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        La battaglia degli uomini nudi

      1517 - Bulino 1517, firmato e datato in lastra in basso a sinistra. Esemplare nell’unico stato conosciuto. Bellissima prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame e completa della linea marginale, lieve restauro nella parte inferiore centrale, per il resto in ottimo stato di conservazioni. Al verso disegno a matita sanguigna calco dello stesso soggetto. Nei palazzi rinascimentali era uso decorare le sale più importanti con scene di battaglia e di torneo, che richiedevano tutta la maestria degli artisti, nel realizzare composizioni con uomini e cavalli in movimento. I più famosi esempi del primo cinquecento sono la Battaglia di Cascina di Michelangelo e la Battaglia di Anghiari di Leonardo, entrambe disegnate per un affresco, mai poi realizzato, per la Sala dei Cinquecento di Palazzo della Signoria a Firenze. I cartoni ed i disegni preparatori dei due artisti esercitarono una grandissima influenza su tutta l’arte del Rinascimento. Nel 1513 a Tiziano fu offerto di dipingere una scena di battaglia per il Palazzo Ducale di Venezia; lavoro che l’artista iniziò nel 1537 per terminare l’anno successivo, e che fu distrutto nell’incendio del 1577. Sebbene non sia comprovabile, questa incisione del Campagnola riflette una delle prime idee del maestro per la scena di battaglia. Sicuramente è netta l’influenza del Tiziano su questa composizione; affinità stilistiche sono riscontrabili con alcune scene della celebre silografia Il passaggio del Mar Rosso, che Tiziano realizzò nel 1514. Opera molto rara. Engraving, 1517, signed and dated on plate at lower left. Example in the only state known. Magnificent work, printed on contemporary laid paper without watermark, trimmed to the platemark and with complete borderline, tiny restoration on the lower central part, in good conditions. On verso, a sanguigna drawing, copy of the same subject. In the Renaissance, it was widespread the habit to decorate the most important rooms of the main palaces with scenes of battles and tournaments, quite a demanding task for any artist, for they had to portray men and horses in motion. At the beginning of the XVI century, the most famous battle pieces were the Battle of Cascina by Michelangelo and the Battle of Anghiari by Leonardo, both prepared for a fresco (neither ever realized) in the Sala dei Cinquecento, of the Palazzo della Signoria in Florence. The cartoons and the preparatory drawings of both artists have influenced the whole artistic production of the Renaissance. In 1513 Titian was offered to paint a battle scene for the Palazzo Ducale in Venice; the artist began his work in 1537 and finished the following year; the painting was unfortunately destroyed in the fire of 1577. Although it can’t be proved, this engraving of Campagnola represents one of the first ideas for the battle scene. For sure, the influence of Titian is evident in this composition; we can also find stylistic similarities with the famous woodcut Drowning of Pharaoh’s Army in the Red Sea, which Titian executed around 1514. Rare work Early Italian Engraving from the National Gallery of Art pp. 428/429 n° 156, Hind p.211 n° 4. Dimensioni [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Triumphus crucis, de fidei veritate. {i.e. "Triumph of the Cross"].

      Venice, Luca Olchiense, 1517 8vo. In contemporary full vellum. Title-page with woodcut vignette, rapaired at bottom, not affecting text or vignette. Three small holes to title-page and round stamp to lower part of title-page and last leaf, not affecting text or vignette. Small repair to lower part of M1, not affecting text. 112 ff. Rare second latin edition of Savonarola's perhaps most famous and influential work, his spiritual masterpiece, essentially a celebration of the victory of the Cross over sin and death and an exploration of what it means to be a Christian. On 12 May 1497, Pope Alexander VI excommunicated Savonarola and threatened the Florentines with an interdict if they persisted in harbouring him. On 18 March 1498, after much debate and steady pressure from the government, he withdrew from public preaching. Under the stress of excommunication, Savonarola composed the present work. "In his religious treatise, The Triumph of the Cross, Savonarola draws on classical triumphal imagery and the tradition of Florentine pageantry, as he allegorically depicts the triumph of Christianity in the form of a triumphal procession. Since it is difficult for the human mind to imagine the supernatural and invisible works of Christ, the friar argues, they need to be presented and visualized in metaphorical form. The image of the triumphal chariot serves this purpose well." (Uppsala Universitet, Renässansen - mellan medeltid och modernitet).Luca Olchiense was active as printer for a very short period of time (1517-18), and the present work is one of the few he managed to complete. Adams S520

      [Bookseller: Lynge & Søn A/S]
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        Richardi Pacei invictissimi regis Angliae primarii secretarii eiusque apud Elvetios oratoris, De fructu qui ex doctrina percipitur liber

      - Apud Io. Frobenium, Basilea 1517, petit in-4 (15,5x21cm), 114pp. (2). Sig. a-n4, o6., relié. - Edizione condotto da Paolo Bombace. Marchio dalla stampante fino all'ultimo verso foglia. Frontespizio inciso in una cornice rinascimentale. Citato in: "VD16 52. P - 1 P Adams Salta pagina 78-81 senza perdere. a4 è segnato ingiustamente A3, a seguito di a3. - [FRENCH VERSION FOLLOWS] Édition princeps réalisée par Paolo Bombace. Marque de l'imprimeur au verso du dernier feuillet. Page de titre dans un encadrement gravé Renaissance. Cité dans Adams (p. 1). Reliure en plein veau du XVIIIème. Le feuillet a4 est marqué fautivement en a3, à la suite de a3. Traces de mouillures jaunes du feuillet 87 au feuillet 95 allant s'accentuant, puis disparaissant. Restauration en marge interne au feuillet 33 (bande de papier ancien). Bon exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Commentarii tradotti in volgare per Agostino Ortica della Porta genovese

      per Iacopo Penzio da Lecho, 1517. In-8° (155x103mm), ff. (8), 295, (1), legatura settecentesca p. pergamena rigida con titolo calligrafato al dorso. 4 vignette xilografiche f.t. su due fogli (cc. 7v e 8r), raffiguranti macchine belliche delle campagne di Cesare. Qualche alone e arrossatura lieve. Ottimo esemplare. Prima edizione, rara, del classico volgarizzamento del letterato genovese Ortica delle opere di Giulio Cesare. Comprende gli otto libri del De Bello Gallico, i tre del De Bello Civili, il libro della Guerra Alessandrina e quello della Guerra d'Africa di Aulo Hirtio, il Libro della Guerra di Spagna contro i figli di Pompeo. Un anno dopo vide la luce la versione del fiorentino Dante Popoleschi, che ebbe però molta meno fortuna per gli inferiori pregi stilistici. Olschki, Choix, 4242. Essling, 1730. Sander, 1507. Graesse, II, p. 9. . Benini, Dal Lario alla laguna. Stampatori di Lecco, n. 165. Argelati, I, 207. EDIT16 CNCE 8151. Italiano

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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        Epigrammata. In amphitheatrvm Caesaris.

      Second edition thus. 8vo., ff. 190, [ii]. Woodcut printer's anchor device on leaves A1 recto and [et]8 verso, a few errors in foliation as usual. Some marginal annotations in sepia ink, most now sadly faded to illegibility. SOme occasional light foxing, including a little to title-page. Early 19th-century antique-style vellum binding, raised bands, remains of spine label, board edges turned a little inward, edges coloured green, narrow green silk ribbon bookmark bound in. Vellum darkened, slightly grubby, top edge dusty. A very good copy in a sympathetic later binding.The second Aldine edition, a reprint of the 1501 edition (the editio princeps was published in 1471 in Ferrara). A lovely example of the beauty and convenience of Aldine's unelaborated octavo volumes of popular Classical authors, highlighted with some early annotations: 'By pruning away one element - the commentaries - and combining two others - the smaller format and the most acceptable titles - Aldus was freeing literature from the study and the lecture-room.' (Lowry, 143)

      [Bookseller: Unsworth's Antiquarian Booksellers]
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        Richardi Pacei invictissimi regis Angliae primarii secretarii eiusque apud Elvetios oratoris, De fructu qui ex doctrina percipitur liber

      Apud Io. Frobenium 1517 - - Apud Io. Frobenium, Basilea 1517, petit in-4 (15,5x21cm), 114pp. (2). Sig. a-n4, o6., relié. - Édition princeps réalisée par Paolo Bombace. Marque de l'imprimeur au verso du dernier feuillet. Page de titre dans un encadrement gravé Renaissance. Cité dans Adams (p. 1). Reliure en plein veau du XVIIIème. Le feuillet a4 est marqué fautivement en a3, à la suite de a3. Traces de mouillures jaunes du feuillet 87 au feuillet 95 allant s'accentuant, puis disparaissant. Restauration en marge interne au feuillet 33 (bande de papier ancien). Bon exemplaire. Œuvre principale de l'auteur, qu'on peut traduire par « les fruits du savoir » ou « les fruits d'une éducation libérale », sorte de réflexion sur la connaissance et l'éducation morale ; c'est un livre proche par l'esprit de L'Utopie (qui venait de paraître un an plus tôt) de Thomas More, dont Richard Pace pratique la louange, le qualifiant de génie (p. 82 De Moro). C'est par la lecture du livre de Pace (1482-1536) que Luther prendra connaissance du livre de More et désirera grandement le lire. De fructu témoigne en détail des fruits d'une éducation humaniste et libérale sous les Tudors, l'auteur contant, dans une sorte de conversation assez libre, la lecture des Anciens, la connaissance et le savoir liés à la morale, l'ensemble dans un souci pédagogique. L'ouvrage demeure un témoignage précieux et remarquable de l'éducation humaniste. Richard Pace commença son éducation à Winchester, puis à Oxford, il fit ensuite des études à Padoue, Ferrare et Bologne. Après une vie de diplomate, il fut nommé secrétaire du roi à son retour en Angleterre, jouissant de nombreuses charges ecclésiastiques, notamment à Saint-Paul. Pace était proche des plus grands humanistes de son temps et du roi Henri VIII, Thomas More, bien sûr, et Erasme dont plusieurs lettres font l'éloge. L'œuvre a été réimprimée pour la Renaissance Society of America en 1966 (éditée et traduite par Franck Manley and Richard S. Sylvester). Édition précieuse et rare. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Edition conducted by Paolo Bombace. Brand from the printer to the last leaf verso. Title page engraved in a Renaissance frame. Quoted in: "VD16 52. P - 1 P Adams Jump page 78-81 without missing. a4 is marked wrongfully a3, following a3. 114pp. (2). Sig. a-n4, o6. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Commentarii tradotti in volgare per Agostino Ortica della Porta genovese

