizione giuntina degli ¿officia¿. La parte seconda, da carta 127 alla fine è completamente stampata in greco: ¿marcou tulliou kikeronos romaiu katon e peri geros¿¿ Manca al BM. STC. Antiche firme di proprietà al frontis, altre all¿ultima carta: ¿questo libro è mio¿¿, ¿questo dono¿¿. E segni di inchiostro. 3 carte, 115, 125 e 126 con macchie che non impediscono la lettura.Varie lettere capitali,disegnate a penna d¿antica mano, i margini contengono manicure e molte note coeve in latino, erudite in chiara grafia. Altrimenti esemplare nitido e marginoso ben completo interessante anche per le vare chiose dell¿epoca. * Camerini-Decia 106; * Bandini II p.113; *Renouard pag. XLI n°100; *Graesse II 175; *Adams c 1738.[f60] [Attributes: Hard Cover]

      [Bookseller: LIBRI ANTICHI E RARI FRANCESCO&CLAUDIA]
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        In Hoc Volumine Haec Continentur: M. T. Cice. Officiorum Lib. Iii; Cato Major, Sive De Senectute; Laelius, Sive De Amicitia; Somnium Scipionis, Ex Vi De Rep. Excerptum

      Florentiae: in Officina P. Juntae, Mense Januarii 1517 - Florentiae (Florence:) in Officina P. Juntae, Mense Januarii (January.) [v] (158) (collated) Volume 3. 12mo. Latin. Later (but not recent) vellum-backed paper-covered boards, with title and date inked on spine. Ink owners inscription at upper corner of front board, with "1810" marked as date. Ink title on text blocks tail edge. No rear free endpaper. Lacks 3 leaves (113, 120, 123). Page 125 is mis-foliated "126." The subsequent leaf is the unnumbered first page of the volumes first work in Greek. This is followed by 2 more leaves, numbered "127" and "128." The last text leaf is mis-foliated "156." Tight binding and solid boards. Moderate shelf wear. Bumping to corners. Slight scuffing to board edges. Minor wrinkling, bumping to spine ends. Light sunning. Slight horizontal cracking to vellum at spine, one spanning entire spine. Two Gettysburg Theological Seminary bookplates inside front board. Plates indicate that volume was donated to Rev. Jeremiah Zimmerman. Rubber stamp to FFEP, title, and colophon, 2 labels on front paste-down. No rear free endpaper. Front hinge cracked, title leaf tipped to inner edge of FFEP. Clean, unmarked pages. Cicero was a Roman philosopher, statesman, lawyer, political theorist, and Roman constitutionalist. He came from a wealthy municipal family of the equestrian order, and is widely considered one of Rome's greatest orators and prose stylists. Volume 3 of this Cicero collection includes Sive De Senectute ; Laelius, Sive De Amicitia ; and an excerpt from Somnium Scipionis. An early printing, the volume contains a colophon at the end denoting typeface and further editorial information, such as date and publishing house. Solid, readable, and in excellent condition, this remarkable volume would make a fie addition to the library of any classical scholar. Please feel free to contact us with further queries. Ships daily. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
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        Opus Macaronicorum. Totum in pristinam formam per me Magistrum Aquarium Lodolam optime redactum, in his infra notis titulis divisum. Zanitonella, Quae de amore Tonelli erga Zaninam tractat. . Phantasiae Macaronicon, divisum in viginti quinque Macaronicis, . Moscheae Facetus liber in tribus partibus divisus, . Libellus Epistolarum, & Epigrammatum, ad varias personas directarum. Venedig, Bevilacqua 1613. 8°. 541 S., 4 Bll., mit Holzschn.-Druckermarke auf dem Titel u. 27 Textholzschnitten, Prgt. d. Zt. mit hs. Rtit.

      - VD17 23:271284G - Weller I, 252 - vgl. Brunet II, 1318 u. Ebert 4864.- Druckort u. Drucker fingiert, mutmaßl. bei Zetzner in Straßburg erschienen.- Die erste Ausgabe der ?Macaroneae? erschien 1517 in Venedig. Manieristische Parodie auf die Heldengesänge seiner Zeit. Folengos makkaronische Poesie vermengt volkssprachliche Elemente mit dem Lateinischen und wendet sich damit gegen die lateinischschreibenden Dichter.- Titel mit gelöschtem hs. Besitzvermerk, meist nur gering braunfleckig, Vorsatz stärker fleckig, Ebd. etw. fleckig. [Attributes: First Edition]

      [Bookseller: Antiquariat Müller]
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        Gedächtnisblatt zum Beginn der Reformation 1517 - Bedeutung des Calvinismus. Kupferstich.

      2. Hälfte 17. Jahrhundert.. In der Platte signiert "Carel Allardt Exudit". Mit erläuternden und kommentierenden Versen "Hier stryckt en swymt voor Christus Antichrist [...] Calvinus flaet en doet hem overflaan [...]. Klarer, gegensatzreicher und breitrandiger Druck auf Bütten, alt auf Bütten montiert. 35,8 x 50,1 cm (Darstellung). ,40,3 x 52,8 cm (Blatt).. Großformatiges Blatt illustriert den Streit zwischen Lutheranern und Calvinisten. Links im Bild der Papst und seine Kardinäle. Auf der Waage Luther im Mönchsgewand mit Bibel, gekreuzten Schlüsseln und der Papstkrone (Tiara). Rechts auf der gewichtigeren Seite der Waage die Heilige Schrift der Calvinisten, und daneben stehend eine Gruppe mit Calvinisten vor einer Portraitgalerie. - Partiell mit Fehlstellen, kleinere Einrisse und Bereibungen, diese z. T. mit Tusche ergänzt (Mönch an der Waage, Gruppe der Calvinisten, im Bereich der Holzdecke). Fest auf Bütten montiert.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        Decii Iunii Iuuenalis Satyre Sexdecim Ab Antonio Macinello Exposite: Cu Iodoci Badij Ascensi Familiari Earun Dem Explanatione

      1517. Lyon, L. Hillaire, (1517). 4to. 6 ff., 141 ff, 1 ff blank. Printed in Gothic Letters. Eighteenth century mottled calf binding, spine gold-tooled with red titleshield. According to Baudrier Laurent Hyllaire is mentioned as working in Lyon in 1506 and there is another mention of him in 1530 witnessing a marriage. In ink on the first page is the date 1498 but the book is in fact from 1517. Juvenal, whose full name was Decimus Junius Juvenalis, was a satirical poet active in Imperial Rome in the 2nd and 3rd decades of the 2nd century. Juvenal, today, is most well-known for his 16 Satires (which were, already in ancient times, arranged into five books). These satires (Saturae) are sharp attacks on the vices and misdeeds of Roman society. [Baudrier Vol. II, p. 68]

      [Bookseller: Knuf Rare Books]
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        BRITANNIAE UTRIUSQUE REGUM ET PRINCIPUM ORIGO.

      Paris J. Badius Ascenius, 1517.SECOND EDITION 1517, edited by Ivo Cavellatus. Latin text, small 4to, approximately 190 x 135 mm, 7½ x 5¼ inches, leaves: [8], 1 - 101, numbered on rectos only. Woodcut printer's device on title - page: vignette of printing shop, depicting the operation of a hand - press by three printers. The block has a double - line border. On the press itself is the imprint 'Prelu[m] Asce[n]sianu[m]', and below the press are the initials and printer's mark of J. Badius. Name of printer from title statement; date of publication from colophon, Io. Badius Ascensius lectori sa. ... Ex aedibus nostris iteru[m] ad Idus Septe[m]b. anni. MDXVII. Signatures: AA8, A - M8, N6 [N6 blank]. Woodcut coat of arms held by angel on signature AA8v. Woodcut floral and foliate crible initials, side - notes, index at the front. Old calf, red title label with gilt lettering and gilt decoration to spine between raised bands, new endpapers. Binding rubbed and scuffed, hinges just beginning to crack at head and tail of spine, head of spine scuffed with slight loss of surface leather, title page has ink stamped intials AR in 2 places plus neat old ink notes, small repairs to top and bottom corner tips, fore - edge of title page has old repairs, following page has a pale ink stamp of a coat of arms in the outer margin, occasional neat old ink marginal notes and underlining, some pale staining to some pages, Folio xvii which is slightly trimmed at outer edges is affected by pale staining which matches the staining on the following pages, which indicates that the page is not from a smaller copy. Also the fore - edge has clearly been trimmed with scissors and the top edge is not horizontal as it would be on an inserted page. Last 13 leaves have a brown stain to tips of top and lower corners, also slightly affecting fore - edge of last 6 leaves, occasional brown spot or mark, otherwise a very good copy. Geoffrey of Monmouth (c. 1100 ? c. 1155) was a cleric and one of the major figures in the development of British historiography and the popularity of tales of King Arthur. He is best known for his chronicle Historia Regum Britanniae ("History of the Kings of Britain"), which was widely popular in its day and well into the 16th century. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        OPERA VERGILIANA DOCTE & FAMILIARITER EXPOSITA:

