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

        Juvenal tradotto di Latino in volgar lingua per Georgio Summaripa Veronese, Novamente Impresso

      P. Alex. Pag Benacenses F. Bena. .V. .V. [Aexander and Paganinus de Paganinis: Toscolano] [?1517 - 1525]. Small 8vo, 150 x 88 mms., unpaginated, a-q8, contemporary vellum, faded red morocco label; binding a bit soiled, but a very good copy. The first edition of this translation by Georgio Summaripa (1435 - 1496) of Juvenal's satires was first published in 1480 (Tarvisii : M. Manzolinus). The earliest edition of Juvenal seems to be that published in 1469 by Ulrich Hand in Rome (see Curt F. Bühler, "The Earliest Editions of Juvenal," Studies in the Renaissance [1955]). The text is printed in italics, first used by Aldus in 1501, and Summaripa's was the first translation into Italian. Book historians now think that the publishers Paganino and Alessandro Paganini, particularly the latter, were the first to create an editorial series, i. e., books that shared the same editorial characteristics, presentation, and size. The printer's mark used here, P.ALEX.PAG./ BENACENSES./ .F./ BENA./ .V..V., appears on an edition of Dante, first published by them in 1515; the truncated Latin apparently means "Paganino and his son Alessandro from the Benaco region made this book in Toscolano." WorldCat copies located in BL, Bodleian, Manchester, Bibliotheque Nationale, and Bibliothèque interuniversitaire Sainte-Geneviève. WorldCat doesn't give any North American locations, but there are copies at Harvard and Yale

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

      Paris J. Badius Ascenius, 1517.. SECOND EDITION 1517, edited by Ivo Cavellatus. 4to, 190 x 135 mm, 7½ x 5¼ inches, [8], 1-101 leaves, numbered on rectos only. Woodcut printer'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.

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

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

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

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

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

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

      [Bookseller: SequiturBooks]
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        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&#39;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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        Die Emeis Dis ist das büch von der Omeissen. unnd auch Herr der künnig ich diente gern. Und sagt von Eigentschafft der Omeissen. Und gibt underweisung von den Unholden oder Hexen, und von gespenst der geist, und von dem Wùtenden heer wunderbarlich, und nützlich zewissen, was man daruon glauben und halten soll.Und ist von dem hochgelerten doctor Johannes Geiler von Keisersperg ... gepredigt worden alle sontag in der fasten

      Straßburg, Johann Grüninger 1517. 31 cm. 88 (falsch numeriert 90) Blatt. Mit Titelholzschnitt und 5 großen figürlichen Initialen nach Hans Schäufelein und 18 teils blattgroßen Holzschnitten von Erhard Schlitzoc und anderen Meistern der Offizin Grüningers. Titel rot und schwarz gedruckt, mod. Umschlag - VD16 G 715 - Schmidt, L&#39;Alsace 195 - Kristeller, Straßb. 160 - Oldenbourg, Schäuf. I, 71 - Nagler, Monogr. II, 1753 - Zweite Ausgabe der Fastenpredigten. Diese 41 Fastenpredigten des Jahres 1508, von denen einige über Hexen und Zauberei handeln, sind eine aufschlußreiche volkskundliche Quelle des ausgehenden 15. Jahrhunderts. Blatt 66 mit der deutschen Übersetzung von Sebastian Brants Epitaphium Geilers. Im unteren weißen Rand stellenweise Feuchtigkeitsränder und Wurmlöcher -

      [Bookseller: Wenner Antiquariat]
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        Ortus Sanitatis. De Herbis et Plantis. De Animalibus et Reptilibus. De Avibus et Volatilibus. De Piscibus et Natatilibus. De Lapidibus et in terre venis nascentibus. De Urinis et earum speciebus. Tabula medicinalis cum Directorio generali per&#146;&#146;o