      per Iacopo Penzio da Lecho 1517 adi IIII de Fevraro, in Venetia - In-8° (155x103mm), ff. (8), 295, (1), legatura settecentesca p. pergamena rigida con titolo calligrafato al dorso. 4 vignette xilografiche f.t. su due fogli (cc. 7v e 8r), raffiguranti macchine belliche delle campagne di Cesare. Qualche alone e arrossatura lieve. Ottimo esemplare. Prima edizione, rara, del classico volgarizzamento del letterato genovese Ortica delle opere di Giulio Cesare. Comprende gli otto libri del De Bello Gallico, i tre del De Bello Civili, il libro della Guerra Alessandrina e quello della Guerra d'Africa di Aulo Hirtio, il Libro della Guerra di Spagna contro i figli di Pompeo. Un anno dopo vide la luce la versione del fiorentino Dante Popoleschi, che ebbe però molta meno fortuna per gli inferiori pregi stilistici. Olschki, Choix, 4242. Essling, 1730. Sander, 1507. Graesse, II, p. 9. . Benini, Dal Lario alla laguna. Stampatori di Lecco, n. 165. Argelati, I, 207. EDIT16 CNCE 8151. Italiano

      [Bookseller: Gilibert Libreria Antiquaria (ILAB-LILA)]
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        Richardi Pacei invictissimi regis Angliae primarii secretarii eiusque apud Elvetios oratoris, De fructu qui ex doctrina percipitur liber

      Edition conducted by Paolo Bombace. Brand from the printer to the last leaf verso. Title page engraved in a Renaissance frame. Quoted in: "VD16 52. P - 1 P AdamsJump page 78-81 without missing. a4 is marked wrongfully a3, following a3. Apud Io. Frobenium Basilea 1517 petit in-4 (15,5x21cm) 114pp. (2). Sig. a-n4, o6. relié

      [Bookseller: Librairie Le Feu Follet]
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        De partibus Aedium. Addita modo verborum explicatione: que in eodem libro continentur: Opus sane elegans & eruditum propter multiiugam uariarum rerum lectionem cum propter M. Vitruuii & Cornelii Celsi emaculatas dictiones: Quae apud ipsos vel mendose, vel obscure uidebant nouissime recognitum cunctisque erroribus expurgatum

      per (Alexandrum de Bindonis, Die ultimo Ianuarii) (1517), (Venetiis) - In 4

      [Bookseller: Studio Bibliografico Antonio Zanfrognini]
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        Commentarii di C Iul Cesare tradotti in volgare per Agostino Ortica della Porta Genovese

      Venice: Stampato in Venetia per Iacopo Penzio de Lecho. Ad instantia de M. Agostino Genovese. Good. 1517. Full leather. [8], 295, [1] leaves. With the final blank leaf which is just holding on. Includes 4 illustrations of battering rams etc. Bound in very worn old full leather, lacks the upper section of the spine and the lettering label is probably a replacement. Spine very worn and with some worm damage as well. Title page has been glued back in at some point as it is now 0.5cm narrower than the following pages. Worm damage to the front board and the following four leaves. Some staining and soiling throughout. Heavy stain to leaf 31 and adjoining leaves. Small holes to the lower margins on leaves 159-161. Old reinforcement to the inner margins of leaves 292 and 293. Page edges are worn gilt and with a gauffered pattern. Armorial bookplate of Thomas Philip Earl de Grey, Wrest Park to the front pastedown. Small old ink name written at the head of the title page. .

      [Bookseller: Stephen Rench]
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        Histoire du cardinal Ximenès

      Edition originale, rare, orné d'un portrait au frontispice de Delinck et illustrée de 6 bandeaux de titre et de 6 cul delampe par Sébastien Le Clerc. Marque de l'imprimeur en page de titre, à la fleur de lys de Florence.Pleine Basane brune d'époque. spine à nerfs orné. Pièce de titre en maroquin rouge. spine-ends et mors en tête et queue restaurés. Coins dénudés.L'oeuvre parut quelques jours à peine après l'Histoire de Ximenez de Marsolier et dont la comparaison suscita une polémique jusqu'au XIXe siècle. Alors que l'ouvrage de Fléchier tend à illustrer la sainteté du Cardinal, celui de Marsolier, plus critique, s'adresse "aux libertins, à ce parti des philosophes qui commençait à lever la tête". Réformateur religieux et homme politique, Ximénès (Francisco Jiménez de Cisneros) fut nommé Grand Inquisiteur d'Espagne et gouverneur de Castille ; il montra beaucoup de tempérence dans son administration de l'inquisition et sa politique envers les mores. A l'origine moine franciscain, n'oubliant pas ses origines, il tendit à une réforme profonde du clergé vers plus de morale. Il s'éteint en 1517, après s'être illustré sur tous les fronts, enseignement, politique... Il est une des figures majeures de l'histoire de l'Espagne de cette fin du XVe siècle. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Chez Jean Anisson à Paris 1693 in-4 (18x26cm) (4) XVIII 659pp. (16) relié

      [Bookseller: Librairie Le Feu Follet]
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        Feldtbuch der Wundtartzney.

      Strassburg: Gedruckt durch Johannem Schott, 1517. 1st Edition. Softcover. Folio - over 12 - 15" tall. Folio (280 x 195 mm). 102 leaves, ff. [4] I-LXX [2] LXXI-XCV. Signatures: pi4 a-l6 m6 ( m3.4) n6 o4 p6 q8 (-q8). Double column in Fraktur type. 22 full-page and 5 half-page woodcut illustrations attributed to Hans Wechtlin, the first on the title-page, a smaller woodcut of a scribe on leaf d1, one (of two) inserted woodcut plate printed as broadside on full sheet and bound in as folding plate. Large woodcut historiated and ornamental initials. With the additional two unfoliated leaves bound in between LXX and LXXI, not found in many copies. Three full-page woodcuts and four initials with contemporary hand-coloring. Without the final blank q8. Recently bound in a 15th century antiphonary vellum bifolium. All edges engraved "Chyrurgia Theutonica" by a contemporary hand. The folding woodcut plate repaired at fold with little loss of image. Lower blank margin of title-page restored (not affecting text). Title-page, preliminaries and folding plate with heavy but marginal brown staining, otherwise crisp and bright. Single small wormhole through first and last leaves. Provenance: From a venerable old Strassburg family who worked in the chirurgical tool manufacturing for several generations. An outstanding, amazingly well-preserved and very wide-margined copy containing the rare fugitive skeleton plate. ----Grolier/Norman Medicine 14; NLM/Durling 2059 (lacking the 2 folding plates); VD-16 G-1618; Choulant, pp. 162-66; Garrison & Morton 5560; Stillwell 387; Lilly Library, p.19; Herrlinger, History of Medical Illustration, pp. 140-43; Waller 3506 (calling for one plate only); cf. Heirs of Hippocrates 149 (1530 edition); Wellcome I, 2760 (1527 edition). FIRST EDITION of a milestone in human anatomy and surgery and of greatest rarity. Only two copies have appeared at auction in the past 50 years: the first with one folding plates only as here and otherwise complete (Hartung & Karl Nov. 8, 1988, sold for DM 48,000) and the second copy defective lacking both folding plates and with the title-leaf torn with loss of the title (Christie's sale, Nov. 29, 2000; $20,036). Written in German vernacular rather than Latin and frequently used as working copies, all early editions are normally found in rather bad condition. In contrast to that, our copy is unusually well preserved, with only little staining, soiling or fraying. The book was very popular. The work went through at least twelve editions between the time of its first publication in 1517 and the early seventeenth century. VD16 lists 14 editions in the 16th century. "In the same year that Martin Luther posted his Ninety-Five Theses, Gersdorff initiated the reformation of surgery by relating his own extensive experience in his Feldtbuch der Wundtartzney." (Grolier/Norman). The book is written on the basis of Gersdorff's 40 years experience as a military surgeon. A summary of the available knowledge of human anatomy derived from old Arabic writings, Guy de Chauliac, and other sources is followed by a guide to the surgical treatment of wounds, with a subsidiary part on the treatment of leprosy, followed by three Latin-German glossaries at the end - one of anatomic terms, one of diseases, and one of simples. "The book ... was translated into Latin and Dutch, and was widely quoted, referred to, and plagiarised in subsequent medical texts. Eminently practical in its instructions on the care and treatment of the wounded, it had admirably graphic wood engravings. The twenty-seven illustrations show clear diagrams of instruments and protheses, such as a mechanical iron-hand, in addition to scenes of operations, including the first printed picture of an amputation. Several illustrations, such as of the ambe, became standard in subsequent German surgical texts. The full-sheet anatomical skeleton existed in its own right as a broadside print and is often missing. (William Lefanu, Notable Medical Books from the Lilly Library, p. 19). Herrlinger comments that "The illustrations . . . belong to the early phase of 16th-century medical illustration and represent one of its high points" (History of medical illustration, London, 1970. p. 142). "Gersdorff ... had gained wide experience during the course... of campaigning and was an expert in the care and treatment of battlefield injuries ... [He] emphasized a well-founded knowledge of anatomy because the surgeon was frequently called upon to deal with extensive bodily trauma... The surgical portion of the work was devoted to wound surgery and covers in some detail the methods he employed for extracting foreign objects and amputating limbs. He used a tourniquet to control bleeding when amputating and covered the stump with the bladder of a bovine or swine to help control postoperative hemorrhaging. He also included information on various remedies and medications that might be employed by the surgeon. Of special interest are the sedatives and analgesics, although he appears not to have employed them in his practice. The section on leprosy is given over largely to remedies for a disease he did not believe could be cured." (Heirs of Hippocrates 149). *There appears to be two variants of this first edition: one with the bifolio numbered LXX/LXXI (signatures m3.4) present (e.g. at Universität Heidelberg), and another, without this but with an unnumbered bifolio (same signatures m3.4) with two full-page woodcuts including the first illustration of an amputation (e.g. at Augsburg Staats- u. Stadtbibliothek). Our copy does contain the unnumbered as well as the numbered bifolios and collates with the copy in the Österreichische Nationalbibliothek Wien. Also included in our copy is the folding diagram of the human skeleton which was originally published as a fugitive sheet. Very few copies also have a second fugitive sheet, the viscera-manikin, showing the internal organs (see H. Norman, One hundred books famous in medicine, Grolier Club, pp.54-5). Very Good.