      Lyon, printed by J. Sacon (Sachon), 1517.docte quide[m] Bucolica & Georgica a Servio Donato Mancinello & Probo nuper addito: cum adnotationib[us] Beroaldinis. Aeneis vero ab ijsde[m] praeter Mancinellum & Probu[m] & ab Augustino Datho in eius principio: opusculoru[m] praeterea q[uae]da[m] ab Domitio Calderino. Familiariter vero o[mn]ia ta[m] opera q[uam] opuscula ab Iodoco Badio Ascensio. ... Expolitissimis figuris & imaginibus illustrata. ... Date and imprint from colophon of first part, Lyon, printed by J. Sacon (Sachon), 1517. Latin text, folio bound in eights, approximately 315 x 215 mm, 12½ x 8½ inches, 2 parts in one, TITLE PAGE TO PART ONE LACKING, the title to the second part is present printed red and black with 4 part architectural pictorial border, "Aeneis Vergiliana", 199 of 207 superb large woodcuts in the text, 1 only is 60 x 65 mm (2¼ x 2½ inches), the rest range from 120 x 165 mm to 215 x 170 mm (4¾ x 6¼ inches to 8½ x 6¼ inches), decorated initials, text in roman letter, leaves: (8 of 10), CCV; (8), CCCXXIIII of CCCXXXIIII, collation: ?10 ( - ?1 & 2), a - z, aa - bb8, cc6 ( - cc6); ??8, A - Z, AA - QQ8, RR - SS6, TT10 (TT1 - 10), in part I leaf ?2 was a full page woodcut, cc6 was a blank, SIGNATURE TT LACKING after the end of the Aeneid and contained the 13th book by Maffeo Vegio (see below), LEAF TT10 had the second colophon: "excussit Iacobus Sacon, impensas Ciriacus Hochperg, 1517". Bound in full modern calf with blind stamped decoration to covers, maroon gilt lettered label, new endpapers. 2 early armorial bookplates on original endpaper, that of Henry Mere Ormerod (19th cent.) on second original endpaper together with his gift inscription to his son George in 1868, this is followed by 2 inserted sheets, 1 with bibliographical notes on the book by George Ormerod, the other with an attempt in manuscript at the title and imprint of our book, inscription at top of dedication page (?3), slightly ragged at tip of lower corner and with a small chip to the inner margin, 2 corrections to index of first part, the final prelim (?10) is damaged along the edges and has been neatly reinserted on a tab, no loss of text or of the image on verso, some thumbing to lower corners, occasional damp staining, light soiling, 2 facing pages have large light ink smudges, all still easily legible, 2 small ink blots on 1 page with loss of a few letters, small pink stain to 1 page obscuring a few words, a few brief early ink notes, one crossed through, pale underlining to a few pages, a couple of woodcuts have a name or a word written on the background, small drawing in blank area of the Aeneid title page, crossed out, small hole in 1 leaf with loss of about 4 words, small closed tear to 4 margins, 1 just affecting text without loss, 120 mm (4¾ inch) closed tear to text on 1 leaf, carefully repaired with archival tape in blank spaces, no loss, 1 leaf torn across lower corner 60 mm (2½ inches) from tip affecting woodcut on recto with old paper repair to margin and archival tape repair to tear on verso, no loss of text, 1 tiny graze to image, final page is reinserted neatly on a tab, very slight loss to inner edge of ruled frame to image, page slightly creased and lightly browned, with some scribble on blank verso. Binding tight and firm. A good sturdy copy of a scarce profusely and splendidly illustrated post incunabula (lacking first title page, 1 prelim and 10 leaves at the end as noted). The ten final leaves contained a continuation of Virgil's story in Latin verse (13th book) by Maffeo Vegio a celebrated Italian poet who composed in Latin. His poem, completed in 1498, describes Aeneas's marriage to Lavinia and his eventual deification and contained 8 further woodcuts by the same artist. The wonderful illustrations were designed for the Strasburg printer Johann Gruninger who published his edition of Vergil in 1502 edited by Sebastian Brant. The woodcuts depict 15th century life: in the first part rural and pastoral life and farming, in the second magical voyages and adventures, with monsters and mermaids, 15th century battles, ships, hunting, feasts, music making and a great many of them show medieval towns as backdrops with houses, castles and palaces in great detail. They were used in a 1515 Strasburg printing of a German translation and then the blocks passed to Saccon in Lyon. Some of them in our edition show signs of wear and a few had split and been rejoined, but the majority are bright and undamaged. This is the first Lyons edition of Virgil edited by Josse Badius (1462 - 1535) the humanist scholar and pioneer of the printing industry, his commentary was first published in Paris in 1500 - 1501. See Harvard, French 16th Century Books, Volume II, No. 537; A Catalogue of Printed Books in the Wellcome Historical Medical Library Volume 1, page 347 No.6552; Adams, Books Printed in Europe 1501 - 1600, Volume II, No. V468. Adams cites a copy in the Fitzwilliam Museum Cambridge also lacking the last ten leaves. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        (Opera)

      Venetiis, in aedibus Aldi et Andreae soceri, mense Novembri, 1517. 1517 In 8°, 107 carte numerate, più una con l'ancora aldina al verso. Unica edizione aldina delle opere di Ausonio. Dedica del curatore Hieronimus Avancius al cardinale Marco Cornelio. Qualche leggera macchia al margine esterno delle prime carte, che non tocca il testo. Per il resto, ottimo esemplare con margini più che accettabili. Legatura novecentesca in mezza pergamena. (Renouard, 80, 7; Adams, A 2287).

      [Bookseller: Studio Bibliografico Marisa Meroni]
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        "Wie Tewrdanckh durch anweisung Onfalo sich an seim aigen Schwert beschedigt solt haben an einem schwein geieid." Altkolorierter Holzschnitt aus dem Theuerdank, einem der künstlerisch ambitionierten Buchprojekte Kaiser Maximilians. Gedruckt in Nürnberg von Johann Schönsperger d. Ä. im Jahre 1517. 16:14 cm. Die volle Buchseite (31,5:20 cm) wurde bereits im eingebundenen Zustand mit minimalem Verlust des Federspiels der Schrift beschnitten. Außer einer minimalen Bräunung im Bereich der Schnitte, ein schönes, kräftig gedrucktes Exemplar, mit rückseitigem Text. - Im Passepartout.

      Nürnberg: Schönsperger, 1517. Der Theuerdank besticht nicht nur durch seine über hundert prachtvollen Holzschnitte von Jost de Negker nach den Vorzeichnungen von Hans Schäufelin, Hans Burgkmair und Leonhard Beck, sondern auch durch die eigens entworfene, sogenannte Theuerdank-Schrifttype. Die Abbildung zeigt Kaiser Maximilian bei der Wildschweinjagd, bei welcher er auf glattem Untergrund ausrutscht, sein Schwert verliert und sich beinahe an demselben verletzt..

      [Bookseller: Nürnberger Buch- und Kunstantiquariat]
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        THESAURUS AROMATARIORUM. THESAURUS AROMATARIORUM MEDICIS ATQUE AROMATARIJS OMNIBUS EQUE VTILIS. AC NECESSARIUS RECENS SINGULARI DILIGENTIA RECOGNITUS ADQUE CASTIGATISSIME IMPRESSUS

      [In fine:] IMPRESSUM VENETIJS PER DNM LUCANTONIUM DE GIUNTA FLORENTINUM, 1517 DIE 15 APRILISITALIANO Legatura da pagina di corale cinquecentesco; ex - libris Piergiorgio Borio. [1] 2 - 38 cc. Timbro di possesso di biblioteca privata sul frontespizio e in fine. Carattere gotico su due colonne, iniziali xilografiche ornate, note di mano antica sul margine di alcune carte. Si tratta di un antidotario privato, nel quale si raccolgono solo i composti pur presentando elementi di novità: medicine di preparazione esclusivamente chimica, note di farmacognosia botanica locale, grande preoccupazione per la pratica d'officina, estesa alla confezione di molte specialità dolciarie. Le ripetute edizioni indicano quanto quest'opera di un vero speziale fosse apprezzata e usata giornalmente come strumento di lavoro. Ottimo esemplare.

      [Bookseller: Libreria Antiquaria Il Cartiglio di R. C]
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        ORTUS SANITATIS DE HERBIS ET PLANTIS. DE ANIMALIBUS ET REPTILIBUS. DE AVIBUS ET VOLATILIBUS. DE PISCIBUS ET NATABILIBUS. DE LAPIDIBUS ET IN TERRE VENIS NASCENTIBUS. ORINIS ET EARUM SPECIEBUS. TABULA MEDICINALIS CUM DIRECTORIO GENERALI PER OMNES TRACTATUS

      STRASSBURG, RENATUS BECK, ANNO 1517ITALIANO Legatura coeva in piena pergamena, titolo su tassello recente in oro al dorso; 3 ex - libris: Tho Woodward e 2 Piergiorgio Borio. [356] ff., titolo in rosso e nero con bordo xilografico disegnato da Urs Graf. Titolo di altri trattati al recto del foglio I2, al verso xilografia a piena pagina di Homo Natus de Muliere Brevi Vivens Tempore. Rara edizione stampata a Strasburgo di questa enciclopedia monumentale del mondo naturale e delle sue risorse medicinali contenente un'indagine dettagliata del mondo vegetale e animale allora conosciuto. L'Hortus Sanitatis è la più grande compilazione medievale di storia naturale. L'opera descrive sia le piante che gli animali, i pesci, gli uccelli, le pietre e i minerali, con indici dettagliati. Derivato in parte dagli erbari manoscritti medievali, l'Hortus Sanitatis è "forse il più importante libro medico stampato prima del 1500" (Hunt I, 12), soprattutto perché conteneva ampie descrizioni sull'impiego medico. Esemplare fresco e marginoso, con le illustrazioni in bella inchiostratura.

      [Bookseller: Libreria Antiquaria Il Cartiglio di R. C]
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        BRITANNIAE UTRIUSQUE REGUM ET PRINCIPUM ORIGO

      Paris J. Badius Ascenius, 1517.. Paris J. Badius Ascenius, 1517.. SECOND EDITION 1517, edited by Ivo Cavellatus. Latin text, small 4to, approximately 190 x 135 mm, 7½ x 5¼ inches, leaves: [8], 1-101, numbered on rectos only. Woodcut printer's device on title-page: vignette of printing shop, depicting the operation of a hand-press by three printers. The block has a double-line border. On the press itself is the imprint 'Prelu[m] Asce[n]sianu[m]', and below the press are the initials and printer's mark of J. Badius. Name of printer from title statement; date of publication from colophon, Io. Badius Ascensius lectori sa. ... Ex aedibus nostris iteru[m] ad Idus Septe[m]b. anni. MDXVII. Signatures: AA8, A-M8, N6 [N6 blank]. Woodcut coat of arms held by angel on signature AA8v. Woodcut floral and foliate crible initials, side-notes, index at the front. Old calf, red title label with gilt lettering and gilt decoration to spine between raised bands, new endpapers. Binding rubbed and scuffed, hinges just beginning to crack at head and tail of spine, head of spine scuffed with slight loss of surface leather, title page has ink stamped intials AR in 2 places plus neat old ink notes, small repairs to top and bottom corner tips, fore-edge of title page has old repairs, following page has a pale ink stamp of a coat of arms in the outer margin, occasional neat old ink marginal notes and underlining, some pale staining to some pages, Folio xvii which is slightly trimmed at outer edges is affected by pale staining which matches the staining on the following pages, which indicates that the page is not from a smaller copy. Also the fore-edge has clearly been trimmed with scissors and the top edge is not horizontal as it would be on an inserted page. Last 13 leaves have a brown stain to tips of top and lower corners, also slightly affecting fore-edge of last 6 leaves, occasional brown spot or mark, otherwise a very good copy. Geoffrey of Monmouth (c. 1100 – c. 1155) was a cleric and one of the major figures in the development of British historiography and the popularity of tales of King Arthur. He is best known for his chronicle Historia Regum Britanniae ("History of the Kings of Britain"), which was widely popular in its day and well into the 16th century. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Le grand voyage de Jherusalem divise en deux parties. Übersetzt von Nicole Huen. Zweite Ausgabe dieser französischen Übersetzung und Bearbeitung. 2 Teile in 1 Band.