      Strasbourg: Reinhard Beck, 1517. An unusually fresh example of this early augmented Strasbourg edition of &#147;the most important medical woodcut book printed before 1500&#148; (Hunt) giving descriptions of medicinal plants and medicinal stones, instructions on animal husbandry, and a treatise on urine. The Ortus Sanitatis was one of the most popular herbals of its time, reissued in several editions after its first publication in 1491, and offers an encyclopedic view of the late medieval understanding of the natural world. The work is richly illustrated with two or three woodcuts on nearly every page. Among the descriptions of animals and minerals are many engaging scenes of agricultural and domestic life. Mythological creatures are given the same scholarly treatment as real animals with illustrated entries on dragons, winged serpents, mermaids, an Ethiopian ant the size of a dog, and a narcissus with human heads as flowers. The Ortus Sanitatis is the third and most extensive of the fundamental botanical compilations that began with the Herbarius of 1484 and continued with the expanded German edition entitled Gart der Gesundheit. &#147;The third form, though based in part on the Gart der Gesundheit, was almost entirely rewritten and elaborated upon, especially in the parts on animals, birds, fishes, stones and minerals (all of which were but sketchily 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&#146;s medicinal virtues in a separate section headed &#145;Operationes.&#146;&#148; (Hunt) The large woodcut of the human skeleton which precedes the section on animals is taken from Brunschwig&#146;s Cirugia. The present edition is the sixth edition overall and is augmented from the prior three Strasbourg editions including both new as well as re-cut woodcuts. The new woodcuts appear mostly in the sections on animals and minerals and show Alsatian characteristics particularly in the depiction of clothing. Many of these images appear to be derived from playing cards. The elaborate title border, with cherubs and monkeys on a grape arbour, has been variously attributed to Hans Baldung Grien, Urs Graf, and Hans Wechtlin. *Hunt, 18 (8 on the first edition of the Ortus).. Folio [30 x 20 cm], 356 ff. Bound in 18th century vellum, rebacked preserving original spine with stenciled titling and &#147;P.A.I.P.T.&#148; and &#147;1721&#148; stamped in blind on front cover; clasps and catches present. Title printed in red and black with figurative woodcut border, two scored ownership inscriptions (a third partially abraided) & gutter reinforced; finger soiling in margins of some leaves & repairs to paper flaws on final three leaves of index with occasional loss to letters; otherwise a fresh and crisp unwashed copy. Excellent.

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

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

      [Bookseller: Hesperia Libros]
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        Opera Luciani philosophi luculentissimi...De veris narrationibus...De Asino...Philosophorum vitae...Scipio...Tyranus....

      Melchiorre Sessa & Pietro De Ravani 1517 8° (206x155); 58 carte non numerate, l'ultima bianca; cartone settecentesco muto con titolo manoscritto ed etichetta di scaffale al dorso. Rarissima edizione non repertoriata nelle bibliografie, presente alla British Library. Bell'esemplare con leggera rifilatura in testa; ex libris Sommi Picenardi.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Fratris Hieronymi Savonarolae, Ferrariensis, Ordinis praedicatorum, Triumphus crucis, de fidei veritate. Post novissimam impressionem alias Venetiis excussam. Denuo nunc primum a bene docto theologo adamussim recognitus, cunctisque mendis expurgatus.

      Impressum Venetiis, per Lucam Olchiensem artium & legum professorem, 8 giugno 1517. 1517 In-8° (162x111mm), ff. CXII, legatura settecentesca in cartoncino. Xilografia al titolo raffigurante Savonarola chino sul proprio scrittoio. Capilettera istoriati su fondo nero. Explicit e registro al colophon. Antica nota di possesso al titolo. Qualche brunitura usuale. Bell'esemplare. Edizione veneziana (settima edizione assoluta), migliorata nel testo rispetto all'originale del 1497, di questa apologia savonaroliana del Cristianesimo ritenuta da molti il suo capolavoro. EDIT16 CNCE 27449. Adams, S-520. Essling, 1452, Panzer, XI, 525, 880. Sander, 68799. Giovannozzi, p. 124, n. 252. Brunet, V. 161. Catalogo della collezione guicciardiniana, p. 264. Manca a STC Italian.

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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        De Herbis et Plantis. De Animalibus et Reptilibus. De Avibus et Volatilibus. De Piscibus et Natatilibus. De Lapidibus et in terre venis nascentibus. De Urinis et earum speciebus. Tabula medicinalis cum Directorio generali per omnes tractatus..

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

      [Bookseller: Antiquariaat Junk B.V.]
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        (Opera)

      in aedibus Aldi et Andreae soceri 1517 8° (160x105); carte num. 107, ancora aldina al frontespizio ed all'ultima carta (Fletcher 3), carattere corsivo. Piena pelle ottocentesca con dorso a quattro nervi, titolo su tassello in oro e ricchi fregi floreali dorati, bordurina e cantonali a secco ai piatti. Unica edizione aldina, dedica al Cardinale Marco Cornaro. Bell'esemplare con lievi saltuarie ossidazioni marginali; firma di possesso al frontespizio cancellata con assottigliamento della carta e minima perdita di testo al verso. Qualche minima abrasione alla legatura. Adams A, 2278; STC Italian 64. Renouard 80, 7.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        De Herbis et Plantis. De Animalibus et Reptilibus. De Avibus et Volatilibus. De Piscibus et Natatilibus. De Lapidibus et in terre venis nascentibus. De Urinis et earum speciebus. Tabula medicinalis cum Directorio generali per omnes tractatus..

