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

        Comiença la Cronica del Serenissimo Rey Don Juan el Segundo deste nombre, impressa en la muy noble y leal ciudad de Logroño: por mandado del catholico rey don Carlos su visnieto ….

      Logroño, Arnão Guillen de Brocar, 1517.. First Edition. Folio (36 x 24.5 cm.), contemporary blind-tooled calf, boards nicely refurbished (but with some recent damage to corners and rubbing to spine); very skillfully rebacked, and with new clasps. Large woodcut on title-page, 2 full-page woodcuts, printer's device below colophon. Gothic letter (Norton types 8:117G, 10:99G, 18:68G), printed in red and black throughout. Minor soiling and stains (including some marginal dampstaining on first few leaves), 4 tiny wormholes touching a few letters per page through quire q. Crisp; overall in very good to fine condition. Early manuscript record of sale at foot of title, in ink. (2 blank), (26), 254 [i.e., 255], (2 blank) leaves, signed @[cross] 10, A-B8, a9, b-z8, aa-hh8, ii6. *** FIRST EDITION. This magnificent classic was produced, according to the colophon, at the command of Charles V by his printer Arnão Guillen de Brocar; this is the first intimation we have that Brocar had been appointed royal printer. Later editions appeared in Seville, 1542 (colophon: 1543); Pamplona, 1591; Valencia, 1779; and finally in 1877. (See Simón Díaz.) The large woodcuts, initials and printer's device are striking examples of the art of contemporary Spanish book illustration. The title-page woodcut shows the king enthroned, with two figures kneeling before him; one, presumably the author, is reading from a book. Lyell notes that the borders are especially fine (@Early Book Illustration in Spain, p. 286, with illustration of title-page as fig. 224). The full-page woodcut of the Crucifixion on the verso of @[cross] 10 is signed by "I.D.", whom Lyell calls "one of the master Spanish woodcutters, and one of the few whose work can be identified" (p. 286 and fig. 225). Facing the first page of text (f. B8@v) is a full equestrian portrait of D. Juan II, surrounded by smaller woodcut portraits of the other @dramatis personae (five women, three men). The printer's device that appears at the end of the @Crónica is the first appearance of what Norton calls Brocar's "E" device. In the upper compartment is a portrait of the printer kneeling before the emblems of the Passion, and in the lower are 2 archangels supporting a coat of arms with the monogram "AG" and the figure of a boar. D. Juan II, King of Castile from 1406 to 1454, was a weak ruler but a notable patron of literature and the chivalric arts. The son of Henry III and Catherine of Lancaster, he ascended the throne at the age of two. His 48-year reign - the longest in the history of the Trastámara dynasty - was a period of continuous disorder and rivalry among the nobility. Amiable but of weak character and will, D. Juan had little interest in government. At an early age he fell under the influence of Álvaro de Luna, who became the king’s constable and favorite, and one of the most powerful men in Spanish history. Luna’s hold over the king inflamed the nobility and neighboring kingdoms, causing rebellion, hostilities and court intrigues. The @Crónica is antagonistic to Luna, blaming Spain’s troubles on the king’s indifference and Luna’s ambition. Yet this was a period of high intellectual achievement, fostered by the king’s taste for and patronage of literature. Though a failure as a statesman, D. Juan II made his court an important literary center from which Renaissance classicism and humanism spread throughout Spain. The @Crónica, which begins with the death of