      Paris, F. Regnault, 12. X. 1517. - 197 (recte 213) num. Bl. (ohne die 4 nn. Bl. Vorsstücke inkl. Titel und num Bl. 193 = 212 statt 217 Bl.). Mit Druckermarke (Elefant) auf dem Zwischentitel und 51 Holzschnitten (ohne die 2 Tafeln mit Jerusalemansichten). 4°. HLeder um 1880 mit Rückentitel und etwas -vergoldung (Bourbonen-Lilien), marmorierter Schnitt. Gering berieben; am Rücken schwach verblaßt; Vorsatz mit Exlibris und eingeklebten Katalogausrissen (um 1885-1900); am Kopf knapp beschnitten; teils gebräunt und fleckig; teils wasserrandig; auf fol. 109 und 110 mit alten Glossen. Lagen p (1-4) und pp (1-4) sowie fol. 179 (= H1) auf gelblichen Papier (vgl. Abbildung), ansonsten haptische (Papierstärke und Qualität) und akustische Eigenschaften (klanghart) ebenso identisch wie die Querrasterung (27 mm) - möglicherweise sind bei der Neubindung hier 2 Exemplare zusammengeführt worden. Im ersten Teil enthalten ist die Übersetzung von Breydenbachs "Peregrinatio" (zuerst 1486) mit seinen "realistische Beschreibungen des Fernen und Nahen Ostens" (Steinberg, S. 55), darunter neben Jerusalem und Palästina auch Sinai, Kairo und Alexandria; der zweite Teil, der in dieser Edition hinzukam, enthält außer anonymen Schriften Texte von Vincent de Beauvais, Sébastien Mamerot, Giovanni Rotta und Antonio Francazano de Montalboddo. Die Holzschnitte wurden vermutlich aus früheren Inkunabel-Drucken übernommen und stammen wohl von Erhard Reeuwich (aus Utrecht; seit 1484 in Mainz als Drucker tätig), der Breydenbach 1483 auf seiner Reise begleitete. "Durch Naturtreue u. Sicherheit des Schnittes nehmen diese Blätter in der zeitgenöss. Holzschneidekunst eine besondere Stellung ein" (Thieme/Becker 28, 80); die erste frz. Übersetzung des Verlegers N. Huen (1488), der aufgrund und mit Hilfe eigener Anschauungen den Text einer gründlichen Revision unterzog, erhielten dagegen eigenständige Illustrationen (das erste autochthon in Frankreich illustrierte Buch), auch in der kurz zuvor in Deutschland und Italien erfundenen Technik des Kupferstiches. Das Werk des Mainzer Canonicus Bernhard von Breydenbach war außerordentlich erfolgreich (zeitnahe Übersetzungen ins Deutsche, Niederländische, Französische und Spanische), da es gleichzeitig die Bedürfnisse eines Pilgerführers, eines Reisehandbuches und einer geographischen Beschreibung erfüllte, so bringt er z. B. die Alphabete in Türkisch, Arabisch, Hebräisch, Chaldäisch und läßt sich als Kirchenmann aus über Sektierertum sowie den Islam ("Erreurs du faulx seducteur Machomet" fol. 20-55). BM STC 261; kein weiteres Exemplar dieser Edition im KVK (Stand April 2014). FR

      [Bookseller: Antiquariat am Moritzberg]
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        OPERA VERGILIANA DOCTE & FAMILIARITER EXPOSITA:

      Lyon, printed by J. Sacon (Sachon), 1517.. Lyon, printed by J. Sacon (Sachon), 1517.. docte quide[m] Bucolica & Georgica a Servio Donato Mancinello & Probo nuper addito: cum adnotationib[us] Beroaldinis. Aeneis vero ab ijsde[m] praeter Mancinellum & Probu[m] & ab Augustino Datho in eius principio: opusculoru[m] praeterea q[uae]da[m] ab Domitio Calderino. Familiariter vero o[mn]ia ta[m] opera q[uam] opuscula ab Iodoco Badio Ascensio. ... Expolitissimis figuris & imaginibus illustrata. ... Date and imprint from colophon of first part, Lyon, printed by J. Sacon (Sachon), 1517. Latin text, folio bound in eights, approximately 315 x 215 mm, 12½ x 8½ inches, 2 parts in one, TITLE PAGE TO PART ONE LACKING, the title to the second part is present printed red and black with 4 part architectural pictorial border, "Aeneis Vergiliana", 199 of 207 superb large woodcuts in the text, 1 only is 60 x 65 mm (2¼ x 2½ inches), the rest range from 120 x 165 mm to 215 x 170 mm (4¾ x 6¼ inches to 8½ x 6¼ inches), decorated initials, text in roman letter, leaves: (8 of 10), CCV; (8), CCCXXIIII of CCCXXXIIII, collation: †10 (-†1 & 2), a-z, aa-bb8, cc6 (-cc6); ††8, A-Z, AA-QQ8, RR-SS6, TT10 (TT1-10), in part I leaf †2 was a full page woodcut, cc6 was a blank, SIGNATURE TT LACKING after the end of the Aeneid and contained the 13th book by Maffeo Vegio (see below), LEAF TT10 had the second colophon: "excussit Iacobus Sacon, impensas Ciriacus Hochperg, 1517". Bound in full modern calf with blind stamped decoration to covers, maroon gilt lettered label, new endpapers. 2 early armorial bookplates on original endpaper, that of Henry Mere Ormerod (19th cent.) on second original endpaper together with his gift inscription to his son George in 1868, this is followed by 2 inserted sheets, 1 with bibliographical notes on the book by George Ormerod, the other with an attempt in manuscript at the title and imprint of our book, inscription at top of dedication page (†3), slightly ragged at tip of lower corner and with a small chip to the inner margin, 2 corrections to index of first part, the final prelim (†10) is damaged along the edges and has been neatly reinserted on a tab, no loss of text or of the image on verso, some thumbing to lower corners, occasional damp staining, light soiling, 2 facing pages have large light ink smudges, all still easily legible, 2 small ink blots on 1 page with loss of a few letters, small pink stain to 1 page obscuring a few words, a few brief early ink notes, one crossed through, pale underlining to a few pages, a couple of woodcuts have a name or a word written on the background, small drawing in blank area of the Aeneid title page, crossed out, small hole in 1 leaf with loss of about 4 words, small closed tear to 4 margins, 1 just affecting text without loss, 120 mm (4¾ inch) closed tear to text on 1 leaf, carefully repaired with archival tape in blank spaces, no loss, 1 leaf torn across lower corner 60 mm (2½ inches) from tip affecting woodcut on recto with old paper repair to margin and archival tape repair to tear on verso, no loss of text, 1 tiny graze to image, final page is reinserted neatly on a tab, very slight loss to inner edge of ruled frame to image, page slightly creased and lightly browned, with some scribble on blank verso. Binding tight and firm. A good sturdy copy of a scarce profusely and splendidly illustrated post incunabula (lacking first title page, 1 prelim and 10 leaves at the end as noted). The ten final leaves contained a continuation of Virgil's story in Latin verse (13th book) by Maffeo Vegio a celebrated Italian poet who composed in Latin. His poem, completed in 1498, describes Aeneas's marriage to Lavinia and his eventual deification and contained 8 further woodcuts by the same artist. The wonderful illustrations were designed for the Strasburg printer Johann Gruninger who published his edition of Vergil in 1502 edited by Sebastian Brant. The woodcuts depict 15th century life: in the first part rural and pastoral life and farming, in the second magical voyages and adventures, with monsters and mermaids, 15th century battles, ships, hunting, feasts, music making and a great many of them show medieval towns as backdrops with houses, castles and palaces in great detail. They were used in a 1515 Strasburg printing of a German translation and then the blocks passed to Saccon in Lyon. Some of them in our edition show signs of wear and a few had split and been rejoined, but the majority are bright and undamaged. This is the first Lyons edition of Virgil edited by Josse Badius (1462-1535) the humanist scholar and pioneer of the printing industry, his commentary was first published in Paris in 1500-1501. See Harvard, French 16th Century Books, Volume II, No. 537; A Catalogue of Printed Books in the Wellcome Historical Medical Library Volume 1, page 347 No.6552; Adams, Books Printed in Europe 1501-1600, Volume II, No. V468. Adams cites a copy in the Fitzwilliam Museum Cambridge also lacking the last ten leaves. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Zwei Einzelblätter aus einer Koranhandschrift. Wohl Mamlukisch.

      Vielleicht Kairo oder Damaskus, 15. Jh.. Mit je einem goldgehöhten Dschus-Zeichen und mehreren goldgehöhten Verstrennern. Schrift in schwarz mit einzelnen roten Rezitationszeichen. 7 Zeilen. Zusammen unter Passepartout. Je 25 x 17,8 cm.. Dekorative Blätter mit großer Schrift im Muhaqqaq-Duktus in sehr schöner, qualitätvoller Kalligraphie. Das relativ dicke, leicht geglättete Papier spricht für eine Entstehung im 15. Jahrhundert, wahrscheinlich in einer Kapitale der mamlukischen Provinzen wie Kairo oder Damaskus unter der Burdschiyya-Dynastie (1382-1517). - Blätter nicht aufeinanderfolgend mit unterschiedlichen Surentexten: rechts Sure 26 (al-Shuara), Verse 206-14, Rückseite wohl Verse 199-205, links Sure 27 (an-Naml), ab Vers 9, Vorder- und Rückseite. - Ränder abgegriffen, gebräunt und fingerfleckig sowie mit kleinen Läsuren. Aus der Sammlung des Schweizer Industriellen Herry W. Schaefer.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Theuerdank. Blatt mit Holzschnitt 72: "Abermalen leyd der Edel Tewrdannckh ein grosse wasser not durch einen graussamen sturm windt" (Theuerdank bei Sturm und Hagelschauer auf dem Meer bei Seeland).