      [Bookseller: Milestones of Science Books]
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        Margarita Philosophica cum additionibus novis: ab auctore suo studiosissima revisione quarto super additis.

      Basel: M. Furter, 1517. 4th Edition. Hardcover. 4to - over 9¾ - 12" tall. 5. März 1517. 4to (211x154 mm). 289 unnumbered leaves, signatures: a-d8, e4, f-z8, A-O8. Colophon on O8r: "Michael Furterius imps?sit Basilee. Anno. 1517 die vero. 5.Martii." Title in red and black within woodcut border, woodcut initials, 21 full-page woodcuts, numerous smaller woodcut illustrations within text. Lacks the world map and 2 folding diagrams. Foliated throughout by contemporary hand. Near contemporary vellum (worn and soiled, hinges cracked but holding), gatherings a and O loose. Contents little browned, title-page somewhat soiled, small hole in z1 not affeccting image, occasional minor spotting, otherwise clean and unmarked. Good copy, but without the large Ptolemaeic worldmap and the two folding plates with music notations as usual. ----VD 16, R 1040; Adams R 336; Fairfax Murray 354; Sabin 69129; vgl. Smith, Rara 82. - Fourth authorized edition of the first "modern" encyclopaedia first published in 1503 followed by numerous editions throughout the 16th century. "The work is a handbook or encyclopaedia of natural and moral philosophy, presented in dialogue form, and illustrated with a large number of woodcuts. The twelve books in which it is divided relate to grammar, logic, rhetoric, artificial memory, correspondence, arithmetic, music, geometry, astronomy, cosmography, astrology, natural philosophy, chemistry, alchemy, botany, optics, mental philosophy, theology, and moral philosophy" (Sabin). The work also includes "the oldest printed illustration of the structure of the eye" on f. E1r (Choulant-Fr. pp. 80 u. 126-129). Vierte autorisierte Ausgabe. Das erste enzyklopädische Werk der neueren europäischen Geistesgeschichte. Behandelt in Dialogform zwischen Lehrer und Schüler in 12 Büchern die freien Künste und die Naturwissenschaften, darunter Musik, Medizin, Geometrie u. Vermessung. Bemerkenswert u.a. "the oldest printed illustration of the structure of the eye" (Choulant-Fr. p. 80 u. 126-129, hier Bl. E1r) und die kleine Ansicht von Freiburg im Breisgau (Bl. B3). Es fehlen die Weltkarte sowie die 2 Schematafeln mit Noten. Very Good.

      [Bookseller: Milestones of Science Books]
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        Ausonij Peonij Burdegalensis Poetae: Augustorum Praeceptoris: virique Consularis opera diligentius iterum castigata, & in meliorem ordinem per quinque Tomos restituta, In quorum primo sunt Epigrammata. In secundo Edyllia. In tertio Epistolae. In quarto Gratiarum actiones. Ludus sapientum. Catalogus vrbium nobilium. Labores Herculis. Cesarum XII descriptiones. In quinto Iliados & Odysseae Homeri in singulos libros Periochae.

      [Paris], Vaenundantur in officina Ascensiana s.d. (in fine: impressas, in chalcographia Ascensiana ad eidus Iulias. Anno MDXVII [15 Juli ]) 1517 - 20,5 x 14 cm. [4], CXII Bl. Mit Holzschnitt-Druckermarke (Buchdruckerpresse) auf dem Titelblatt. Modernes Halbpergament. Titelblatt fleckig, mit altem handschriftlichem Besitzvermerk. Teilweise etwas fleckig. Ind. Aurel. 110.887. Moreau II, 1529. Renouard (Badius) II, 64:3. Renouard, ICP II, 1529. Neue Auflage der Ausgabe Paris 1513 (das Vorwort wurde mit der Datierung übernommen), bearbeitet von Girolamo Aleandro, Joannes Homodeus und Josse Badius. Ausonius, aus Bordeaux stammender Lehrer des späteren Kaisers Gratianus, wurde 379 als Anerkennung für seine Leistungen zum Konsul ernannt. Bleibende Berühmtheit erlangte Ausonius u.a. mit der Mosella, einem idyllischen Lobgedicht auf die Vorzüge des Tals der Mosel während einer von Bingen bis nach Trier führenden Rhein-Mosel-Fahrt, wo Ausonius in der Kaiserstadt als Prinzenerzieher einige Zeit gelebt hatte. Die beiden Gedichte gehören zu dem wenigen, was an römischer Literatur überhaupt auf deutschem Boden entstanden ist. Jodocus Badius (* 1462 in Gent; † 1535 in Paris), flämischer Buchdrucker und Humanist, studierte in Ferrara und lehrte in Lyon Latein und Griechisch. Dort veröffentlichte er 1493 eine Terenzausgabe. 1499 zog er nach Paris, wo er 1503 seine Druckerei eröffnete, die in seinem Schwiegersohn Robert Estienne eine berühmte Fortsetzung fand. Als Druckermarke verwendete die berühmte Darstellung einer Druckwerkstatt. Häufig wird er mit dem Beinamen Ascensius / de Asse nach dem Ort Asse bezeichnet. Very rare reprint of the 1513 Badius edition of the works of the Latin poet Ausonius, with notes by G. Aleandro, J. Homodeus and J. Badius himself. Woodcut mark (printing press) on title. Some lines or words in Greek. Title soiled, some minor soiling or spotting, cont. ownership entry on title.

      [Bookseller: Antiquariat Peter Fritzen]
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        P. Cornelius Taciti libri quinque noviter inventi atque cdum reliquis eius operibus editi [ by Filippos Beroaldo, with Annotationes by Andrea Alciati]

      Milan: Alessandro Minuziano, 1517. Tacitus, Publius Cornelius (ca. 56 – ca. 120 C.E.). P. Cornelii Taciti libri quinque noviter in venti atque cum reliquis eius operibus editi. Small 4to. [20], 233, [3]ff. Signatures H-K bound in reverse order in this copy. [Milan:] Ex officina Minutiana, 1517. 192 x 127 mm. Full morocco tooled in gilt and blind in antique style. Occasional faint dampstaining, but a fine copy. Engraved armorial bookplate of Count D[mitri] Petrovich Boutourlin (1790-1849). First Minuziano Edition, and the First Example of a Challenge to a Copyright. In 1508 Pope Leo X (formerly Cardinal Giovanni de’Medici) purchased the only surviving manuscript of the “lost” first six books of Tacitus’s Annals, which had earlier been stolen from the monastery of Corvey in Westphalia. Six year later Leo granted the Vatican librarian, humanist Filippo Beroaldo the younger, the exclusive right or privilegio to issue a printed edition the complete works of Tacitus, including the previously unpublished “lost” books from the Corvey manuscript. Violators of the privilegio were threatened with excommunication. Beroaldo’s Tacitus, printed in Rome by Stephanus Guilleretus de Lotheringia, was published in 1515. At the same time the Milanese printer Alessandro Minuziano, undaunted by the fear of papal displeasure, began preparing a word-for-word reprint of the Beroaldo Tacitus, probably bribing one of Lotheringia’s employees for sheets of the work as it was being printed. It is likely that Minuziano intended to issue his pirated edition around the same time as the legitimate one, but the Pope got word of his scheme and the subsequent dispute over the privilegio forced Minuziano to suspend publication until the matter was resolved. The matter was serious, especially as Leo X actively involved himself in issues of publication and censorship. The case was eventually resolved in Minuziano’s favor, and he added an appendix to the edition containing the key documents pertaining to the case. These included the papal privilege of November 14, 1514, Minuziano’s “supplication and prayers” to Leo X of March 30, 1516 (in which he defended himself, remarkably, by claiming ignorance of the Pope’s privilegio), and the papal letter of pardon dated September 7, 1516, reiterating Minuziano’s defense and granting Minuziano permission to publish his edition. This copy of the Minuziano Tacitus bears the bookplate of Dmitri Petrovich Boutourlin (or Buturlin), a Russian general, statesman and military historian who became director of the Russian Imperial Public Library in 1843. A catalogue of Boutourlin’s extensive private library was published in 1831. $12,500 rebound by Sean Richards.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        Der Aller-Durchleuchtigste Ritter, Oder ... Groß-Thaten, Abentheuer ... Deß Heldens Maximiliani I. ... unter dem Nahmen Theuer-Danck