Henry III and continues until the death of D. Juan II, is organized by the years of the king's reign, each subdivided into chapters. It contains transcriptions of numerous important original letters and other curious contemporary documents. Distinguished by its meticulous attention to sources, it is considered more reliable and trustworthy than any previous Castilian chronicle, and is of the greatest historical value. Given the extraordinary importance of Álvaro de Luna during the reign, it is not surprising that he should be a central figure, nor that the culminating episode of the work is the description of his beheading. Scholars disagree over the authorship of this work to the point that Simón Díaz, Ward, the @Catalogue of the Hispanic Society, the @Catálogo colectivo and others list it simply under @Crónica. The prologue is by Álvar García de Santa María (@[cross] 2@r-@v), and the colophon adds that the work was "corregida por el Doctor Lorenço Galíndez de Carvajal," professor at Salamanca and a member of the royal council. Fitzmaurice-Kelly (p. 102) ascribes the work to Álvar García de Santa María (fl. 1455), member of a leading Jewish @converso family from Burgos, and unknown others. O'Callaghan (@History of Medieval Spain, p. 646) says the work was begun by Álvar García de Santa María, retouched by others, and the final revision was by Lorenzo Galíndez de Carvajal. Ticknor (@History of Spanish Literature I, 183-6) ascribes various parts of it to Álvar García de Santa María, Juan de Mena, Juan Rodrigues de Padron, and Diego de Valera, but believes the work was put together in this form by Fernán Pérez de Guzmán. (Pérez de Guzmán [ca. 1390-1460] was active in public affairs at the time, but his opposition to Luna led to an early retirement.) Ward states, "It is probably the work of the celebrated @converso Álvar García de Santa María, who drew on many earlier chronicles for his compilation" (p. 305). Arnão Guillén de Brocar, probably a Frenchman, began printing in Pamplona in 1490. By 1502 he had moved on to Logroño, where he produced the first of many works by the great scholar Antonio de Nebrija. Possibly at Nebrija's recommendation, Brocar became official printer to the University of Alcalá de Henares and produced one of the monuments of early Spanish typography, the Complutensian Polyglot Bible, 1514-1517 (Norton 27A). He eventually opened printing offices at Toledo and Valladolid as well. The @Crónica was one of the last works produced by Brocar at Logroño, just after he was appointed royal printer, and is especially notable in that the gothic letter and commentary types, the device, and most of the woodcut initials were new to Brocar's press. Brocar probably died in 1524. *** Palau 64966. @Catálogo colectivo C3687. Simón Díaz III, 5473; cf. X, 3781, where the Seville, 1542 edition is listed under Lorenzo Galíndez de Carvajal. Lyell, @Early Book Illustration in Spain pp. 285-8. Haebler, @Early Printers 49 & 119: "a masterpiece of typography." Norton, @Descriptive Catalogue 427 and (on Brocar) p. 159; @Printing in Spain pp. 44-5. Anninger 50. Ward, @Oxford Companion to Spanish Literature p. 305 ("accurate and lively, the chronicle is better written than those in the Alphonsine tradition") and p. 230. Davies, @Devices of the Early Printers 48, and pp. 170-1. Updike, @Printing Types II, 47, 65. Gallardo 3440. @Ticknor Catalogue p. 266. HSA p. 157. Évora, @Livros impressos no século XVI, Tipografía espanhola 188: calling it an octavo (!), with only (14), 240 ll. Coimbra, @Catálogo dos Reservados 843: 2 copies, the second lacking the title-page and 12 other leaves. Salvá 3117. Heredia 3131. NUC: DLC (Rosenwald Collection).