      Augsburg, Schönsperger, 1517.. Original-Pergamentblatt (24,4 x 37,2 cm) der Theuerdank-Erstausgabe von 1517 in der frühen Frakturschrift mit einem Holzschnitt (13,9 x 15,8 cm) von Hans Leonhard Schäufelein. Frisches Blatt mit sauberen und kräftigen Abdruck.. Das Blatt stammt aus einem der 40 seltenen Fürstenexemplare auf Pergament von 1517. Der Druck des Theuerdank ist das buchkünstlerische Meisterwerk des XVI. Jahrhunderts in Deutschland. Die Papierauflage des Werkes in einer Höhe von 300 Exemplaren, wurde von wenigen Ausnahmen abgesehen, erst 1526, nach dem Tode Maximilians, durch Erzherzog Ferdinand einem ausgewählten Personenkreis zum Geschenk übergeben. Im Mittelpunkt der Geschichten des Theuerdank mit dem bekannten Schema, der "allten heldenpücher", steht als handelnde Person (Kaiser Maximilian). Begleitet von seinem treuen Diener Ernhold, der aber nur in ganz wenigen Fällen selbsthandelnd auftritt, macht er sich auf den Weg, die ihm bestimmte Gemahlin, Ernreich (Maria von Burgund) , zu gewinnen, wobei ihm der Teufel mit seinen Dienstmannen Fürwittig, Unfalo und Neidelhart allerlei Schwierigkeiten bereitet. Aber Dank seiner richterlichen Tugenden und mit Gottes Hilfe vermag der Held sie zu überwinden, bis es ihm schließlich gelingt, die ihm zugedachte Braut zu erringen. (Engels In: Kaiser Maximilians Theuerdank 1968, 5) Das Verfahren des typographischen Kunstwerkes mit seinen einmaligen Schnörkelbuchstaben wurde zum damaligen Zeitpunkt geheimgehalten. Dies bezog sich nicht nur auf die Benutzung der Kanzleischrift, sondern auch auf die Technik des Druckvorganges. Bis heute ist das Druckverfahren nicht eindeutig geklärt und deshalb weiterhin geheimnisumwittert. Am 17. Dezember 1508 ernannte Kaiser Maximilian Hans Schönsperger d. Ä. in Augsburg zum kaiserlichen Buchdrucker auf Lebenszeit. Von diesem Zeitpunkt übernahm die Druckerei die Reihe der kaiserlichen Publikationen, beginnend mit dem Gebetbuch, für die der Kaiser als Verleger zeichnete. (Geck In: Kaiser Maximilans Theuerdank, 23ff.) Einer der bedeutsamen Mitarbeiter am "Theuerdank" war der Holzschneider Hans Leonhard Schäufelein, der eigentlich Scheifelin hieß und in Augsburg und Nördlingen tätig war. Seine Holzschnitte zum Theuerdank hat er wohl bereits 1512 abgeliefert. Sie fallen in eine Zeit, als er seinen eigenen Stil zum Höhepunkt ausgebaut hatte. (vgl. Hiersemann VD 16, M 1650/1; Janzin: "Das Buch vom Buch", Seite 191; H. Musper: Die Holzschnitte im Theuerdank In: Maximilians Theuerdank, 1968, Band II, 13ff.; Appuhn, Horst: Theuerdank "Die Bibliophilen Taschenbücher" S. 618).

      [Bookseller: Versandantiquariat Christine Laist]
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        [ Der heiligen Leben ] Der Hochen vntailbarlichen Tryfaltikayt zu lob Marie wirdigsten Junckfrawen vn müter vnsers herren Jesu Christi zueren vnd allen hayligen vnd den Christnmenschen zu hayl ... der hayligen lebn ... das Summertayl. Beigebunden: Das Passional oder der Hayligen Leben .... Winterteil, Augsburg 1518,

      [Augsburg] Augspurg: Miller, 1517.. Bll. 25 - 148(XXV - CXLVIII) Bll. + 1 Bl. Registerl./ beigeb.: Bll.: 1 - 155 (I - CLV)[von 172 Bll.] ca. 25 Bll. mit teilweisem Textverlust, handwerklich sauber, aber nicht hochwertig restauriert. (wahrscheinlich erst in der. 2. Hälfte des 20. Jh.) Bei der neuen Bindung Bll. teilweise oben kapp beschnitten, ohne Textverlust im Blocksatz. Bll. teilw. altersbed. fleckig. Mit 215 Holzschnitten im Text (ca. 8,5 x 8,5 cm) 27 x 18 cm Blattgröße in Halbleinenband des 20. Jh.. [VD16 H 1479]

      [Bookseller: Antiquariat Redivivus Reinhard Hanausch]
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        Ars Magna, generalis et ultima: quaru(m)cun & artium et scientiarum ipsius Lull.

      (Lyon, Jacob Marechal für Simon Vincent 5. V. 1517).. 8°. 4 Bll., CXXIV num. Bll. Mit Titelvign., Druckermarke, 10 Diagrammen (dav. 3 ganzseit., 2 auf einer gefalt. Taf.) in Holzschn. sowie zahlr. ornament. Initialen. Zweispaltiger Druck. Titel in Rot u. Schwarz. Marmor. Pbd. d. 18. Jhdts. m. goldgepr. Rückensch.. Graesse IV, 295; Cat. generale...Bibl. Nationale CI, 836f.; Adams L, 1697; Palau 143693; Duveen, Suppl. 236; Panzer VII, 318, 349 - Dritte Ausgabe, erste v. Bern. de la Vinhetta herausg. "Lull's most famous work on logics. He here develops a method which, as he believed, would enable one to evidence the essential unity of science, and to attain encyclopedic and certain knowledge from above alost automatically." (Duveen) - R. Lull (ca. 1232 - 1315) katalan. Dichter, Theologe, Missionar, Philosoph wurde wegen seines enzyklopäd. Werks - so auch hier - "Doctor illuminatus" bezeichnet. Er lehrte in Paris u. Montpellier. Ab 1263 versuchte er die alleinige Wahrheit der christl. Lehre zu beweisen um vor allem die arabische Welt zu missionieren. Nach seiner Auffassung muß der Glaube durch den Verstand unterstützt werden, der die Glaubenswahrheiten aus den Prinzipien einer christl. Universalwissenschaft, der "Ars Magna" od. "Ars generalis", so der vorlieg. Titel seines Hauptwerkes, ableitet.

      [Bookseller: Antiquariat Burgverlag]
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        Opus aureum ac preclarum: de recenti memoria in lucem traditum: signa causas et curas febrium complectens scilicet autorum intentiones in hac pagina notatorum: Marsilii de Sancta Sophia ... Galeatii de Sancta Sophia .... Ricardi Parisiensis ... Anthonii Gradis ... Christophori Barsisii Pergomensis. Titelblatt in rotem Druck.

      Lugdunum [Lyon]: ohne Drucker 1517.. 4 Blatt, 276 Blatt. Lyoner Ganzledereinband aus der 2. Hälfte des 16. Jahrhunderts auf drei Bünden mit dezenter Deckelvergoldung, 21,1 x 14,6 cm.. (Rücken mit Fehlstellen, beschabt und bestossen, Schließbänder und Beschläge fehlen, alte Besitzeinträge, zahlreiche Marginalien von zeitgenössischer Hand, teils wurmspurig mit kleinem Buchstabenverlust, durchgängig wasser-wellig und -fleckig, gegen Ende stärker und dort auch sporfleckig, insgesamt passabel erhalten). - Der Band wurde von Michael de Capella herausgegeben und versammelt Texte zu den verschiedenen Arten des Fiebers und seiner Behandlung. Dabei wurde seinerzeit der Begriff "Fieber" umfassender benutzt als heute. Er bezog sich nicht nur auf erhöhte Körpertemparatur, sondern auf allerlei Störungen der normalen Körperfunktionen. Die Bedeutung der Textsammlung wird u.a. dadurch hervorgehoben, daß sie in jüngster Zeit nachgedruckt wurde. Die Texte stammen von den folgenden vier Ärzten: 1.: Marsilius de Sancta Sophia, geboren in Padua, gestorben un 1405 in Bologna, tätig als Arzt und Professor in Padua und Bologna. - 2.: Ricardus Parisiensis, Studium in Oxford und Paris, gestorben 1252. - 3.: Antonio de Gradi, geboren in Grado, promoviert 1468, Arzt in Mailand. - 4.: Galeazzo di Santa Sophia, Professor der Medizin in Padua, gestorben 1427 in Bologna. - Durling 2972.

      [Bookseller: Versandantiquariat Bürck]
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        Bulla Co[n]cordie inter Ministru[m] Generale[m] totius Ordinis sancti Francisci et Magistrum generalem Fratru[m] Co[n]ve[n]tualium eiusde[m] ordinis.

      [Rom, um 1517].. (10) SS. (d. l. w.). Mit großem Titelholzschnitt und kl. Wappenholzschnitt am Beginn des Textes. Pappband. 4to.. Einzige nachgewiesene Ausgabe. Die am 5. Juni 1517 erlassene päpstliche Bulle sollte die Eintracht im Franziskanerorden wiederherstellen, nachdem die eben erst am 19. Mai des Jahres erlassene Bulle "Ite et vos" die durch den Armutsstreit entstandene Trennung zwischen Franziskanern (Observaten) und Minoriten (Konventualen) juristisch besiegelt hatte. - "Stampata presumibilmente a Roma. La data si ricava dal datum" (Edit 16). Titel mit größerem, alt restauriertem Einriß. Der Titelholzschnitt zeigt den die Stigmata empfangenden Hl. Franziskus, der Holzschnitt auf Bl. Aii recto das Wappen des Papstes Leo X. - Edit 16, CNCE 43761. Nicht bei Adams oder BM-STC Italian.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Bulla S. D. N. Leonis pp. X. Pontificis Maximi impositionis unius integre decime omnium & singulo[rum] fructuu[m] reddituu[m] & proventuu[m] secundum verum valorem annuu[m] omnium provinciarum, civitatu[m] & terra[rum] Romanae ecclesie mediate vel imediate subiecta[rum] ac Alme Urbis & Roman. Curie officio[rum] patriarchalium [...].