      Der Aller-durchleuchtigste Ritter, Oder die Rittermässige, hoch-theure, höchst-gefährliche und Glorwürdigste Groß-Thaten, Abentheuer, Glücks-Wechslungen und Siges-Zeichen Deß Aller-Großmächtigsten, Unüberwindlichsten, Dapfersten, Unermüdeten und Klügsten Heldens Maximiliani I. ... Wie solche von ... Melchior Pfinzing, Probsten zu St. Alban, Dechant zu St. Victor bey Mayntz, Probsten zu St. Sebald in Nürnberg, auch Ihrer Röm. Kayserl. Majest. Caroli V. Hof-Caplan, Vor mehr als anderhalb hundert jahren, in alten damahls gebräuchlichen teutschen reimen gar zierlich verfasst, und gleichsam als in einem siegsund triumph-spiel, in der person der dreyen lastern, fürwitz, vermessenheit und neid, heroisch auffgeführt, auch nachmahls unter dem nahmen Theur-danck, zu offentlichem druck befördert, und von dem alten vortrefflichen und berühmten mahler Johann Scheifelen von Nordlingen, Mit 123. gar künstlich-gerissenen, nachmahls in holtz geschnittenen, längst verlohren, aber wieder gefundenen schönen figuren, jedoch unter verdecktem nahmen, gar annehmlich aussgeziehret, und beleuchtet worden. Anjetzo aber aufs neue mit grossem fleiss wiederum gesamlet Die alte reimen in etwas andere, und dieser zeit verständlichere gebracht, Die Geschicht-Figuren mit kurtzen doch wahrhafftenSummarien vermehrett, Auch zu mehrer und besserer erläuterung dieses grossen käysers geführten lebens- wandels, eine (auss einem der vornehmsten geschicht-schreibern) kurtz-zusammen gezogene beschreibung seines geburtsjahrs, lebens lauffs, und todten-gangs mitangehenckt. Allen Geschicht- und Kunst-verständigen Liebhabern zu beliebendem Lust und Nutzen vorgestellet. Titel in Rot und Schwarz. Mit gestochenem Frontispiz und 123 halbseitigen Textholzschnitten von Hans Burgkmair, Hans Schäufelein, Leonhard Beck u. a. Spätere Ausgabe des prächtigen, erstmals 1517 erschienenen Holzschnittbuches. - Enthält im Anhang 6 weitere Theuerdanck-Stöcke, die in den früheren Ausgaben nicht abgedruckt waren, sowie am Ende eine Lebensbeschreibung von Kaiser Maximilian. Nur diese Ausgabe hat diese zusätzlichen 6 Holzschnitte, die nicht allen Exemplaren beigegeben wurden Geprägter Ledereinband der Zeit, abgegriffen und fleckig, Schließen im Lauf der Zeit verloren, Ecken und Kanten berieben und bestoßen, Laut KVK und WorldCat Schultes erster Neudruck von 1679. Die letzte 6. u. 7. Auflage war 1589/96. Die 58 seitige - Kurtze Geburts- Lebens- und Todtes-Beschreibung des Allerdurchleuchtigsten Ritters Maximiliani - ist am Ende eingebunden. VD 17, 7:672077A. Muther 119. Oldenbourg (Schäufelein) L 128. Vgl. Goedeke I, 336, 1 und II, 452, 13. Fairfax Murray 329. Das schöne Frontispiz zeigt eine Turnierszene, es hat ein Wasserfleck, der nur Rückseitig zu sehen, Buchblock ist sonst im sehr schönen Zustand, nicht feuchtigkeits- und fingerfleckig. Vorrede und die letzten Blatt ab Bild 118 stellenweise braunfleckig. Der Block mit den 117 Textholzschnitten ist auf sehr viel besserem, kräftigerem Papier gedruckt und dementsprechend meist sauber und frischer. Das ist auch in anderen Exemplaren beobachtet worden. Die Holzschnitte in sehr kontrastreichen, guten Abzügen. Der Theuerdank ist ein aufwendig gestaltetes Werk aus der frühen Zeit des Buchdrucks, das von Kaiser Maximilian I. in Auftrag gegeben wurde. Es hat eine möglicherweise von Maximilian selbst verfasste Geschichte aus seinem Leben zum Inhalt: die Reise zu seiner Braut Maria von Burgund im Jahre 1478, die als fiktive Brautfahrt des Ritters Thewrdanck zu Fräulein Ernreich in Versen erzählt wird. Der Theuerdank gehörte zu einer Reihe von künstlerisch ambitionierten Unternehmungen Maximilians, wie den Druckwerken des Gebetbuchs, des Weißkunig und der Ehrenpforte, in denen er sich als Herrscher etablieren und verewigen wollte. Der 1517 in Nürnberg gedruckte und reich illustrierte Theuerdank wurde in einer eigens dafür entworfenen Drucktype hergestellt, die als Schrift die Theuerdank genannt wird. Das Werk erfuhr einige Nachdrucke, von denen die Neuausgabe von 1679, erschienen in Augsburg und Ulm, die bedeutendste ist. 1679 war Matthäus Schultes, Verleger und Drucker in Augsburg, vor kurtz verwichener Zeit von einem Freund in einer vornehmen Reichs-Stadt auf einen Stapel alter Holzdruckplatten aufmerksam gemacht worden, die dieser ziemlich verdreckt in einem finstern Kärcker vorgefunden habe. Schultes, der eine der bilderlosen Ausgaben des Theuerdank besaß und von dem berühmten Druck von 1517 wusste, erkannte, was er vor sich hatte: die 118 Platten der nunmehrs über die anderthalb hundert Jahren verlohren gewesnen Holtzschnitte[n]. Schultes gab 1679 den Theuerdank ein weiteres Mal heraus, sowohl in Augsburg in seinem eigenen Unternehmen als auch in Ulm, wo er bei Matthäus Wagner drucken ließ. Er folgte der Anlage des Originals und druckte sie in einer dem Geschmack seiner Zeit angepassten Fraktur, die alte Reimen in etwas andere / und dieser Zeit verständlichere gebracht, so der editorische Hinweis auf dem Titel. Er setzte die Bilder jeweils einzeln und mit einer Überschrift versehen nebst einer kurzen, auf Maximilian bezogenen Inhaltsangabe der folgenden Episode ab und verwies die dazugehörenden Verse komplett auf die Rückseite des Blattes. Die Druckplatten hatte er gereinigt, von den eingenistelten Würmern [erlöst] und für seine Ausgabe sämtlich erneut verwendet die Platten waren erstaunlich gut erhalten, hatten lediglich zuweilen ihre Randstege eingebüßt und nur wenige waren zerbrochen gewesen. Dass die Illustrationen nicht nur von Hans Schäufelin stammten, auf dem Titel Johann Scheifelen von Nördlingen genannt, hatte Matthäus Schultes offenbar nicht gewusst. Er fügte außerdem seinem Druck am Ende eine Kurtze Geburts- Lebens- und Todtes-Beschreibung des Allerdurchleuchtigsten Ritters Maximiliani I. hinzu, die allerdings mit 58 Seiten Folio und zweispaltig gesetzt durchaus umfangreich ist. K. Max, der teure Held, wird in dieser Biografie zum letzten Ritter. Wik.de http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11055017_00009.html hier eine Digitale Ansicht des Werkes mit den 123 Holzschnitten kostenloser Versand DHL

      [Bookseller: HGomoll]
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        Die Kunst des Quadrats/Erräumen. Zum Werk von Frank Lloyd Wright.

      4 Bde. (Komplett!) quadr.-4. u. gr.-4 (Bde. 3. u. 4). 1517 S. Mit Hunderten tlw. farb. Illustr., Textabb. u. Taf. OLn. m. OU. In neuwertigem Zustand. - (Schriften des Instituts für Kunstgeschichte. Akademie der bild. Künste, Wien) Mit eigenhänd., mehrzeil. Widmung u. Zeichnungen d. Verf. im ersten Band.

      [Bookseller: Antiquariat Burgverlag]
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        De plactu eccl\'ie desideratissimi libri duo et indice copiosissimo et marginarijs additionibus reces illustrati. (Lyon), Johann Clein, (1517). 1 w. Bl., Titel (in Rot mit schwarzer Holzschnitt-Bordüre und -Druckermarke), 17 Bll., 6 Bll., CCLXX num. Bll., 1 w. Bl. 4°. Hldr. (um 1920) auf 3 Bünden mit goldgepr. RTitel (leicht berieben).

       1517 Hauptwerk des um 1280 in Galicien geborenen Theologen Alvarus Pelagius, in dem er über den Zustand der katholischen Kirche im Allgemeinen und die Stellung des Papstes im Besonderen referiert. Entstanden ist dieses Werk in den 1330er Jahren und erschien zuerst 1474 in Ulm in Buchform. Die hier vorliegende Lyoner Ausgabe von 1517 ist wohl erst die zweite Ausgabe.- Titel und Vortitel mit Namenszügen von alter Hand, teils ausgestrichen.- Vereinzelt mit schmalem Feuchtrand im weißen Außen- und Kopfsteg, einzelne Blätter mit minimalen Randläsionen. Ab Blatt CXXXV gering wurmspurig (teilweise mit Buchstabenverlust).- > Versand D: 5,00 EUR

      [Bookseller: Antiquariat Schramm]
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        OPERUM TOMI QUINQUE.