      [Bookseller: Richard C. Ramer Old & Rare Books]
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        Questiones super duos libros Peri hermenias Aristotelis ….

      

      [Bookseller: Richard C. Ramer Old & Rare Books]
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        OPERA (Aeneis, Bucolica, Georgica, Opuscola, Aegloga, etc. J.Badius Ascensius curavit).

      Lyon, J.Sacon (per C.Hochperg), 1517, - 2 tomi in un vol. in-folio (350x220 mm.), ff.(10), 205, 1 bianco; ff. (8), 324, (10), splendida legatura coeva in assicelle, dorso a nervi in pelle di troia con elegante decorazione, i due fermagli in pelle e metallo conservati (il piatto posteriore incrinato). Testo su due colonne in carattere romano, grande per il testo virgiliano, più piccolo per il commento di Badius Ascensius; titoli di pagina in semigotico, titoli delle due parti impressi in rosso e nero entro bordure figurate silografiche ornamentali. Celebre edizione illustrata da 207 stupende grandi silografie, alcune ripetute, le due a piena pagina raffigurano Virgilio incoronato da Calliope ed attorniato dai suoi contemporanei: Cornelius Gallus, Lucius Varius Rufus Plotius Tucca, Bavius Maevius, Mecenate, Augusto e Gaius Asinius Pollio. La famosa serie di legni fu commissionata ad un anonimo artista tedesco da Johann Grüninger ed i medesimi legni vennero una prima volta usati per illustrare il Virgilio di Sebastian Brant impresso a Strasburgo dal Grüninger nel 1502. Probabilmente Sacon acquistò i legni dopo l'edizione in tedesco del 1515. Questa sontuosa edizione di Lione contiene pure un prologo di Cristoforo Landino e commenti di Filippo Beroaldo e di altri in aggiunta a quello di Badius. Importante e magnifica edizione ed uno dei figurati del primo Cinquecento più riusciti, noti ed ambiti. Magnifico esemplare, fresco e marginoso su carta forte; al foglio di sguardia importante nota di possesso "Jacobus Tuerner est possessor hic libri Virgiliam / Anno Dni 1526", di poco posteriore all'edizione. Two parts in one volume, folio, contemporary wooden boards with wide pigskin spine, the two clasps preserved. Roman type, with headlines in gothic, shoulder notes in Roman, double column text, 71 lines (variable), title of each part in red and black within a 4-part woodcut architectural border, one full-page woodcut of Virgil with Calliope and other figures printed as a plate with the verso blank, 207 total woodcuts (including 2 full-page and some repeats). The second Badius edition, the first having been printed in Paris 1500-1501 by Thielman Kerver. The highly evocative woodcuts (from the blocks designed for Johann Gruninger's edition of 1502) capture the essence of Vergil's Arcadian and rustic landscapes as well as the epic sweep of the Aeneid. In the full-page woodcut Vergil is crowned by Calliope and flanked by some of his contemporaries. The other figures are Cornelius Gallus, Lucius Varius Rufus and Plotius Tucca (Vergil's executors), a skulking Bavius and Maevius, Maecenas the emperor Augustus and Gaius Asinius Pollio. Sacon probably acquired the blocks from Groninger after the 1515 Strassburg edition of Aeneid in German translation was completed. A crisp copy, on strong paper; on the fly-leaf important contemporary signature "Jacobus Tuerner est possessor hic libri Virgiliam / Anno Dni 1526". Cfr. Mortimer, French Books, 537. Adams V-468. Renouard, Badius, 370-372. Baudrier, Bib. lyonnaise XII, p. 344. Manca a Fairfax-Murray, Early French books. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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        [Epigrammata]

      Venice: In aedibus Aldi et Andreae soceri 8vo (15.8 cm, 6.22"). 190, [2] ff.. December 1517 This is the second Aldine edition of Martial's epigrams, reprinted from the first Aldine of 1501. Marcus Valerius Martialis (ca. 40–104 A.D.), a Spaniard by birth, was a Roman poet who "chronicled succinctly every sort and condition of men and women. . . . [His] great repertory lay in the Roman world around and . . . his fame was largely won by the suspension of point or sting to the close of an epigram. . . . His métier was no deep system of thought, but => extraordinarily keen observation [our emphasis] and sharply condensed expression (Oxford Classical Dictionary)." His pithy satires are here introduced by a letter on the title-page verso by his friend Pliny the Younger, writing to Cornelius Priscus upon hearing of Martial's death. Divided into 14 books which were published more or less yearly from 86 A.D. on, these epigrams are beautifully printed in the famous => Aldine italic with guide letters for initials. A version of the Aldine dolphin and anchor device graces the title-page and the final verso; the title-page is in stark style, bearing the word "Martialis" in roman capital letters and the aforesaid device only. Provenance: Bookplate on front pastedown of Kenneth Rapoport, a modern American collector of early and scientific books. Trace of 18th-century ex-libris inscription on title-page in ink, now washed away. 19th-century speckled calf, spine gilt extra with raised bands accented by gilt ruling; author and publisher gilt on light brown leather spine label, board edges gilt, red speckled edges. Joints worn and board extremities lightly rubbed, small scuff on front cover; light stains from binding glue on endpapers; trimmed close at upper margin; temoine in lower outer corner of one leaf; washed? Small spot from chemical reaction on one leaf, otherwise very => clean and crisp. Price in 19th-century ink on front free endpaper and four pages with underlining in same hand as title-page inscription.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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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. générale...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. Versand D: 4,00 EUR Alte Drucke, Theologie, Religionsgeschichte, Philosophie