      [Rom, Giacomo Mazzocchi], (1517).. 12 unnum. SS. (A6). Mit Holzschnittvignette (Papstwappen Leo X.) am Titel. Geheftet. 4to.. Bulle "Etsi ad amplianda ecclesiarum omnium commoda", am 21. Juli 1517 von Papst Leo X. auf dem 5. Laterankonzil erlassen. Gezeichnet "Bembus. | Tho. de binis", darunter für die Veröffentlichung abgezeichnet vom apostolischen Kanzler Michael de Beylleyo. - Selten; nur 2 Ex. in Bibliotheken nachgewiesen (Biblioteca Casanatense, Rom und BN Marciana, Venedig). BSB und SB Bamberg verzeichnen eine andere Ausgabe mit bloß 10 SS. - Edit 16, CNCE 54615. Ascarelli (Annali tip. di Mazzocchi) 110, 112. Nicht bei Adams oder BM-STC Italian.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Die geuerlicheiten und einsteils der geschichten des loblichen streytparen und hochberümbten helds und Ritters herr Tewrdanncks.

      [Nürnberg (d. i. Augsburg)], J. Schönsperger d. Ä., 1517.. 281 (statt 290) Bll. Mit 118 (dav. 109 kol.) Holzschnitten von L. Beck (77), H. L. Schäufelein (20), H. Burgkmair (13), J. Breu, W. Traut u. a. Blindgepr. Lederband der Zeit über Holzdeckeln mit 2 Metallschließen. Folio.. Erste Ausgabe. Das wohl schönste Holzschnittbuch der deutschen Frührenaissance. Unter Mitwirkung der bedeutendsten Künstler der Zeit und mit einer eigens geschaffenen, kunstvoll elaborierten Type gedruckt, diente die gesamte erste Auflage als Privatdruck zu Dedikationszwecken. Dargestellt wird die Brautwerbung Kaiser Maximilians I. um Maria von Burgund (1477), stilisiert zu einem allegorischen Heldenroman. Der Text entstand nach Entwürfen Maximilians und wurde von Pfintzing in Zusammenarbeit mit den kaiserlichen Sekretären Marx Treitzsaurwein und Siegmund von Dietrichstein abgefaßt. Neben der prachtvollen künstlerischen Ausstattung macht die Einführung der Fraktur den "Theuerdank" zu einem herausragenden Dokument der Druckgeschichte. - Es fehlen das Bl. P5 (weiß) und die letzten 8 Bll. (mit Dedikation, Registern und Druckvermerk); der gestempelte Titel ist vermutlich aus einem anderen Exemplar ergänzt. Ebenfalls aus einem anderen, unkolorierten und schmalrandigen Exemplar stammen 14 breit angeränderte Bll. (die in den Rand auslaufenden Schnörkel teils abgeschnitten): k4-5, l7, m2, m6, s5-7, y5-7, z6, B2 und G2. Bl. Bl. N4 stark angeschmutzt; ca. 10 Bll. mit größeren, teilweise ausgebesserten Randdefekten, davon einige bis in die Schriftausläufer reichend, teils angerändert oder hinterlegt. Gering gebräunt, vor allem im unteren Rand stärker fingerfleckig und mit leichten Feuchtigkeits- und Gebrauchsspuren. Einband etwas beschabt und bestoßen; Rücken und Vorsätze erneuert. - VD 16, M 1649. Adams P 962. Proctor 11180. Fairfax Murray 329. Muther 845. Dodgson I, 254, 419, 504 und II, 7, 58, 109, 123, 147 und 198.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        De arte cabalistica libri tres Leoni X. dicati.

      (Hagenau, Thomas Anshelm, März 1517).. (4), LXXIX, (1) Bll. (Beigebunden) II: Ders. Liber de verbo mirifico. (Tübingen, Thomas Anshelm, 1. VIII. 1514). (61) Bll. (ohne das l. w. Bl.). Mod. dunkelroter Lederband auf 5 Bünden mit Deckelblindprägung und Rückentitel. Dreiseitiger Rotschnitt. Folio.. Sehr seltene erste Ausgabe des philosophisch-kabbalistischen Hauptwerks Reuchlins. Im Gespräch zwischen dem Juden Simon, dem Muslim Marranus und dem Pythagoreer Philolaus, das zu Frankfurt am Main, Simons Wohnsitz, stattfindet, geht es Reuchlin um eine Harmonisierung der Kabbala mit dem Christentum (daher auch die Widmung an Papst Leo. X. - vgl. ausf. M. Brod, J. Reuchlin und sein Kampf [1965], S. 271-311). Auf der Titelrückseite ein Privileg Kaiser Maximilians für die hebräischen, griechischen und lateinischen Erstdrucke Anshelms unter besonderer Berücksichtigung seiner editorischen Verdienste. Dieses Privileg gehört zu den frühesten seiner Art und ist ein buchhandelsgeschichtliches Dokument von hohem Rang (vgl. Schottenloher, Die Druckprivilegien des 16. Jhs., im GbJ 1933). - II: Zweite Ausgabe dieses Gesprächsbuches, in dem die Kabbala ebenfalls breiten Raum einnimmt. "Beide Werke auf dem Index, Rom 1770, [De verbo mirifico] auch schon auf dem Index Lugdunum 1586" (Scholem, S. 127). In diesen typographisch meisterhaften Drucken Anshelms, der zu den bedeutendsten Humanisten-Druckern zählt, sind viele Stellen in hebräischen und griechischen Typen gedruckt. - Titel von I ringsum breit angerändert, jedoch ohne Berührung des Druckspiegels recto oder verso; alter Stempel gelöscht (kl. Durchschlag auf Versoseite). Kl. Papierdurchbrüche fachmännisch restauriert; durchgehend braun- bzw. wasserfleckig (gegen Ende stärker). Zahlr. zeitgenöss. Humanistenmarginalien von versch. Händen (in lat. und hebr., gelegentlich auch in griech. Sprache). Hübscher blindgeprägter Lederband des 20. Jhs. im Renaissancestil mit dreifachem Rahmen aus Streicheisenlinien, diagonal kreuzförmig geteiltem Mittelfeld und Einzelstempeln (Fleurs-de-lis im Rhombus und Greif im Rund). - I: VD 16, R 1235. Adams R 381. BM-STC German 732. Panzer VII, 83, 126. Scholem 938. Goedeke I, 416, 20. Caillet 9333. Burg (Hagenau) 395. Benzing (Hagenau) 15. Benzing (Reuchlin) 99. Geiger 185, Anm. 4. - II: VD 16, R 1301. Adams R 385. Panzer VIII, 325, 30. Scholem 937. Goedeke I, 414, 3b. Caillet 9333. Benzing (Reuchlin) 24. Steiff 58. Vgl. Geiger 179. Nicht im BM-STC German.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        De Herbis et Plantis. De Animalibus et Reptilibus. De Avibus et Volatilibus. De Piscibus et Natatilibus. De Lapidibus et in terre venis nascentibus. De Urinis et earum speciebus. Tabula medicinalis cum Directorio generali per omnes tractatus..

      1517. [Strassburg, Reinhard Beck], 1517. Folio (303 x 202 mm), ff [356], with figurative woodcut title border with putti and monkeys climbing a grape arbour with blank shield below, title printed in red and black, title to second part (K1 recto) with four woodcuts, full-page skeleton cut on verso, small cut of woman and physician holding a urine flask on Gg1 recto, and 1066 woodcut illustrations in the text, a few minor tears repaired, some occasional staining, vellum index tabs, a very attractive copy in contemporary German binding of oak boards, remains of clasps and part of a stud for a chained binding, bosses removed, half blind-stamped calf with fleurons, crowned eagle, fleurs-de-lys, and initials S.S. in blind, rebacked. Sixth edition (first 1491), and the fourth Strassburg edition (first 1496), being an almost unaltered page-for-page reprint of the three earlier Prüss editions, Beck having inherited Prüss's printing house. A few of the woodcuts are new, and a few were recut as the originals were damaged. The 'Hortus sanitatis', in its many editions and translations was the most popular and influential herbal of its time, and served as an encyclopaedia of the plant, animal, and mineral kingdoms and the medical applications of their products. This edition was the prototype for all subsequent editions. 'Prüss was the man who really profited by the edition of the Latin Hortus (Meydenbach could not issue a second edition); for his editions are printed with wide economy of paper... by the use of 55 lines to the column and a smaller type... The text cuts are copied from those of Meydenbach, but sometimes several of them are used twice, if similar figures were involved. The most interesting of the new cuts are some of the genre pictures (especially those to the parts on zoology and mineralogy), for the draughtsman worked on these more individually with regard to the costumes, which represent those in use in Alsace at that time. The woodcut of the human skeleton appears here for the first time in an edition of the Herbals, and was added to nearly all the following Latin, French, and also to some German editions of the Hortus up to about 1540. This skeleton picture... represents, from a graphic viewpoint, the best that was published of this kind before Vesalius. A large section of the book is devoted to zoology, 164 chapters concern land animals, 122 birds and 106 fishes. Camels are portrayed and described in chapters xxvii, xviii and xxix of the section concerning land animals, they are among the earliest portrayals of these animals. The section on birds, shows woodcuts of a falconer with several falcons, as well as several birds of prey and some other falcons. These woodcuts belong to the earliest portrayal of these animals in a printed book. Generally speaking, this edition of Prüss, and not the original edition of Meydenbach, seems to have been the model for all the later Latin editions of the Hortus and its translations into French and German' (Klebs, Early herbals). The Prüss editions were first appearance of this group of woodcuts, and became the model for all subsequent Hortus editions and vernacular versions. Many of the genre cuts derive from images on playing cards. The large woodcut of the skeleton is taken from Brunschwig's Chirurgia. The fine title border has been variously attributed to Urs Graf, Hans Wechtlin or Hans Baldung Grien. Adams H1019; Cushing H463; Durling 2469; Fairfax Murray German 195; Hunt 18; Klebs Early herbals 50; Nissen BBI 2366..