      Basileae, apud Io. Frobenium, 1517. In-4 p. (mm. 296x202), 2 voll., p. pergam. coeva (dorso a cordoni restaur.), con i 5 tomi dell?opera + Indice. Rarissima "prima edizione" di questa importante opera, così suddivisa in questo esemplare: - Vol. I: ?Tomus Primus - contiene le "Homilia super Matthaei Evangelium": Homilias complectens LXXXIX. Quarum octo priores Anianus ad Horontium e Graeco vertit, Reliquas Georgius Trapezontius latinitate donavit?, 158 cc.num. + ?Tomus Quintus - contiene "Operum Divi Ioannis Chrysostomi": Homilias XLV - De dignitate sacerdotali Li. VI - De conpunctione cordis Li. II - De reparatione lapsi Li. unicum - De providentia Dei Li. III - Sermones XXXVI. Quorum omnium argumenta comperies pagina sequenti?, 129 cc.num. (con grande marca tipografica al verso dell?ultima c.), 1 c.b. + ?"Index" super quinque tomos Operum Divi Ioannis Chrysostomi Episcopi Constantinopolitani. Vita eiusdem obiter ex Svida. atque ex aliis ecclesiasticis scriptoribus apposita?, 20 cc.nn., con un bellissimo frontespizio entro elaborata cornice figurata su fondo nero, in silografia. - Vol. II: ?Tomus Secundus - continens "Commentarium in Ioannis Evangelia", Homilias vide licet LXXXVII. Francisco Aretino interprete, 91 cc.num., 1 c.b. + ?Tomus Tertius - contiene le "Homilias super epistolas Pauli": De laudibus Pauli Homilias VIII. incerto Interprete - In epistolam ad Titum Homilias VI. Ambrosio Camaldulensi interprete - In epistolam ad Philemonem Homilias III. Ambrosio Camald. interprete - In epistolam ad Hebraeos Homilias XXXIIII. Mutiano Scholastico interprete - In epistolam I ad Timotheum Homilias XVIII. incerto interprete - In epistolam II ad Timotheum Homilias X. incerto interprete - In epistolam ad Corinthios Homilia unica, Hieronymo Donato interprete - Adversus Vituperatores vitae monasticae libros III, Ambrosio Camald. interprete, 129 cc.num., 1 c.b. con grande marca tipograf. incisa? + ?Tomus Quartus - habet "Homilias LXXX ad populum Antiochenum" potissimum habitas, Bernardo Brixiano Interprete, quarum argumenti compendium vide pagina sequenti?, 109 cc.num., 1 c.nn. con marca tipograf. incisa. Tutti i tomi portano la bella marca tipografica al frontespizio e sono ornati da 11 pregevoli grandi capilettera xilografati su fondo nero. Cfr. Graesse,I,151. Esemplare su carta distinta ben conservato. "S. Giovanni Crisostomo (Antiochia fra il 344 e il 347 - Cumana, Cappadocia, 407), Padre della Chiesa, il più celebre degli oratori sacri. La fama di oratore gli procurò il soprannome di "bocca d'oro". Dei numerosi scritti meritano di essere ricordati in particolare i tre libri ?Contro gli avversari della vita monastica?; i sei del dialogo ?Sul sacerdozio?; varie opere ascetiche (sulla verginità, contro coloro che tengono vergini coabitatrici, ecc); i commenti agli Atti degli Apostoli; i discorsi esegetici (sulle epistole di S. Paolo, sui Salmi, ecc.) in cui segue il metodo della scuola antiochena; morali (contro i teatri e i giochi del circo); ?Sui misteri? (per le grandi solennità); apologetici (contro gli Ebrei; contro gli anomei, ecc..). La sua personalità è soprattutto quella di un moralista, desideroso di riformare la vita cristiana, pur mantenendosi, culturalmente, nell'ambito dell'ellenismo". Cosi' Diz. Treccani,V, p. 404.

      [Bookseller: Libreria Malavasi sas]
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        Directorium Breve, ad Confessarii, ac Confitentis munus recte obeundum. - Angebunden: Methodus ad eos Adjuvandos, qui Moriuntur...

      255 + 173 pp. Format 13,5 x 8 cm. Sehr schöner Lederband der Zeit über Holzdeckeln mit 2 Schließen. Deckel mit geprägtem runden Mittelstück. *Beide Teile so zusammengehörig erschienen. - Ein im 16. Jahrhundert sehr verbreitetes Werk. - Juan de Polanco (* 1517 21. Dezember 1576 in Rom) wurde 1547 Sekretär des ersten Generaloberen der Gesellschaft Jesu, Ignatius von Loyola. Auf ihn gehen hunderte von Briefe zurück, die er in dessen Auftrag schrieb und mithilfe derer der junge Orden geleitet wurde. Ab 1547 war er maßgeblich bei der Vorbereitung der Ordenssatzungen beteiligt. Im selben Jahr gab er den Anstoß dafür, dass Ignatius eine Art Autobiographie hinterließ, den sogenannten Bericht des Pilgers, in dem er den Mitbrüdern seine geistlichen Erfahrungen mitteilte. - Hier eine Ausgabe des ausgehenden 16. Jahrhunderts in einem bemerkenswert hübschen Einband. Sehr gut erhalten.

      [Bookseller: Antiquariat Bernd Braun]
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        Aldus Manutius Aldine Ausonius Opera Alte Drucke Venedig 1517 herausgegeben von Girolamo Avanzi. Mit zwei Holzschnitt Druckermarken.

      Venedig, Aldus Manutius & Andreae Soceri, November 1517. 107 Bll., 1 w. Bl. (Fehlerhafte Paginierung bei 2-3) 15,5 x 9,8 cm. (Späterer) SchwarzerLedereinband mit Blindpragung und marmorierten Schnitt auf drei Bunden (etwas berieben u. bestossen).Erste Ausgabe. - Adams A2278 - Renouard 80 - UCLA 137Erste und einzige Ausgabe der Werke von Ausonius bei Manutius. Ausonius, ein spatantiker Dichter und Lehrer für Rhetorik, verfasste zahlreicheWerke und gilt vor allem mit seinen Gedichten Mosella u. Ephemeris als ein bedeutender Vertreter seiner Zeit. Aldus Manutius war ein berühmter venezianischer Buchdrucker und Verleger. Mit seinen Drucken griechischer und lateinischer Werke der Antike und humanistischer Autoren leistete Manutius einen wesentlichen Beitrag zur Entwicklung des Humanismus in Europa und zur Wiederentdeckung der Antike in der Renaissance. Auch als Typograph hatte Manutius wesentlichen Einfluss auf die noch junge Kunst des Buchdruckes. Die in den Druckereien des 15. Jahrhunderts im Norden übliche sogenannte gotische Schrift, die aus den Handschriften abgeleitete Textura, ersetzte er durch neue, kunstvolle Lettern die aldinischen Typen, heute Antiqua genannt. Ab 1501 verwendete er erstmals die Kursivschrift. - Die beliebtesten Autoren brachte er in dem kleinen Oktavformat heraus, das zuvor nur für Erbauungsliteratur üblich gewesen war so konnten die Texte überallhin mitgenommen, bei Gelegenheit hervorgeholt und leicht in einer Hand gehalten werden. Mit Griffos Kursive, die das hervorstechendste Merkmal der lateinischen und italienischen Aldinen wurde, traf der Drucker den Geschmack der wohlhabenden, ästhetisch sensiblen Bildungselite, die er vor allem im Blick hatte.Mit dekorativem. Ex Libris aus der Aldinen Sammlung von Stelio Valentini. - Seiten teils etwas wurmstichig, seltener fleckig. u Versand Dienstags und Freitags

      [Bookseller: Treptower Buecherkabinett]
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        OPERUM TOMI QUINQUE.

      apud Io. Frobenium, 1517. In-4 p. (mm. 296x202), 2 voll., p. pergam. coeva (dorso a cordoni restaur.), con i 5 tomi dell'opera + Indice. Rarissima "prima edizione" di questa importante opera, così suddivisa in questo esemplare: - Vol. I: "Tomus Primus - contiene le "Homilia super Matthaei Evangelium": Homilias complectens LXXXIX. Quarum octo priores Anianus ad Horontium e Graeco vertit, Reliquas Georgius Trapezontius latinitate donavit", 158 cc.num. + "Tomus Quintus - contiene "Operum Divi Ioannis Chrysostomi": Homilias XLV - De dignitate sacerdotali Li. VI - De conpunctione cordis Li. II - De reparatione lapsi Li. unicum - De providentia Dei Li. III - Sermones XXXVI. Quorum omnium argumenta comperies pagina sequenti", 129 cc.num. (con grande marca tipografica al verso dell'ultima c.), 1 c.b. + ""Index" super quinque tomos Operum Divi Ioannis Chrysostomi Episcopi Constantinopolitani. Vita eiusdem obiter ex Svida. atque ex aliis ecclesiasticis scriptoribus apposita", 20 cc.nn., con un bellissimo frontespizio entro elaborata cornice figurata su fondo nero, in silografia. - Vol. II: "Tomus Secundus - continens "Commentarium in Ioannis Evangelia", Homilias vide licet LXXXVII. Francisco Aretino interprete, 91 cc.num., 1 c.b. + "Tomus Tertius - contiene le "Homilias super epistolas Pauli": De laudibus Pauli Homilias VIII. incerto Interprete - In epistolam ad Titum Homilias VI. Ambrosio Camaldulensi interprete - In epistolam ad Philemonem Homilias III. Ambrosio Camald. interprete - In epistolam ad Hebraeos Homilias XXXIIII. Mutiano Scholastico interprete - In epistolam I ad Timotheum Homilias XVIII. incerto interprete - In epistolam II ad Timotheum Homilias X. incerto interprete - In epistolam ad Corinthios Homilia unica, Hieronymo Donato interprete - Adversus Vituperatores vitae monasticae libros III, Ambrosio Camald. interprete, 129 cc.num., 1 c.b. con grande marca tipograf. incisa" + "Tomus Quartus - habet "Homilias LXXX ad populum Antiochenum" potissimum habitas, Bernardo Brixiano Interprete, quarum argumenti compendium vide pagina sequenti", 109 cc.num., 1 c.nn. con marca tipograf. incisa. Tutti i tomi portano la bella marca tipografica al frontespizio e sono ornati da 11 pregevoli grandi capilettera xilografati su fondo nero. Cfr. Graesse,I,151. Esemplare su carta distinta ben conservato. "S. Giovanni Crisostomo (Antiochia fra il 344 e il 347 - Cumana, Cappadocia, 407), Padre della Chiesa, il più celebre degli oratori sacri. La fama di oratore gli procurò il soprannome di "bocca d'oro". Dei numerosi scritti meritano di essere ricordati in particolare i tre libri "Contro gli avversari della vita monastica"; i sei del dialogo "Sul sacerdozio"; varie opere ascetiche (sulla verginità, contro coloro che tengono vergini coabitatrici, ecc); i commenti agli Atti degli Apostoli; i discorsi esegetici (sulle epistole di S. Paolo, sui Salmi, ecc.) in cui segue il metodo della scuola antiochena; morali (contro i teatri e i giochi del circo); "Sui misteri" (per le grandi solennità); apologetici (contro gli Ebrei; contro gli anomei, ecc..). La sua personalità è soprattutto quella di un moralista, desideroso di riformare la vita cristiana, pur mantenendosi, culturalmente, nell'ambito dell'ellenismo". Cosi' Diz. Treccani,V, p. 404.