      [Bookseller: Antiquariat Burgverlag]
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         Praxis medica. Amsterdam, Hendrick Laurensz. [printed by Jasper Tournay in Gouda], 1616. With: (2) DODOENS (DODONAEUS), Rembert. Medicinalium observationum exempla rara. .... Harderwijk, widow of Thomas Henricksz.; Amsterdam, Hendrik Laurensz., "M.D.XXI" [with a C added in manuscript to correct it to 1621]. 8vo. 2 editions in 1 volume. Contemporary vellum. .

      Ad 1: Krivatsy 3300; STCN (5 copies); ad 2: Krivatsy 3299; STCN (5 copies). Ad 1: Posthumously published first edition of Rembert Dodoens's 127 Latin lectures on medicine, edited and extensively annotated by Sebastian Egbertsz. de Vrij. Dodoens (1517-1585), the greatest botanist of his age, was appointed professor of medicine at Leiden University in 1582 and delivered the present lectures in 1583 and 1584. He never published them, but they were prepared for publication by his student Sebastian Egbertsz. de Vrij. Much of the material is, of course, of botanical and pharmacological as well as medical interest.Ad 2: Dodoens's description of 54 remarkable medical case studies from his forty years' experience as a physician, first published together with Dodoens's Historia vitis vinique in 1580 and issued separately in 1581. It originally contained 53 case studies, but Dodoens added one on palpitations in Plantin's 1585 edition.With contemporary and later inscriptions. Some quires in the appendices to the Medicinalium observationum are slightly browned, and a hole at the foot of its last leaf affects a few words in the index. Otherwise in good condition and only slightly trimmed..

      [Bookseller: ASHER Rare Books (Since 1830)]
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        [ Der heiligen Leben ] Der Hochen vntailbarlichen Tryfaltikayt zu lob Marie wirdigsten Junckfrawen vñ müter vnsers herren Jesu Christi zueren vnd allen hayligen vnd den Christnmenschen zu hayl ... der hayligen lebñ ... 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] Versandkostenfreie Lieferung

      [Bookseller: REDIVIVUS Buchhandlung & Antiquariat]
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        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: » µ « (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«). [Attributes: First Edition; Hard Cover]

      [Bookseller: JDinter]
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        ORTUS SANITATIS

      Strassburg: Reinhard Beck, 1517. n. Hardcover. A Very Fine Copy, with More than 1,000 Woodcuts, Most of them Colored. mm (). 356 leaves. EXCELLENT CONTEMPORARY BAVARIAN BLIND-STAMPED CALF over bevelled 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 very fine new black morocco box. Title printed in red and black within woodcut border, full-page woodcut of skeleton on k1v, four small woodcuts on K1r, small cut of a woman with a physician holding a flask on GG1r, and 1,066 WOODCUT ILLUSTRATIONS IN THE TEXT, THE MAJORITY OF THEM (that is, those within the botanical section) IN CONTEMPORARY COLOR. Title page with early inscription of the Bamburg Augustinians; note in ink on pastedown that this is a Royal Library duplicate; early marginal notes in ink on a few leaves. Adams H-1019; Fairfax Murray German 195; Hunt 18; Nissen BBI 2366; Durling 2469; Cushing H-463; Klebs 50. A little wear to the joints, spine ends chipped, other signs of use externally, but the original attractive binding solid and with very considerable appeal. A half dozen small, round wormholes in the first few leaves, other trivial defects in the text, but AN EXTRAORDINARILY FINE COPY INTERNALLY, THE PAPER FRESH, BRIGHT, AND CLEAN, and with strong impressions of the woodcuts. This is a remarkably well-preserved contemporary copy of an early 16th century edition of what Hunt calls "the most important medical woodcut book" from the incunabular era, offered here with contemporary coloring that is almost never seen in copies of this edition. An encyclopedia of the plant, animal, and mineral kingdoms and the medical applications of their products, the "Hortus Sanitatis" is an herbal of the greatest importance, offering a comprehensive view of the Medieval understanding of the natural world. Hunt says that "though based in part on the 'Gart der Gesundheit,' [the 'Hortus'] 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 plant's medicinal virtues in a separate section headed 'Operationes.'" 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. According to Klebs, "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. . . . 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 . . . . These woodcuts belong to the earliest portrayal of these animals in a printed book." Copies of this work with period hand coloring are exceptionally rare. The only other such copy we could locate in North America is at the Yale University Medical Library. Early herbals are notoriously afflicted with the signs of heavy use, and it is only just short of miraculous to find one as fresh and clean and this one.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Opera