      [Bookseller: Antiquariaat Junk]
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        Libellus optatissimus cui titulus Pappa [...].

      (Basel, Adam Petri, 3. Aug. 1517).. 4 unn. Bll., 216 num. Spp., 217-257, (1) SS., l. w. Bl. Mit vierteiliger Titelbordüre in Holzschnitt von Urs Graf, Wappenholzschnitt am Titel verso sowie 1 schwarzgrundigen Holzschnittinitiale. [Vorgebunden] II: Cicero, Marcus Tullius. Epistole familiares. Cum Ascensianis introductiu[n]culis recognitis & auctis, & argumentis illustratis. Ex secunda recognitione. (Straßburg, Matthias Schürer, Jan. 1515). 208 (statt 216) röm. num. Bll. Mit Wappenholzschnitt am Titel und einigen Initialen in Holzschnitt. [Beigebunden] III: Horatius Flaccus, Quintus. Epodon liber. Eiusdem, de arte poetica. Item epistolarum libri duo. In fronte deniq[ue] libri Q. Horatii Flacci vita, per Petrum Crinitum Florentinum. (Straßburg, Matthias Schürer, Dez. 1516). 56 unnum. Bll. Mit Holzschnittdruckermarke am Schluß. Holzdeckelband der Zeit auf 3 Doppelbünden mit blindgepr. Schweinsleder-Rücken und 2 Schließen. 4to.. I: Sehr seltene und wichtige Ausgabe des Hauptwerks des Frühhumanisten Murmel(l)ius (1480-1517) aus Roermond, der lange in Münster wirkte. "Am bekanntesten wurde Murmellius' 1513 veröffentlichtes lateinisch-deutsches Übungsbuch 'Pappa puerorum', das in mehreren Ländern Anwendung fand, wie mehr als 30 Auflagen bezeugen" (NDB XVIII, 613). "Die Ausgabe Basel 1517 wurde von Gervas Sauffer veranstaltet. In seinem dem Werk vorangestellten Empfehlungsschreiben hebt er den Wert der 'Pappa' im Vergleich zu ähnlichen zeitgenössischen Schriften besonders hervor. Dem Text des Murmellius fügt er im ersten Kapitel ca. 1100 Wörter hinzu, auch die 'Oratiunculae' werden um etwa die Hälfte erweitert. Darüber hinaus hat Sauffer den niederdeutschen Text des Murmellius ins Oberdeutsche (Breisgauer Dialekt) übertragen. Die oberdeutsche Fassung wird somit zu einer sprachgeschichtlich bedeutsamen Quelle, da ihr Druck älter als die oberdeutschen Ausgaben der Lutherbibel ist" (Brüggemann/Br., Sp. 376). Das Werk ist eingeteilt in die Abschnitte "Von gott und himmelischen dingen", "Von den zeiten", "Von den vier eleme[n]ten", "Der erdem, wasseren und stetten vocabulen[n]", "Der lande[n] und der nationen und stett namen", "vo[n] de[n] specie[n] der thiere[n], "Von mancherleyen kranckheiten", "Von wolriechenden krutern oder gewurzen", "Von steinen und edelen steinen", "Vo[n] metallen", "Von ma[n]cherley dranck", "Von den bucheren" etc.; enthält auch zahlreiche deutsche Sprichwörter und Redensarten. - Die schöne signierte Titeleinfassung von Urs Graf zeigt seitlich ein nacktes Weib bzw. einen nackten, schwertumgürteten Mann auf Postamenten (Lüthi 50 b), im unteren Holzschnittelement datiert 1516; oben Petris Druckermarke. Am Schluß schwacher Wasserrand, sonst wohlerhaltenes Exemplar. - II: Seltener Nachdruck der erstmals 1502 erschienenen Rezension des Josse Bade. Ohne die Lagen l und M (Bll. 61-64 u. 205-208; Text nach Bl. 60 auf einem zwischengebundenen Blatt von zeitgenöss. Hand im Umfang von 10 Zeilen weitergeführt); die Lage m (Bll. 65-72) gelockert. Am Titel zeitgenöss. hs. Besitzvermerk des Bad Wimpfener Ordens der Hospitalbrüder des Heiligen Geistes. Die ersten Lagen etwas wurmstichig und am oberen Rand mit kl. Moderschaden (nur vereinzelt geringer Buchstabenverlust). - III. Nachdruck der Ausgabe von 1515. Am Schluss die schöne Druckermarke mit der Getreidegarbe im Wappenschild (vgl. Wendland 249). - Etwas wasserrandig, mit zahlr. zeitgenöss. hs. Marginalien (weitere Einträge von derselben Hand am letzten Bl. verso, am hinteren Vorsatz sowie am hinteren Innendeckel. Der Einband etwas wurmstichig (Vorderdeckel stärker); das Deckelleder verziert mit Jagdrolle (Schunke, Schwenke-Slg.: Jagd 19) und Einzelstempeln (Blattwerk mit Knospe: Kyriss 123, 7 sowie Spruchband "ihs": Kyriss 123, 6). Ernst Kyriss deutete die Werkstatt als Nachfolger des Tübinger Buchbinders Johannes Zoll (Kyriss Werkstatt 70); tatsächlich scheint aber doch, wie der Besitzeintrag zeigt, Ilse Schunkes umstrittene (einem Hinweis von H. Knaus folgende) Zuweisung der Werkstatt an Wimpfen am Neckar richtig zu sein. Der unbekannte, offenbar noch bis 1539 aktive Wimpfener Meister dürfte aber Teile von Zolls Stempelmaterial zur Verfügung gehabt haben. Die Jagdrolle ist lt. Schunke (Textband) "angeregt von Augsburg" (287). - Insgesamt schöner süddeutscher Schulsammelband des frühen 16. Jhs. mit einem der wichtigsten und einflußreichsten Lateinlehrbücher seiner Zeit sowie zwei seltenen Straßburger Klassikerausgaben. - I. VD 16, ZV 11254. Bernstein 2294. Brüggemann/Br. 329 (Anm.). Hieronymus, Oberrhein. Buchillustr. II, 134a (Anm.) u. 177 (Anm.). Rosenthal, Bibl. paedagogica 2460. Nicht im BM-STC German, bei Adams oder Panzer. - II. VD 16, C 3031. IA 137.564. Benzing 381. Muller II, 191, 155. Panzer VI, 74, 390 u. XI, 362, 390. Renouard II, 334, 12. Ritter, Cat. 724. Schmidt 149. Schweiger II, 157. Nicht im BM-STC German, Adams oder Ritter, Rep. - III: VD 16, H 4948 (mit H 4899 u. H 4929). Benzing 778. Muller II, 197, 206. Panzer IX, 368, 462. Schweiger II, 422. Nicht im BM-STC German, bei Adams oder Ritter (Cat. u. Rep.).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Sermones quadragesimales <qui Discipuli vulgo dici solent> Nulla intermissa die seu dominica sanctae quadragesimae usque ad vigiliam qualibet die suo proprio sermone decorata.

      Hagenau bei Heinrich Gran für Joh. Rynman von Öhringen (Oringaw) 1517 in kl.folio (26 x 20 cm).. Brillanter 2-spalt. Druck m. vielen Initialen, Titel in Schwarzdruck, Tit. -bordüre v. 4 Holzschn.-Leisten Joh. Wechtlins (abgeb. Heitz-Barack p 128 Taf. 63 = Butsch I Taf. 74 = GJ 1971 p 313), die Fußleiste enthält Rose u. Monogramm (H.G.) als Druck.-Marke. Einschl. Titel: 45 ungez. Bl (A8, B-F6, G7 -von 8=weiß/fehlt-). Paar Wurmspuren im weißen Bereich (ohne jegl. Textbeeinträchtigung), modern. gelber Ldbd mit geprägtem Rtitel, im übrigen makellos. - Vorliegendes Quadragesimale umfaßt für jeden Tag von Aschermittwoch bis Palm -Sonntag (40 Tage = quadragesimae dies) eine Musterpredigt als Anleitung für eine gute Predigt (Inhalt u. Form), dazu noch 7 weitere Predigten für die Karwoche (4 für Palmsonntag u. 3 für Karfreitag). - Diese Postinkunabel - der letzte Druck mit diesem Herolt-Text im deutschsprachigen Raum des 16. Jh. - ist lt. Butsch aaO auch dafür berühmt, daß die Titelbordüre - bei Gran seit 1514 im Gebrauch - die erste Bordüre in Deutschland mit Renaissancemotiven ist; ebenf. ist der Druck Adams - Ritter - Panzer unbekannt. - Vd 16, H 2576 - BSB-AK XVI p 234 - Benzing (Hagenau) p 36 Nr. 170 - Burg 216a - Re I Nr. 73 mit Abb. = Re Bu 8/104. - Desweiteren noch zu Johann Herolt: Buchberger IV (1932) 1000. - Zu Joh. Wechtlin (etwa 1480 - etwa 1530): Vgl. ThB XXXV 233 ff - Nagler, Monogr. II Nr. 1581 u. Lexikon XXIII 385/86 zu 'Vuechtelin' - Passavant III 327 ff..