      (Strassburg, Reinhard Beck), 1517. Folio (300 x 205mm), ff. (356), with figurative woodcut title border with putti and monkeys climbing a grape arbour with blank shield below, title printed in red and black, title to second part (K1 recto) with four woodcuts, full-page skeleton cut on verso, small cut of woman and physician holding a urine flask on Gg1 recto, and 1066 woodcut illustrations in the text, monastic leather binding over wooden boards with onlaid corner and centre pieces, stamped in blind with fleur-de-lys and foliate design, with a border of palmettes and thistles, edges gilt and gauffered, hinges repaired. Sixth edition (first 1491), and the fourth Strassburg edition (first 1496), being an almost unaltered page-for-page reprint of the three earlier Prüss editions, Beck having inherited Prüss's printing house. A few of the woodcuts are new, and a few were recut as the originals were damaged. The 'Hortus sanitatis', in its many editions and translations was the most popular and influential herbal of its time, and served as an encyclopaedia of the plant, animal, and mineral kingdoms and the medical applications of their products. This edition was the prototype for all subsequent editions. 'Prüss was the man who really profited by the edition of the Latin Hortus (Meydenbach could not issue a second edition); for his editions are printed with wide economy of paper... by the use of 55 lines to the column and a smaller type... The text cuts are copied from those of Meydenbach, but sometimes several of them are used twice, if similar figures were involved. The most interesting of the new cuts are some of the genre pictures (especially those to the parts on zoology and mineralogy), for the draughtsman worked on these more individually with regard to the costumes, which represent those in use in Alsace at that time. The woodcut of the human skeleton appears here for the first time in an edition of the Herbals, and was added to nearly all the following Latin, French, and also to some German editions of the Hortus up to about 1540. This skeleton picture... represents, from a graphic viewpoint, the best that was published of this kind before Vesalius. Generally speaking, this edition of Prüss, and not the original edition of Meydenbach, seems to have been the model for all the later Latin editions of the Hortus and its translations into French and German' (Klebs, Early herbals). The Prüss editions were first appearance of this group of woodcuts, and became the model for all subsequent Hortus editions and vernacular versions. Many of the genre cuts derive from images on playing cards. The large woodcut of the skeleton is taken from Brunschwig's Chirurgia. The fine title border has been variously attributed to Urs Graf, Hans Wechtlin or Hans Baldung Grien. A large section of the book is devoted to zoology, 164 chapters concern land animals, 122 birds and 106 fishes. Camels are portrayed and described in chapters xxvii, xviii and xxix of the section concerning land animals, they are among the earliest portrayals of these animals. The section on birds, shows woodcuts of a falconer with several falcons, as well as several birds of prey and some other falcons. These woodcuts belong to the earliest portrayal of these animals in a printed book. Old remargining of a few leaves. Provenance: Tempsford Hall library armorial bookplate. Adams H1019; Cushing H463; Durling 2469; Fairfax Murray German 195; Hunt 18; Klebs Early herbals 50; Nissen BBI 2366.

      [Bookseller: Antiquariaat Junk B.V.]
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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]., 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.. 1st Edition. Hardcover.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Revelationes Celestes...