      In Aedibus Aldi et Andreae Soceri, Venice 1517 - FIRST EDITION thus. 8vo. ff. 107 [i]. Italic letter. Aldine device on t-p and last. Very faint occasional waterstains, sm. marginal piece missing from f. 18 (no loss). A very good, crisp copy vellum over bds., C1600. First and only Aldine edition of Ausonius’ work, edited by Girolamo Avanzi, member of the Aldine Academy. In his dedication to Cardinal Marco Cornaro, Avanzi praises the activity of Torresani. Tutor to Gratian, son of the emperor Valentinian I, Ausonius (c.AD 310-c.393) was successively appointed prefect of several foreign provinces and finally consul in 379. He ‘wrote a great deal of verse in a variety of metres, showing great technical ability. There are over a hundred epigrams, some of which are in Greek. He seems to have written on any theme that presented itself, such as the names of the days and months, or the properties of the number three. He particularly delighted in verse catalogues: the professors of Burdigala [i.e. Bordeaux, his native town], the famous cities of the world, the Twelve Caesars, the Seven Sages. [.] His more important and interesting poems are the ‘Ephemeris’ (‘a day’s events’), a description of a normal day in his life, his waking, talking with his servants, and so on; and the ‘Mosella’, a long hexameter poem describing in considerable detail the beauties of the river Moselle and the life that goes on around it.’ [Oxford Companion to Classical Literature], in particular the area’s wines. All are included in this lovely pocket Aldine. BM STC It. p. 64. Renouard 80:7. Dibdin I p. 345 ‘Copies of this Aldine edition [.] are esteemed by the curious’. Adams A 2278. UCLA 137. Latin [Attributes: Hard Cover]

      [Bookseller: Sokol Books Ltd. ABA ILAB]
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        Epigrammata

      In aedibus Aldi et Andreae Soceri, Venice 1517 - 8vo ff. 190 [ii]. Italic letter, anchor and dolphin device on title and verso of last, capital spaces with guide letters, C19 armorial bookplate of the Earl of Macclesfield on pastedown, Shirburn Castle blindstamp to head of first two II. A very good copy in mid-seventeenth century English calf, covers bordered with a double gilt filet, spine double gilt ruled in compartments with fleur de lys at corners and central fleurons, title gilt in one compartment, raised bands, all edges speckled red. Second Aldine edition, a reprint of Aldus' edition of 1501, with the letter from Pliny the younger to Cornelius Priscus on verso of title as its only prefatory matter. Martial, certainly a Spaniard and probably a Basque, spent his working life in Rome carefully observing his fellow man and recording them for us in these exquisite vignettes. The Epigrams (Martial's most important work), are short poems, each expressing pointedly and concisely some single idea, and are generally in the form of a satire. Martial describes with the most realistic detail the vices of his age. The fortune hunters, gluttons, drunkards, debauchers, hypocrites of various kinds and stingy patrons come back to life in his verses - along with the occasional plea for a gift or a loan, thanks to a faithful friend or honest critic, or a simple hello or farewell. Many give vivid glimpses of the contemporary Roman scene, the hot sausage vendor on his round, the tiresome guest who arrives too late for breakfast and too early for lunch, others are simply obscene. But beneath the humour there is the serious purpose of exposing the frailties of humanity, albeit more with amusement than indignation. Martial himself pleaded that his epigrams were far more serious than most other authors' tragedies and he was probably right. Perhaps because of allegations of obscenity - but Martial did not invent, he described what he saw - the Epigrammata were relatively neglected in the first century of printing. A very good copy from the extraordinary library of the Earls of Macclesfield. Early editions of Martial are now scarce. BM STC It p. 420. Renouard 81:11. Adams M 694. Brunet III 1490. Censimento 16 CNCE 37562; UCLA 161. Latin [Attributes: Hard Cover]