      [Bookseller: Antiquariat Remigius]
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        OPERA VERGILIANA DOCTE & FAMILIARITER EXPOSITA:

      Lyon printed by J. Sacon Sachon 1517 - docte quide[m] Bucolica & Georgica a Servio Donato Mancinello & Probo nuper addito: cum adnotationib[us] Beroaldinis. Aeneis vero ab ijsde[m] praeter Mancinellum & Probu[m] & ab Augustino Datho in eius principio: opusculoru[m] praeterea q[uae]da[m] ab Domitio Calderino. Familiariter vero o[mn]ia ta[m] opera q[uam] opuscula ab Iodoco Badio Ascensio. . Expolitissimis figuris & imaginibus illustrata. . Date and imprint from colophon of first part, Lyon, printed by J. Sacon (Sachon), 1517. Latin text, folio bound in eights, approximately 315 x 215 mm, 12½ x 8½ inches, 2 parts in one, TITLE PAGE TO PART ONE LACKING, the title to the second part is present printed red and black with 4 part architectural pictorial border, "Aeneis Vergiliana", 199 of 207 superb large woodcuts in the text, 1 only is 60 x 65 mm (2¼ x 2½ inches), the rest range from 120 x 165 mm to 215 x 170 mm (4¾ x 6¼ inches to 8½ x 6¼ inches), decorated initials, text in roman letter, leaves: (8 of 10), CCV; (8), CCCXXIIII of CCCXXXIIII, collation: ?10 (-?1 & 2), a-z, aa-bb8, cc6 (-cc6); ??8, A-Z, AA-QQ8, RR-SS6, TT10 (TT1-10), in part I leaf ?2 was a full page woodcut, cc6 was a blank, SIGNATURE TT LACKING after the end of the Aeneid and contained the 13th book by Maffeo Vegio (see below), LEAF TT10 had the second colophon: "excussit Iacobus Sacon, impensas Ciriacus Hochperg, 1517". Bound in full antique calf with blind stamped decoration to covers, rebacked in modern leather with raised bands, preserving the earlier slightly chipped label, new marbled endpapers. A couple of faint numbers to spine, leather repairs to upper cover along fore-edge and lower edge, covers worn with some scrapes, 1 small repair with lighter leather to upper cover, corners of lower cover worn, modern armorial bookplate to front pastedown, 2 early armorial bookplates on original endpaper, that of Henry Mere Ormerod (19th cent.) on second original endpaper together with his gift inscription to his son George in 1868, this is followed by 2 inserted sheets, 1 with bibliographical notes on the book by George Ormerod, the other with an attempt in manuscript at the title and imprint of our book, inscription at top of dedication page (?3), slightly ragged at tip of lower corner and with a small chip to the inner margin, 2 corrections to index of first part, the final prelim (?10) is damaged along the edges and has been neatly reinserted on a tab, no loss of text or of the image on verso, some thumbing to lower corners, occasional damp staining, light soiling, 2 facing pages have large light ink smudges, all still easily legible, 2 small ink blots on 1 page with loss of a few letters, small pink stain to 1 page obscuring a few words, a few brief early ink notes, one crossed through, pale underlining to a few pages, a couple of woodcuts have a name or a word written on the background, small drawing in blank area of the Aeneid title page, crossed out, small hole in 1 leaf with loss of about 4 words, small closed tear to 4 margins, 1 just affecting text without loss, 120 mm (4¾ inch) closed tear to text on 1 leaf, carefully repaired with archival tape in blank spaces, no loss, 1 leaf torn across lower corner 60 mm (2½ inches) from tip affecting woodcut on recto with old paper repair to margin and archival tape repair to tear on verso, no loss of text, 1 tiny graze to image, final page is reinserted neatly on a tab, very slight loss to inner edge of ruled frame to image, page slightly creased and lightly browned, with some scribble on blank verso. Binding tight and firm. A good sturdy copy of a scarce profusely and splendidly illustrated post incunabula (lacking first title page, 1 prelim and 10 leaves at the end as noted). The ten final leaves contained a continuation of Virgil's story in Latin verse (13th book) by Maffeo Vegio a celebrated Italian poet who composed in Latin. His poem, completed in 1498, describes Aeneas's marriage to Lavinia and his eventual deification and contained 8 further woodcut [Attributes: First Edition; Hard Cover]

      [Bookseller: Roger Middleton P.B.F.A.]
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        SPECHIO DE LA FEDE

      Venetia: Stampato per Maistro Piero de Quarengis Bergomascho, 1517. Hardcover. 305 x 215 mm (12 x 8 1/2"). 155 leaves (lacking the final blank). VERY PLEASING OLIVE BROWN MOROCCO BY LEIGHTON (stamp-signed on front pastedown), covers panelled in an antique style, with gilt and blind rules and a broad and intricate gilt foliate border, gilt trefoils as cornerpieces in outer panel, small gilt circular floral cornerpieces in inner panel, raised bands flanked by blind rules terminating in trifoliate leaves on both covers, spine panels repeating the gilt foliate border from the cover, gilt-ruled and decorated turn-ins, all edges gilt. Elaborate woodcut border on title and following leaf, decorative woodcut initials, FINE WOODCUT VIGNETTE OF THE MARRIAGE OF THE VIRGIN (amidst an elaborate woodcut frame) ON TITLE PAGE, LARGE WOODCUT SHOWING CARACCIOLI PREACHING preceding first sermon, AND 42 SMALL WOODCUT VIGNETTES IN THE TEXT. Isolated old (17th century?) marginalia. Front flyleaf with the pencilled signature of the well-known bookseller and author Alan G. Thomas. Essling 836; Sander 1709. Only slight wear to joints and corners, spine faded (as always) to brown, a few superficial scratches and two small abrasions to lower cover, otherwise the bright and appealing binding in excellent condition. Six-inch tear artfully repaired in one leaf (readability just slightly affected), trivial losses due to a couple of holes in other leaves, occasional light stains, faint browning, smudges, and marginalia, but a very fresh and generally pleasing copy internally nevertheless. The final product of the Quarengis press, this is a beautifully produced edition of Caraccioli&#39;s "Mirror of the Faith," a collection of 45 vernacular sermons intended for the unlearned as well as the learned. Bishop of Aquino and later of Lecce, Caraccioli (1425-95) was the most celebrated preacher in Italy during the last half of the 15th century. Called a "second Paul" and the "prince of preachers," he was able to arouse his listeners to sometimes unseemly levels of emotion, and partly for that reason, he was a controversial figure among the Franciscans of his time. This is one of his most important works, with sermons on such topics as the mysteries of Christ, the glories of the Virgin, the heroism of the saints, the role of guardian angels, the truth of the Christian faith in the face of accusations from the infidels, and so on. Essling indicates that the solemn and delicate title woodcut is taken from the Bible of 21 April 1502, and the historically interesting preaching scene is from an earlier edition of Caracciolus printed in that same year. Sander, citing Rappaport, notes that some copies of the work instead have a vignette of Saint George slaying the dragon on the title page and also a Florentine version of the preaching scene, which he considers inferior to the woodcut here, ours being in the pure Venetian style within a "magnificent" historiated border. The present collection first appeared in 1495 and was printed again in 1505; all editions of the work are very rare. The present copy is the only one recorded at auction of the 1517 printing, selling in 1967 to Alan Thomas.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Ortus Sanitatis. De Herbis et Plantis. De Animalibus et Reptilibus. De Avibus et Volatilibus. De Piscibus et Natatilibus. De Lapidibus et in terre venis nascentibus. De Urinis et earum speciebus. Tabula medicinalis cum Directorio generali per&#146;&#146;omnes tractatus

      - Strasbourg: Reinhard Beck, 1517. Folio. (12 1/4 x 8 inches). 356 ff [complete]. Title within woodcut border printed in red and black, full- page woodcut of skeleton on k1v, 4 small woodcuts on K1r, small cut of woman with physician holding flask on GG1r, and 1066 woodcut illustrations in text (including repeats). The title and the woodcuts within the botanical section coloured by a contemporary hand. Six- and eight-line woodcut initials, three-line type or metalcut Lombard initials, a few leaves with red-ruling and red manuscript initials. Contemporary Bavarian blind-stamped calf over beveled wooden boards, covers decorated in blind, vellum manuscript-lettered tabs, early paper label titled in manuscript on the spine (lacking clasps, catches, and corner and central bosses). Housed in a modern black full morocco box. A period hand-coloured Hortus Sanitatis, the most important herbal of its time, an encyclopaedia of the plant, animal, and mineral kingdoms and the medical applications of their products. This early expanded Strasbourg edition of "the most important medical woodcut book printed before 1500" (Hunt) offers a comprehensive view of the medieval understanding of the natural world. The work "though based in part on the Gart der Gesundheit, was almost entirely rewritten and elaborated upon, especially in the parts on animals, birds, fishes, stones and minerals (all of which were less well represented in the earlier work), and in the treatise on urines; the text on herbs too is quite different, each chapter beginning with a description of the plant, its synonyms, and often something about its geographical origin, and ending with a list of the plants medicinal virtues in a separate section headed Operationes" (Hunt). The present edition is the sixth overall and fourth Strassburg edition, a page for page reprint of the three Prüss editions, Beck having taken over the Prüss printing establishment. The design of the title page is variously attributed to Urs Graf, Hans Wechtlin or Hans Baldung Grün. A few of the woodcuts are new to this edition, but most are reversed versions of the Prüss blocks; the woodcut initials differ however from the Prüss cuts. "Prüss was the man who really profited by the edition of the Latin Hortus (Meydenbach could not issue a second edition); for his editions are printed with wide economy of paper . by the use of 55 lines to the column and a smaller type . The text cuts are [after] those of Meydenbach, but sometimes several of them are used twice, if similar figures were involved. The most interesting of the new cuts are some of the genre pictures (especially those to the parts on zoology and mineralogy), for the draughtsman worked on these more individually with regard to the costumes, which represent those in use in Alsace at that time. The woodcut of the human skeleton appears here for the first time in an edition of the Hortus, and was added to nearly all the following Latin, French, and also to some German editions of the Hortus up to about 1540. This skeleton picture. represents, from a graphic viewpoint, the best that was published of this kind before Vesalius. A large section of the book is devoted to zoology, 164 chapters concern land animals, 122 birds and 106 fishes. Camels are portrayed and described in chapters xxvii, xviii and xxix of the section concerning land animals, they are among the earliest portrayals of these animals. The section on birds, shows woodcuts of a falconer with several falcons, as well as several birds of prey and some other falcons. These woodcuts belong to the earliest portrayal of these animals in a printed book. Generally speaking, this edition of Prüss, and not the original edition of Meydenbach, seems to have been the model for all the later Latin editions of the Hortus and its translations into French and German" (Klebs, Early herbals). Copies of this work with period hand colouring are of the utmost rarity. The only other such copy we could locate in North [Attributes: Hard Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Juvenal tradotto di Latino in volgar lingua per Georgio Summaripa Veronese, Novamente Impresso