      [Bookseller: Libreria Antiquaria Malavasi]
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        De plactu eccl'ie desideratissimi libri duo et indice copiosissimo et marginarijs additionibus reces illustrati. (Lyon), Johann Clein, (1517). 1 w. Bl., Titel (in Rot mit schwarzer Holzschnitt-Bordüre und -Druckermarke), 17 Bll., 6 Bll., CCLXX num. Bll., 1 w. Bl. 4°. Hldr. (um 1920) auf 3 Bünden mit goldgepr. RTitel (leicht berieben).

      1517 - Hauptwerk des um 1280 in Galicien geborenen Theologen Alvarus Pelagius, in dem er über den Zustand der katholischen Kirche im Allgemeinen und die Stellung des Papstes im Besonderen referiert. Entstanden ist dieses Werk in den 1330er Jahren und erschien zuerst 1474 in Ulm in Buchform. Die hier vorliegende Lyoner Ausgabe von 1517 ist wohl erst die zweite Ausgabe.- Titel und Vortitel mit Namenszügen von alter Hand, teils ausgestrichen.- Vereinzelt mit schmalem Feuchtrand im weißen Außen- und Kopfsteg, einzelne Blätter mit minimalen Randläsionen. Ab Blatt CXXXV gering wurmspurig (teilweise mit Buchstabenverlust).- Gewicht in Gramm: 500

      [Bookseller: Antiquariat Daniel Schramm e.K.]
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        BRITANNIAE UTRIUSQUE REGUM ET PRINCIPUM ORIGO. (KING ARTHUR).

      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 initials 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 to verso, 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 and is affected by pale staining to top margin. Last 13 leaves have small brown stain to tips of top and lower corners, also slightly affecting fore-edge of last 6 leaves, occasional brown spot or mark, last free endpaper is dusty and has 2 small neat repairs, 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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        Commentarii di C. Iul Cesare tradotti in volgare per Agostino Ortica della Porta Genovese

      [8], 295, [1] leaves. With the final blank leaf which is just holding on. Includes 4 illustrations of battering rams etc. Bound in very worn old full leather, lacks the upper section of the spine and the lettering label is probably a replacement. Spine very worn and with some worm damage as well. Title page has been glued back in at some point as it is now 0.5cm narrower than the following pages. Worm damage to the front board and the following four leaves. Some staining and soiling throughout. Heavy stain to leaf 31 and adjoining leaves. Small holes to the lower margins on leaves 159-161. Old reinforcement to the inner margins of leaves 292 and 293. Page edges are worn gilt and with a gauffered pattern.

      [Bookseller: Stephen Rench]
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        Regimen sanitatis Magnini Mediolanensis [...] Insuper opusculu[m] De flebothomia editum [...] Reginaldo de Villa Nova. Additur quoq[ue] Astronomia Hippocratis [...] de variis egritudinibus et morbis. Item Secreta Hippogratis. Item Averrois De venenis. Ite[m] Quid pro quo apothecariorum [...] Nicolaum [...] Cum no[n]nullis insuper Avicenne [...]. (Lyon, Jacques Myt for) Barthélemy Trot (device), 6. II. 1517.

      1517. 4to. CI, (3) ff. Title-page printed in red and black with Trot's woodcut publisher's device (lion holding arms bearing a globus cruciger with a parochial cross and initials BT). 12 decorated woodcut initials (white-on-black Lombardic capitals with leaf and flower decorations, 3 series) plus 3 repeats. Set in rotunda gothic types (2 sizes) with 3-line "Lombardic" capitals (and a couple 2-line), and 2 spaces with guide letters left to be filled in by hand. 17th-century calf sewn on 5 double supports, gold-tooled spine with titles in the 2nd, 3rd and 4th of 6 compartments and a fleur-de-lis in each of the others, blind fillets on sides. Rebacked with the original backstrip laid down. Rare fourth (?) edition of a collection of ten mediaeval works by seven authors concerning medicine, health, food and wine, several first published in this collection in 1500. They include: Maynus de Maynis (ca. 1295-1368?), Regimen Sanitatis, on health (ff. III-LXIX); a work on phlebotomy attributed to Arnaldus de Villanova (ca. 1295-1368?) (ff. LXIX-LXXII); Astronomia, on astrological influences on health, attributed to Hippocrates (ff. LXXII-LXXIV); Johannes de Zantvliete (fl. 1343-50), De dieta, on food (ff. LXXIV-LXXV); Nicolaus Salernitanus (12th c.), Quid pro quo, a list of medicines for numerous ailments (ff. LXXV-LXXVII); Averroes (1126-1311) on poisons (ff. LXXVII-LXXVIII) and on theriac, a poisonous concoction used as an antidote to other poisons, especially poisoned wounds (ff. LXXVIII-LXXXIV); Secreta, a short piece attributed to Hippocrates (f. LXXXIV); Villanova, Tractatus de vinis, an extensive and important work on wine (LXXXIV-XCI); and Roger Bacon (ca. 1220-92), De regimine senum et seniorum, a treatise on geriatrics, here erroneously attributed to Villanova (ff. XCI-CI). Some incorporate notes taken from the works of Ibn Sina (Avicenna). The book ends with an index and table of contents. This collection was first printed at Paris in 1500, some of the works appearing there for the first time, and was reprinted in Lyon editions of ca. 1501 (anonymous, known from a unique copy) and ca. 1502 (by François Fradin). A few of the pieces had been published earlier: Salernitanus (Pavia 1478/79), De Maynis (Louvain 1482), both Averroes works together with the Secreta, (Bologna ca. 1497/1500). - Occasional underlining and marginal marks by an early hand. With leaves 4 and 5 (originally conjugate) now present as singleton leaves mounted on stubs (though we see no other indication that they are sophisticated): otherwise in very good condition, with only very slight browning. Rebacked as noted, and with the surface of the leather refurbished, but now structurally sound. One of the rare earliest editions of several mediaeval treatises on health, medicine, food and wine. Baudrier VIII, 431. Durling 3044. Gültlingen, Bibl. Lyon II, 127: 47. Simon, Bacchica 421. USTC 144805 (8 copies). Vicaire 549f. Cf. Johnston, Cleveland herbal colls. 24 (ca. 1502 Lyon ed.); Wellcome 13965 (ca. 1502 Lyon ed.).

      [Bookseller: Antiquariat Inlibris]
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        Nova co[m]me[n]taria in Persium. A. Persii Flacci satyrae co[m]plusculis, quibus scateba[n]t, mendis repurgate, cum ecphrasi et scholiis Joa[n]nis Murmellii Kuremu[n]densis. M[a]rtialis sepius in libro memoratur persius uno quam totus magna Marsus Amazonide. Cologne, Heinrich Quentel (heirs), September 1517.

      1517. 4to. XL, (1) ff. (several errors in foliation, but complete, lacking only final blank). Decorated initials. 19th century boards (spine repaired). First edition thus of the satires of Persius, published but a month before the death of the editor, Murmellius. The work is preceded by a short biography of Persius, taken from Petrus Crinitus. Finely printed in a small "lettre bâtarde", including some Greek type, with legenda in the margins for the comments, and the main text printed in a slightly larger type, with the lines set widely apart. Georg Kloß copy, with his bookplate on the front pastedown and the relevant catalogue clipping from his sale (described as bound with an additional work) pasted above. The Frankfurt physician Georg Franz Burkhard Kloß (1787-1854) was also a noted historian of freemasonry. His rather notorious sale was held at Sotheby's in London in 1835. This volume contains long 18th c. notations on the title page about the rarity of this edition as well as a contemporary humanist's extensive marginalia in Latin from fol. C1v to D2r, then again on D5v and D6v (slightly trimmed at rebinding), mostly pertaining to the text, but also to the commentary. These early handwritten annotations were boldly attributed to Melanchthon by Samuel L. Sotheby in his 1835 catalogue of the Kloß library, an unsustainable notion against which the collector himself spoke out clearly (cf. G. Kloß, Ueber Melanchthons angebliche Handschriften, welche in dem Catalogue of the Library of Dr. Kloss verzeichnet sind, in: Serapeum 2 [1841], no. 24, p. 369-377). In his monumental account of Melanchthon research throughout the centuries, Wilhelm Hammer provided similarly critical reviews of Sotheby's relevant publications: "[Wimmelt] von Sach- und Druckfehlern [...] Die hier zusammengestellten 'Privatexemplare' [Melanchthons] entsprechen nicht den Tatsachen [...] Eine höchst unsinnige Veröffentlichung" ("Abounds with factual and setting errors [...] The 'private copies of Melanchthon' here assembled are not in accordance with fact [...] A deeply misguided publication", cf. Die Melanchthonforschung im Wandel der Jahrhunderte 36 [1968], pp. 96 & 110). Subsequently in the collection of Cosmo (Cosmas) Nevill, Esq. of Holt, Leicestershire, with his 19th century engraved bookplate. Nevill would have acquired the book from the Kloß sale. - Some browning and minor dampstains. Pasteboards rubbed, extremeties bumped, spine professionally restored, as is a tear in the title page. Final index leaf H3 repaired by an early owner with loss of text (colophon on verso preserved). A slight wormtrack in top margin of H1 and H2 repaired (with slight text loss to H2). Very rare; only two copies located in North America (at Ann Arbor & Columbia); none in Britain. VD 16, P 1610. Schweiger 708. Panzer VI, 377.270. Moreau/Renouard V, 254. Sotheby's, Catalogue of the Library of Dr. Kloss, of Franckfort a. M., Professor (auction catalogue, London 1835), no. 2507 (this copy: "Melancthon's copy, with marginal notes"). Not in Adams or BM-STC German.