      [Bookseller: Sokol Books Ltd. ABA ILAB]
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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). [Attributes: First Edition]

      [Bookseller: Versandantiquariat Christine Laist]
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        De termino Hyllarii [Easter, Trinity and Michaelmas] Anno regni Regis Edwardi iii Post conquestum Anglie xlix [1375] S T C 9597; Beale R41

      London: Impressum per Richardum Pynson Regis Impressorem, 1517?. 19th century gilt panelled brown morocco by Bedford [cf lot 566 of the 1926 Britwell sale], quite luscious, with an early gloss; the Taussig copy A rare copy of a year book printed by Richard Pynson, the only year book for this regnal year of Edward III to be separately printed, its printing conjectured by S.T.C. to have been in 1517; five copies in ESTC, two in this country

      [Bookseller: Meyer Boswell Books, Inc.]
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        (Opera)

      in aedibus Aldi et Andreae soceri mense Novembri 1517 Unica edizione aldina delle opere di Ausonio. In 8°, 107 carte numerate, più una con l'ancora aldina al verso. 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. Titolo in oro su tassello al dorso. (Renouard, 80, 7; Adams, A 2287).

      [Bookseller: Studio Bibliografico Marisa Meroni]
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        De Homine (De homine exteriore et interiore libri II.

      Fratres de Sylva 1517 GALEOTTUS, M. - De Homine (De homine exteriore et interiore libri II. Georgius Merula in Galeottum et rursus Galeotti refutatio objectorum in lib. de homine a G. Merula). (Colophon:) Imressum Taurini per Joannes Angelum & Bernardinum fratres de Sylva, 1517. In - 4°, pergamena recente, stile antico. 127 ff., 1 f. bianco, 8 ff. nn. con una bella silografia a mezza pagina nel titolo che rappresenta l' A. attorniato dai discepoli, iniziali ornate n.t. e marca tipografica in fine. Edizione molto rara mancante al B.M. STC. Italian books, all' Adams, alla National Libr. of medicine e alla Wellcome Library. Ottimo esemplare. Olscki, Choix de livres rares, 4592: Impression rare de Turin... M. Galeotti, né à Narni en Ombrie, professor de belles - lettres à Bologne. Il fut persécuté par l' Inquisition à cause d' une thèse hardie sur l' inutilité de la foi... Ses ouvrages qui s' occupent de préférence des sciences occultes sont de la plus grande rareté. Bersano Begey, 352.

      [Bookseller: Brighenti libri esauriti e rari]
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        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]
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        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]
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        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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        Questiones super duos libros Peri hermenias Aristotelis.