      (Nurenberg, In officina Federici Peypus for Joannes Koberger, 15. November 1517) (Colophon). Folio. Beautiful cont. full calf w. blindstamped boards. Two blindstamped ornamental borders inside eachother w. a decorative blindstamped centre-piece w. the initials "IHS" in the middle. Five raised bands, creating six compartments, on back w. red flower-ornamentations in two of the compartments and red title-label in a third. The remaining compartments have been professionally restored w. newer leather in old style. Hinges and upper capital repaired. Occationally edges of boards have been professionally restored. Inner hinges a bit weak. All edges red, w. title and author written in large, neat cont. hand. T-p. w. beautiful woodcut border (ascribed to Dürer) consisting of four woodcuts, two full-page woodcuts w. the arms of Emperor Maximillian and of Florian Waldauff, many beautiful woodcut initials. Old library-stamp on t-p., neither affecting text nor woodcuts, 16th cent. initials on bottom of t-p.: "A.L.". A few marginal wormholes, not affecting text, occationally brownspotted. 182, 52 (Tabula) ff.. Rare third edition, being the second Koberger-edition. The first edition is printed in 1492 and the first Koberger-edition is printed by Anton Koberger in 1500. The woodcut border on the title-page consists of four fairly large woodcuts, of which the bottom one (5,9 x 17 cm.) is ascribed to Albrecht Dürer and depicted as such in Butsch, Die Bücherromantik der Renaissance (1878), plate 34. Friedrich Peypus was the actual successor of Koberger as the leading printer of Nürnberg. He printed his first work in 1512 and had close relations with the Koberger-office. Johannes Koberger (the son of Anton Koberger) had Peypus print this edition. This collection of the revelations of Birgitta was written by her during different periods and with the help of a few different people. For instance, Books I, II and V were written at about the same time in Sweden with the help of Magister Mathias, probably around 1347. Book III is probably written in Rome in the period 1349 - 73, Book VII in the Holy Land around 1372 - 73. All books are set up as sacred conversations between Birgitta herself and either Mary or Christ, or as conversations where her patron saints or an angel appear before her. These books are of great importance and have had a great influence on religious writing and thought ever since. St. Birgitta, born in Upland in Sweden in 1302 or 1303, is the only Swedish saint to be canonized by the Pope. Already as a child Birgitta had visions of Christ and the Virgin Mary. It is said that at a young age she had a vision of the Devil and since then stopped being a child. She utterly sacrificed herself for the sick and poor. When her husband died after a pilgrimage in 1344, she devoted herself fully to Christ and called herself the "Bride of Christ". She entered a convent and never took of her veil again. She was an extraordinary person of great importance to Middle Age theology. She is said to have been a political genius, a great poet, the like of Dante, a preacher of penance, the like of Savonarola, and finally one of the most important mystics. She was of great importance to catholic politics. Situated in Rome she affected world politics, and people came from all over the world to seek her advise. Her powers and the effects of them can be traced in history for many centuries, and the early editions of her revelations are thus of great importance to religion an mysticism. Her revelations and the rules based on them have been read over and over again, and the early editions are very important, also as the source of new editions.After her husband's death in 1344, Birgitta had numerous revelations, of which about 600 are preserved, many of which she wrote down herself in either Swedish or Latin. They were all later translated into Latin by Petrus Olavi and Matthias, collected in book form and printed for the first time in 1492. These revelations told her to found a new sort of convent, the rules for which were dictated to her directly by Christ. Her revelations even had to do with political and social issues, and she was not afraid to criticize the most powerful people such as the King and the Pope, who she made move back to Rome from Avignon. Birgitta is still of great importance to Catholicism today. In 1999 she was elected one of the guardian saints of Europe. Collijn, I: 257

      [Bookseller: Lynge & Søn A/S]
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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: &#134;10 (-&#134;1 & 2), a-z, aa-bb8, cc6 (-cc6); &#134;&#134;8, A-Z, AA-QQ8, RR-SS6, TT10 (TT1-10), in part I leaf &#134;2 was a full page woodcut, cc6 was a blank, SIGNATURE TT LACKING after the end of the Aeneid and contained the 13th book by Maffeo Vegio (see below), LEAF TT10 had the second colophon: "excussit Iacobus Sacon, impensas Ciriacus Hochperg, 1517". Bound in full antique calf with blind stamped decoration to covers, unsympathetically rebacked in modern leather with raised bands, preserving the earlier slightly chipped label, new marbled endpapers. A couple of faint numbers to spine, leather repairs to upper cover along fore-edge and lower edge, covers worn with some scrapes, 1 small repair with lighter leather to upper cover, corners of lower cover worn, modern armorial bookplate to front pastedown, 2 early armorial bookplates on original endpaper, that of Henry Mere Ormerod (19th cent.) on second original endpaper together with his gift inscription to his son George in 1868, this is followed by 2 inserted sheets, 1 with bibliographical notes on the book by George Ormerod, the other with an attempt in manuscript at the title and imprint of our book, inscription at top of dedication page (&#134;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 (&#134;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&#39;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&#39;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; 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.

      [Bookseller: Roger Middleton]
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        De Arte Cabalistica Libri Tres

      Hagenau: Thomas Anselm, 1517. Scarce first edition and fine copy of Reuchlin&rsquo;s cabalistic studies, &lsquo;la Bible de la Kabbale Chrétienne&rsquo; (Secret, Les Kabbales Chrétiennes de la Renaissance, p. 57). &ldquo;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 &ldquo;all our studies in both [that is, both Pythagoreanism and Kabbalah] lead back to the salvation of mankind&hellip; Scholem has identified Reuchlin&rsquo;s primary source, a medieval miscellany of Kabbalistic texts now in the collection of the Jewish Theological Seminary (Halberstamm 444)&rdquo; (Hotchkiss/Price, The Reformation of the Bible/The Bible of the Reformation I.20). &ldquo;In De arte cabalistica, Reuchlin incorporated Pythagorean ideas on number mysticism and metempsychosis; notions which Pythagoras shared with Cabbala and which made him a &lsquo;Greek cabbalist&rsquo;. 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&rdquo; (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&mdash;the latter undertaken under the aegis of Pico&mdash;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.. Small folio [29.5 x 18.5 cm], (4), 79 (1) ff., including author&rsquo;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.

      [Bookseller: Martayan Lan, Inc.]
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