      [Bookseller: Antiquariat Inlibris]
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        OPPIANOU ALIEUTIKWN BIBAIA PENTE. TOU AUTOU KUNHGETIKWN BIBAIA TESSAPA. [testo greco] Oppiani de piscibus libri V. Eiusdem de venatione libri IIII. Oppiani de piscibus Laurentio Lippio interprete libri V.

      in Aedibus Aldi et Andreae Soceri, decembre 1517]. in - 8 antico, 1 cb, cc 168, 1 cb, rileg. antica p. perg. molle, con tracce di doratura e cesellatura ai tagli. Marca tipogr. in legno al front. e ripetuta al colophon. Editio princeps per l'opera sulla caccia e seconda edizione per il trattato sulla pesca, entrambe versate in latino per opera di Lorenzo Lippi, umanista toscano. Testo preceduto dalle prefazioni di Francesco Asolano e da una succinta, e anonima, biografia di Oppiano con testo greco. I due trattati, sulla pesca e sulla caccia, furono ritenute opere dello stesso autore fino alla fine del Settecento quando lo studioso J. G. Schneider stabilì nella sua edizione delle opere del 1776 che questi due poemi non erano stati composti dallo stesso individuo ma da due persone omonime confuse costantemente nei secoli. Per questo motivo i due poemi furono quasi sempre stampati uniti (tranne che nell'edizione della Alieutica di Firenze, Giunti, 1515). In particolare lo scrittore della Alieutica nacque in Cilicia all'inizio del II sec. Il poema composto da più di 3000 esametri e diviso in cinque libri tratta dalla storia naturale dei pesci e in particolare negli ultimi 3 libri dell'arte della pesca, dando prova di molte cognizioni zoologiche ma anche dando credito a molte favole e assurdità che sono per noi oggi forse la parte più piacevole del poema stesso. Dal punto di vista stilistico l'Alieutica è superiore al poema sulla caccia e anche questo dato fa comprendere come sia impossibile ricondurre le due opere alla stessa mano. L'autore della Cinegetica, composta da circa 2000 esametri in quattro libri, era nativo di Apamea in Siria, e nonostante la "durezza" dello stile e della lingua, anche in questo caso sono notevoli i riferimenti zoologici. Antica annotazione coeva ad inchiostro al front. che cita "Pars Secunda". Freschissimo esemplare ad ampi margini di rarissima edizione aldina. Adams O - 200. Renouard p. 81, n. 9. BLSTC p. 476. Ottimo esempl.[191]

      [Bookseller: Studio Bibliografico Scriptorium]
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        De rebus gestis Francorum Libri IIII (= IX)...

      Venundantur in aedibus Iodoci Badii Ascensii, s.d. (ma 1517). Folio (cm. 28,5), 287 cc. (di 289). Frontis. entro ricca cornice architettonica e num.si capilettera xilografici. Cartonato rustico moderno. Mancano le ultime 2 cc.nn. (Errata?). Aloni marginali più intensi su poche pagine e carte un po’ ondulate. Timbretto di appartenenza al frontis. Qualche annotazione di antica mano. Nel complesso, buon esemplare. Raro. Adams , A231; Brunet I, p. 64-65.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Cornucopiae, siue linguae latinae commentarij diligentissime recogniti: atque ex archetypo emendati

      heirs of Aldus Manutius the Elder & Andrea Torresano, 1517. Colophon (l. K8r): Venice, heirs of Aldus Manutius the Elder Andrea Torresano, May 1517. Colophon (l. Y7v): Venice, heirs of Aldus Manutius the Elder Andrea Torresano, November 1513.Folio (294x205 mm), early 18th-century vellum over boards, spine with lettered-piece, red edges, (80, of which the last is a blank) ll., 1436 cols., (1) l. Printer's device on the title-page and at l. K8v and Y8v. Some quires a bit browned and stained, inner margin of gatherings a and b stonger stained, round wormhole that starts at leaf N6 and goes up to the end of the volume (it becomes a 20mm-long track in quires O and P) affecting the text, upper margin short, but all in all a good, nicely bound copy. At the end of the volume are bound 6 leaves that provide an index to the volume in a 18th-century hand. Also bound at the end before the flyleaf is a 14th-century manuscript leaf on vellum containing Justinian's Pandects.THIRD ALDINE EDITION, a reissue of the 1513 edition. Perottus' Cornucopiae was first published by Paganino in 1489. The work was revised and expanded by Perotto's son Pyrrhus. Aldus printed the text in 1499 and 1513, his heirs in 1517 and 1527.Written as a commentary on book I of Martial, it became a standard work of reference on the Latin language and &ldquo,a massive encyclopedia of the classical world. Every verse, indeed every word of Martial's text was a hook on which Perotti hung a densely woven tissue of linguistic, historical and cultural knowledge&rdquo, (B. Ogilvie, The Science of Describing: Natural History in Renaissance Europe, Chicago, 2006, p. 118).Born in Sassoferrato (Marche), Perotti studied with Vittorino da Feltre in Mantua in 1443, then in Ferrara with Guarino. For a period he was at the service of the Englishman William Grey, later Lord High Treasurer, who was travelling in Italy and was a student of Guarino. In 1447 he became secretary of Cardinal Basilius Bessarion. From 1451 to 1453 he taught rhetoric and poetry at the University of Bologna. In 1452 he was made Poet Laureate in Bologna by the Emperor Frederick III. In 1455 he became secretary to Pope Callixtus III. In 1456 he was ordained and from 1458 he was Archbishop of Siponto. He also travelled on diplomatic missions to Naples and Germany. He wrote a Latin school grammar, Rudimenta Grammatices (printed by Pannartz and Sweynheim in 1473), one of the earliest and most popular Renaissance Latin grammars, which became a bestseller of its day, with 117 printings. Perotti was also involved in Lorenzo Valla's dispute with Poggio Bracciolini and in 1453 he sent an assassin to murder Poggio, then Chancellor of Florence. When the attempt failed and the Florentine government protested, he was forced by Bessarion, his employer, to write an apology to Poggio. Together with the Florentine bookseller Vespasiano da Bisticci, he collected books for the Papal library. He died in Sassoferrato in 1480 (cf. A. Grafton, Niccolò Perotti, in: &ldquo,Contemporaries of Erasmus&rdquo,, P.G. Bietenholz, ed., Toronto, 2003, III, p. 68).Edit 16, CNCE37579, Adams, P-721, Renouard, 81.10.

      [Bookseller: Libreria Govi Alberto]
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        Bucolica seu adolescentia in decem aeglogas divisa. A Iodoco Badio Asceniso familiariter exposita, cum indice dictionum.

      (Hagenau, Thomas Anshelm, 1517). 4°. Mit Holzschn.-Druckermarke am Schluß. 4 nn., 71 num., 15 nn. Bll., Mod. HPgmt. Der aus Mantua stammende Battista Spagnuoli war ein Schüler des Tifernas, und dieser hat ihn wohl für die Poesie gewonnen. „Seine Eklogen, deren Kern 1485 während seines Studiums in Padua entstand, haben die gesamte idyllische Dichtung des 16. Jahrhunderts entscheidend beeinflusst und auf deren Gestaltung weit mehr als Dante, Petrarca und Boccaccio eingewirkt“ (H. Ellinger, Geschichte der neulateinischen Literatur Deutschlands I, 103ff.). - Mit Beiträgen von Johannes Gallinarius, Thomas Wolf u. Jakob Wimpheling. - Etw. gebräunt u. (stock-) fleckig. - VD 16, S 7197; BM STC, German Books 821; diese Ausgabe nicht bei Adams. Versand D: 12,00 EUR Baptista Mantuanus, Spagnuoli, Badius

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Feldtbuch der Wundtartzney.