      Salamanca, Juan de Porras, 1517. - Magnificent large woodcut of a scholar at his desk in a carefully depicted study on first leaf, above the title (6 lines of gothic type), all within woodcut borders. On verso of first leaf, a large Crucifixion above a smaller vignette of the Last Supper, all within woodcut borders. Full-page woodcut logical charts on ff. 54r and 119v. Text in 2 sizes of Gothic type (for the Aristotle text and the commentary), woodcut initials, 2 columns. 128 ll. [xciii misfoliated xcix, cxvii misfoliated cxviii], i.e., a[superscript]4, b-q[superscript]8, r[superscript]4. Folio (29.5 x 20 cm.), contemporary blind-tooled morocco over boards, complex interlacing roll alternating with rows of circular punches between sets of 3 parallel lines; expertly rebacked, and corners mended; metal clasps refurbished. An extremely rare work, overall very fine condition. Contemporary scribbles on front pastedown. ---- First edition in this form of Aristotle's logical work @De interpretatione, with commentary by Dullaert, edited by Dullaert's pupil Juan Martínez de Siliceo, later one of Spain's most famous Renaissance scholars. According to the @Dictionary of Scientific Biography, Dullaert's commentary on @De interpretatione was first published in Paris, 1509; the only copy of that edition we have been able to trace is located at the B.U., Lille. The @Catálogo colectivo lists Dullaert's commentary published by Étienne Baland (active in Lyons) in 1515, apparently edited by one Clodoaldus: the title-page reads, "a magistro Clodoaldo cenalis . . . de nouo puribus mendis absterse." This Salamanca, 1517 edition was edited by Juan Martínez Siliceo?according to the title-page, "ut paulo tersiora quaeque fuerint excuderentur." We have located no other edition of Dullaert's commentary edited by Martínez Siliceo.Aristotle's @Peri hermeneias, also known under its Latin title @De interpretatione, deals with language as the expression of mind, beginning with the definition of noun, verb, denial, affirmation, proposition and sentence. Although at least one early authority doubted its authorship, there is strong external evidence that it is by Aristotle (i.e., Theophrastus and Eudemus wrote works that presuppose it), and the style and grammar seem genuinely Aristotelian. It is generally considered an early work of Aristotle, still showing Plato?s influence.The Magnificent title woodcut had already been used at Salamanca late in the fifteenth century; the Crucifixion?Last Supper cut on the verso is closely copied after the material used in the Missals printed for Lucantonio Giunta at Venice, while the complex diagrams are probably original blocks for this publication.Dullaert (1470-1513), an Augustinian friar born in Ghent, is known for his contributions to logic and natural philosophy. "The logical subtlety of Dullaert's endless dialectics provoked considerable adverse criticism from Vives and other humanists, but otherwise his teachings were appreciated and frequently cited during the sixteenth century" (@DSB IV, 237). He published commentaries on Aristotle's @Physica and @De caelo in 1506 (subsequent editions in 1511 and 1512), and on Aristotle's @Meteorologica, 1512 (reissued by Vives in 1514), as well as editions of works by Jean Buridan and Paul of Venice.The editor, Juan Martínez Siliceo (ca. 1486-1557), was an outstanding pupil of Dullaert's; the @Dictionary of Scientific Biography notes that he and Juan de Celaya were "both important for their contributions to the rise of mathmatical physics." In this posthumous edition of Dullaert's commentary, Martínez Sicileo apparently cut some parts he felt were repetitive or unnecessary. A native of Villagarcía in Extremadura, he studied and taught at the Sorbonne before moving to the University of Salamanca, and then serving as tutor to the the Infante D. Felipe. In 1541 he was named Bishop of Cartagena, in 1545 Bishop of Toledo. The year before his death he was raised to the rank of cardinal, an event celebrated with an 80-foo [Attributes: First Edition; Hard Cover]

      [Bookseller: Richard C. Ramer Old and Rare 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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        Young Benjamin Franklin witnesses the signing of a receipt relating to the sale of land in his beloved Philadelphia

      Manuscript Document Signed ???B. Franklin??? as a witness to the signing of a receipt, 1p, 7??? x 7.5[Philadelphia, May 15, 1733.] On vellum. Portion of a document, but complete in itself. On verso is the upper right portion of the text of the Indenture mentioning the year (1733), the name of the seller (Mary Jackson), and the land (???in Blockley aforesaid and Tract of Marsh or Meadow???). Also witnessed by ???Rebecca Edgell??? and ???C. Brockden.??? Good contrast of signatures. Lightly toned. Fine condition.Rebecca Edgell was the wife of Simon Edgell who, in 1728, rented a house (would now be 139 Market Street) to 22-year-old Franklin and 31-year-old Hugh Meredith. They had quit working for printer Samuel Keimer and formed a business partnership, establishing in the house a printing office of their own. Franklin remained there until 1738 when he rented a building at the present 131 Market Street. Charles Brockden was Master of the Rolls of the Province of Pennsylvania and Recorder of Deeds for

      [Bookseller: University Archives ]
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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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