      P. Alex. Pag Benacenses F. Bena. .V. .V. [Aexander and Paganinus de Paganinis: Toscolano] [?1517 - 1525]. Small 8vo, 150 x 88 mms., unpaginated, a-q8, contemporary vellum, faded red morocco label; binding a bit soiled, but a very good copy. The first edition of this translation by Georgio Summaripa (1435 - 1496) of Juvenal&#39;s satires was first published in 1480 (Tarvisii : M. Manzolinus). The earliest edition of Juvenal seems to be that published in 1469 by Ulrich Hand in Rome (see Curt F. Bühler, "The Earliest Editions of Juvenal," Studies in the Renaissance [1955]). The text is printed in italics, first used by Aldus in 1501, and Summaripa&#39;s was the first translation into Italian. Book historians now think that the publishers Paganino and Alessandro Paganini, particularly the latter, were the first to create an editorial series, i. e., books that shared the same editorial characteristics, presentation, and size. The printer&#39;s mark used here, P.ALEX.PAG./ BENACENSES./ .F./ BENA./ .V..V., appears on an edition of Dante, first published by them in 1515; the truncated Latin apparently means "Paganino and his son Alessandro from the Benaco region made this book in Toscolano." WorldCat copies located in BL, Bodleian, Manchester, Bibliotheque Nationale, and Bibliothèque interuniversitaire Sainte-Geneviève. WorldCat doesn&#39;t give any North American locations, but there are copies at Harvard and Yale

      [Bookseller: John Price Antiquarian Books]
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        BRITANNIAE UTRIUSQUE REGUM ET PRINCIPUM ORIGO

      Paris J. Badius Ascenius, 1517.. SECOND EDITION 1517, edited by Ivo Cavellatus. 4to, 190 x 135 mm, 7½ x 5¼ inches, [8], 1-101 leaves, numbered on rectos only. Woodcut printer&#39;s device on title-page: vignette of printing shop, depicting the operation of a hand-press by three printers. The block has a double-line border. On the press itself is the imprint &#39;Prelu[m] Asce[n]sianu[m]&#39;, and below the press are the initials and printer&#39;s mark of J. Badius. Name of printer from title statement; date of publication from colophon, Io. Badius Ascensius lectori sa. ... Ex aedibus nostris iteru[m] ad Idus Septe[m]b. anni. MDXVII. Signatures: AA8, A-M8, N6 [N6 blank]. Woodcut coat of arms held by angel on signature AA8v. Woodcut floral and foliate crible initials, side-notes, index at the front. Old calf, red title label with gilt lettering and gilt decoration to spine between raised bands, new endpapers. Binding rubbed and scuffed, hinges just beginning to crack at head and tail of spine, head of spine scuffed with slight loss of surface leather, title page has ink stamped intials AR in 2 places plus neat old ink notes, small repairs to top and bottom corner tips, fore-edge of title page has old repairs, following page has a pale ink stamp of a coat of arms in the outer margin, occasional neat old ink marginal notes and underlining, some pale staining to some pages, Folio xvii which is slightly trimmed at outer edges is affected by pale staining which matches the staining on the following pages, which indicates that the page is not from a smaller copy. Also the fore-edge has clearly been trimmed with scissors and the top edge is not horizontal as it would be on an inserted page. Last 13 leaves have a brown stain to tips of top and lower corners, also slightly affecting fore-edge of last 6 leaves, occasional brown spot or mark, otherwise a very good copy. Geoffrey of Monmouth (c. 1100 &#150; c. 1155) was a cleric and one of the major figures in the development of British historiography and the popularity of tales of King Arthur. He is best known for his chronicle Historia Regum Britanniae ("History of the Kings of Britain"), which was widely popular in its day and well into the 16th century. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        [Opera] In hoc volumine Beati Bonaventure subiecta continentur: Tractatus de tribus ternariis peccatorum infamibus. Breviloquium. Centiloquium. Regula seu Institutio quedam olim pie et spiritualiter in Christo vivere volentium distincta in XXV Memorialia. Speculum discipline ad novicios. Itinerarius mentis in Deum. Tractatus de septem gradibus contemplationum. Tractatus qui lignum vite intitulatur. [Seguido de:] Tractatus de Profectu Religiosorum. [Seguido de:] Vita Christi a Beato Bonaventura contemplative composita. Tractatus eiusdem de modo se preparandi ad celebrandum missam. Soliloquium de Quattuor Exercitiis

      Paris, Bertholdus Rembolt, 1517 y 1518. [al fin:] Parrhisiis impressi per Magistrum Bertholdum Rembolt, anno domini millesimo quingentesimo xvii, [y] per Magistrum Bertholdum Rembolt Anno domini millesimo quingentesimo xviii. Seis tomos en un volúmen en 4to.; 4 hs., LIIII folios ( mal numerados: en realidad, XCIV). + CXXXIIII folios, 2 hojas, incluída portada orlada, impresa a dos tintas, con la marca del impresor + LXXVI folios, 2 hojas, incluída portada orlada, impresa a dos tintas, con la marca del impresor, + LII folios, 10 hojas, incluída portada orlada, impresa a dos tintas, con la marca del impresor, + XCVI folios, 4 hojas, incluida portada orlada, impresa a dos tintas, con marca del impresor, con un grabado en el reverso que muestra la Crucifixión y otro de San Francisco de Asís recibiendo los estigmas en el vuelto de la cuarta hoja + LVII folios numerados y siete más sin numerar, 4 hojas, incluída portada orlada, impresa a dos tintas, con marca de impresor y con un grabado de San Francisco de Asís recibiendo los estigmas en el reverso. Impresión gótica. Bellísima encuadernación de época, en piel sobre tabla, con gofrados en seco en ambos planos. Los tres tomos restantes contienen: Oratio Octaviani in vitam Beati Bonaventure. Libellus de reductione Artium ad Theologiam. Tractatus de paupertate Christi. Tractatulus de quinque festivitatibus Pueri Iesu. Tractatulus de regimine anime. Epistola ad magistrum innominatum eliminans errorem contra regulam Beati Francisci. Epistola de eo quæ Christus et Apostoli et discipuli eius incesserunt Discalciati. Epistola ad ministros provinciales et custodes de reformandis fratribus sui Ordinis. Viginti passus de informatione spiritualis vite et profectu religiosorum. Sermones de decem preceptis Domini. Apologia Pauperum. Expositio orationes dominice. Laudisimus de cruce Domini. Tractatus de dieta salutis. Contemplatio devota de nativitate Domini. Tractatus de resurrectione hominis a peccato ad gratiam. Liber salutaris Beati Bonaventure Pharettra vocatus.

      [Bookseller: Hesperia Libros]
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        Venta de una heredad agrícola en Córdoba en la llamada"Venta de la Nava del Rey"."

      - "Fecha. Lugar. 1517, septiembre, 30. CórdobaNivel de descripción Unidad documental simpleDescripción física Excelente estadoVolumen. Soporte. 300 x 215 mm.; pergamino; 6 h.Nombre del Productor;Aguayo, Francisco Ortiz, BartoloméOrtiz, Martín; escribano público de CórdobaAlcance y contenido; Francisco de Aguayo, vecino de la parroquia de San Pedro deCórdoba, uno de los 24 de la ciudad, vende en nombre de su sobrino, lñigo de Córdoba, menor de edad y "gente bien", al canónigo de la catedral de Córdoba don Bartolomé Ortiz las dos terceras partes y una quinta parte más de "una heredad con bodegas, lagares, tinajas de agua de pie, hazas de tierra calma, con todo lo que en ella pertenece" al lugar llamado Venta de la Nava del Rey, en el término de la ciudad deCórdoba. Francisco de Aguayo vende su parte, la de su sobrino y la de su hermana monja en el monasterio de Santa Cruz de Córdoba, heredadas de su padre, Ruiz de Aguayo. La Venta de la Nava del Rey es una importante propiedad agrícola dedicada a la caza y a la producción de vino.Lengua/escritura Castellano; letra gótica cursivaNotas; Tres signos de notario" Año: 1517

      [Bookseller: LIBRERIA MARGARITA DE DIOS]
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        In Hoc Volumine Haec Continentur: M. T. Cice. Officiorum Lib. Iii; Cato Major, Sive De Senectute; Laelius, Sive De Amicitia; Somnium Scipionis, Ex Vi De Rep. Excerptum

      Florentiae: in Officina P. Juntae, Mense Januarii, 1517. Leather Bound. Very Good. Florentiae (Florence:) in Officina P. Juntae, Mense Januarii (January.) [v] (158) (collated) Volume 3. 12mo. Latin. Later (but not recent) vellum-backed paper-covered boards, with title and date inked on spine. Ink owners inscription at upper corner of front board, with "1810" marked as date. Ink title on text blocks tail edge. No rear free endpaper. Lacks 3 leaves (113, 120, 123). Page 125 is mis-foliated "126." The subsequent leaf is the unnumbered first page of the volumes first work in Greek. This is followed by 2 more leaves, numbered "127" and "128." The last text leaf is mis-foliated "156." Tight binding and solid boards. Moderate shelf wear. Bumping to corners. Slight scuffing to board edges. Minor wrinkling, bumping to spine ends. Light sunning. Slight horizontal cracking to vellum at spine, one spanning entire spine. Two Gettysburg Theological Seminary bookplates inside front board. Plates indicate that volume was donated to Rev. Jeremiah Zimmerman. Rubber stamp to FFEP, title, and colophon, 2 labels on front paste-down. No rear free endpaper. Front hinge cracked, title leaf tipped to inner edge of FFEP. Clean, unmarked pages. <br><br>Cicero was a Roman philosopher, statesman, lawyer, political theorist, and Roman constitutionalist. He came from a wealthy municipal family of the equestrian order, and is widely considered one of Rome&#39;s greatest orators and prose stylists. Volume 3 of this Cicero collection includes Sive De Senectute ; Laelius, Sive De Amicitia ; and an excerpt from Somnium Scipionis. An early printing, the volume contains a colophon at the end denoting typeface and further editorial information, such as date and publishing house. Solid, readable, and in excellent condition, this remarkable volume would make a fie addition to the library of any classical scholar. Please feel free to contact us with further queries. Ships daily.

      [Bookseller: SequiturBooks]
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