      Gedruckt durch Johannem Schott, Strassburg 1517 - Folio (280 x 195 mm). 102 leaves, ff. [4] I-LXX [2] LXXI-XCV. Signatures: pi4 a-l6 m6 (+m3.4) n6 o4 p6 q8 (-q8). Double column in Fraktur type. 22 full-page and 5 half-page woodcut illustrations attributed to Hans Wechtlin, the first on the title-page, a smaller woodcut of a scribe on leaf d1, one (of two) inserted woodcut plate printed as broadside on full sheet and bound in as folding plate. Large woodcut historiated and ornamental initials. With the additional two unfoliated leaves bound in between LXX and LXXI, not found in many copies. Three full-page woodcuts and four initials with contemporary hand-coloring. Without the final blank q8. Recently bound in a 15th century antiphonary vellum bifolium. All edges engraved "Chyrurgia Theutonica" by a contemporary hand. The folding woodcut plate repaired at fold with little loss of image. Lower blank margin of title-page restored (not affecting text). Title-page, preliminaries and folding plate with heavy but marginal brown staining, otherwise crisp and bright. Single small wormhole through first and last leaves. Provenance: From a venerable old Strassburg family who worked in the chirurgical tool manufacturing for several generations. An outstanding, amazingly well-preserved and very wide-margined copy containing the rare fugitive skeleton plate. ---- Grolier/Norman Medicine 14; NLM/Durling 2059 (lacking the 2 folding plates); VD-16 G-1618; Choulant, pp. 162-66; Garrison & Morton 5560; Stillwell 387; Lilly Library, p.19; Herrlinger, History of Medical Illustration, pp. 140-43; Waller 3506 (calling for one plate only); cf. Heirs of Hippocrates 149 (1530 edition); Wellcome I, 2760 (1527 edition). FIRST EDITION of a milestone in human anatomy and surgery and of greatest rarity. Only two copies have appeared at auction in the past 50 years: the first with one folding plates only as here and otherwise complete (Hartung & Karl Nov. 8, 1988, sold for DM 48,000) and the second copy defective lacking both folding plates and with the title-leaf torn with loss of the title (Christie's sale, Nov. 29, 2000; $20,036). Written in German vernacular rather than Latin and frequently used as working copies, all early editions are normally found in rather bad condition. In contrast to that, our copy is unusually well preserved, with only little staining, soiling or fraying. The book was very popular. The work went through at least twelve editions between the time of its first publication in 1517 and the early seventeenth century. VD16 lists 14 editions in the 16th century. "In the same year that Martin Luther posted his Ninety-Five Theses, Gersdorff initiated the reformation of surgery by relating his own extensive experience in his Feldtbuch der Wundtartzney." (Grolier/Norman). The book is written on the basis of Gersdorff's 40 years experience as a military surgeon. A summary of the available knowledge of human anatomy derived from old Arabic writings, Guy de Chauliac, and other sources is followed by a guide to the surgical treatment of wounds, with a subsidiary part on the treatment of leprosy, followed by three Latin-German glossaries at the end - one of anatomic terms, one of diseases, and one of simples. "The book . was translated into Latin and Dutch, and was widely quoted, referred to, and plagiarised in subsequent medical texts. Eminently practical in its instructions on the care and treatment of the wounded, it had admirably graphic wood engravings. The twenty-seven illustrations show clear diagrams of instruments and protheses, such as a mechanical iron-hand, in addition to scenes of operations, including the first printed picture of an amputation. Several illustrations, such as of the ambe, became standard in subsequent German surgical texts. The full-sheet anatomical skeleton existed in its own right as a broadside print and is often missing. (William Lefanu, Notable Medical Books from the Lilly Library, p. 19). See our website for more images. [Attributes: First Edition; Soft Cover]

      [Bookseller: Milestones of Science Books]
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        P. Ovidii Metamorphosis cum luculentissimis Raphaelis Regii enarrationibus quibus cum alia quadam ascripta sunt que in exemplaribus antea impressis non inveniuntur [...].

      1517. (Venetiis, Georgius de Rusconibus, Die xx. Aprilis 1517), in-folio, leg. settecentesca in mezza pelle con punte, carte [8], CLIX. Con front. in cornice xilografica, prima pagina di testo inquadrata da cornice figurata e 59 belle grandi vignette xilografiche n.t. Modesto esemplare, privo delle carte t3, u8 e dell'intero fascicolo finale x10. Inoltre: vasti restauri reintegrativi settecenteschi alle prime 8 carte (i restauri sono nella maggior parte dei casi ai margini ma le prime 5 carte recano anche mancanze dovute a tarli successivi a questi interventi), gore, qualche macchia, strappetto dovuto ad usura a c. k8, bruniture evidenti a diversi fascicoli, altri restauri alle ultime 2 carte. Postille antiche marginali. Edizione celebre per il corpus iconografico.

      [Bookseller: Libreria Antiquaria Gozzini]
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        GALEOTTUS, Martius: Homo non exenteratus. MERULA, Georgius: In librum de Homine Galeotti opus. GALEOTTUS, Martius: Refutatio obiectorum in librum de Homine a Georgio Merula inchoat. (Explicit:)

      Fratres de Sylva, 1517. (Medicina) GALEOTTUS, Martius. De homine exteriore et interiore libri II. Georgius Merula in Galeottum et rursus Galeotti refutatio objectorum in lib. de homine a Geo. Merula. (Explicit:) Taurini, Ioan. Angelus et Bernardinus fratres de Sylva, 1517. In-8°, pergamena recente, stile antico. CXXXVII ff.n., 1 f. bianco, (8) ff. (Index). Car. romano. Grande silografia nel frontespizio raffigurante il Galeotti assiso nella sua cattedra facendo una lezione a cinque discepoli, 8 grandi iniziali n.t. Bell' esemplare immacolato. Opera rarissima. Kristeller, Lombard. Graphik, 227. Sander, 3013. Carbonelli, Bibliogr. medica pedemontana, 192. Olschki, Choix de livres rares, 4592: >

      [Bookseller: Brighenti libri esauriti e rari]
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        Nos Petrvs Vigilivs Dei graa Episcopvs Sac. Rom. Imp. Princeps Tridenti &c. Marchio Castellarj: ex Comitibvs de Thvnn et Hochenstein &cc.

      Tridenti, 1517. [7] p. 32 cm bella legatura coeva in piena pelle con ricchi fregi in oro e nero con applicato cordoncino in tessuto con grande sigillo in ceralacca del Principe Vescovo entro custodia metallica. Manoscritto su pergamena. Le pagine di testo sono bordate in oro. Alla pagina 6 grande stemma nobiliare a colori della famiglia con vedutina della loro residenza nobiliare nella parte inferiore. In fine firma di alcuni notabili e del PRINCIPE VESCOVO PIETRO VIGILIO THUN. Pietro Vigilio Thun (1724-1800; P.V. 1776-1800) fu l'ultimo Principe Vescovo a governare di fatto sul principato trentino fin dalla sua elezione pratica intraprese la via delle riforme in un periodo storico caratterizzato da profondi mutamenti politici e istituzionali. Nel corso di una missione a Vienna nel 1777 firma con l'imperatrice Maria Teresa un accordo che assoggetta il principato alla legislazione austriaca in materia commerciale e fiscale. Pochi anni dopo nel 1781 offre all'imperatore Giuseppe II la sovranità sul territorio trentino in cambio di un vitalizio personale. Quest'azione di Pietro Vigilio Thunn diretta al compimento dell'inevitabile processo di assorbimento del piccolo principato nell'amministrazione asburgica non ha seguito ma viene fortemente criticata dalle forze trentine più conservatrici. Con l'avvicinarsi dell'esercito di Napoleone nel 1796 il Principe Vescovo si allontana da Trento senza più tornarci nemmeno quando la situazione antecedente è ripristinata dall'intervento delle truppe austriache. Incapace di mutare il corso degli eventi Thunn non può che assistere impotente all'annullamento politico del principato la cui esistenza sarà d'ora in poi solo sulla carta fino alla sua definitiva soppressione nel 1803. UsatoBuono Anno pubblicazione: Die 15 Decembris 1779. 31 ...

      [Bookseller: Studio Bibliografico Adige]
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        Ethici seu Morales libri philosophorum Josse Bade1517 Rare impression parisienne

      Ethici seu Morales libri philosophorum principis Aristotelis, interprete Argyropylo, diligenter restituti:& aristotelico more ab Antonio Sylvestro expositi. Venundentur Parrhisiis ab Iodoco Badius & Bernardo Aubrio. Au colophon folio CCLXXIX : Iodoc Basii Ascé.&Bernardi Aubry bibliopolarum in dicta universitate : Quingentesimo decimoseptimo supra millesimum : quarto Kal. decembris. Laus Iesu In 8 ( 160 x 105 mm) de 8 folios non chiffrés, 279 folios chiffrés, 1 folio non chiffré. Paris Josse Bade et Bernard Aubrie Au colophon Achevé le 4 du mois décembre 1517. Plein vélin souple ancien. Exemplaire très pur et d'une exceptionnelle fraîcheur qui sans avoir été lavé, semble sorti de l'imprimerie de Bade la veille. Seul le vélin est un peu rétracté et présente de menus défauts liés au vieillissement, deux fissures sur 1 cm au premier plat, et les tranchefiles seraient idéalement à restaurer. Belle impression partagée entre Bade et Aubrie, une glose de petits caractères gothiques à 42 lignes entoure le texte principal en ronde à 26 lignes. De belles lettrines à fond criblé agrémente l'ensemble. Rare première édition de la traduction d'Antoine Sylvestre dans un état de fraîcheur remarquable.

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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.

      1517. (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.

      [Bookseller: Libreria Antiquaria Gozzini]
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        Commentaria Caesaris prius a Iocundo impressionis data

      Venezia, Augustinum de Zannis de Portesio, 1517. In - quarto L'edizione è corredata da una mappa della Gallia commentata da Aldo Manuzio e, al modo del De architectura, da cinque figure tecniche una delle quali illustra il ponte di legno sul Reno. La presente costituisce stampa successiva priva di incisioni. 110 pp+ indice; ottime condizioni cop pergamenata originale.

      [Bookseller: Studio Bibliografico Battistutta]
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        Expositio Ugonis Senensis in primam fen primi canonis Auicenne cum questionibus eiusdem. Item questionem (sic) de Febre Antonii Fauentini. (In fine, verso ultimo foglio:) Venetiis, Impensis heredum quondam domini Octaviani Scoti Modoetiensis ac Sociorum, 21 Augusti 1517. (Venezia, Scoto, 1517)

      Oct. Scoto, 1517. in - fol., ff.125, testo su due colonne in carattere romano, numerosi grandi e belli capilettera ornati, impresa dello stampatore sotto il colophon. Legatura coeva piena pergamena, titolo ms: ''Avicenna'' al dorso. La prima edizione di questo importante e raro commento quattrocentesco al Canone di Avicenna fu impressa a Siena nel 1485. Ugo Benzi da Siena (1370 - 1439) fu noto medico e docente a Bologna, Pavia, Padova, Firenze, Perugia e Parigi. Scrisse i suoi commentari a testi scientifici fondamentali, studiati nelle università che lui frequentò, durante il suo pellegrinare da una cattedra all'altra. Il trattato '' De Febre'' di Antonio Faventino occupa i fogli 121 - 124. Esemplare assai bello.

      [Bookseller: Libreria Antiquaria Pregliasco]
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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, 1517. Latin text, folio bound in eights, approximately 315 x 215 mm, 12½ x 8½ inches, 2 parts in one, LACKING PORTRAIT OF VIRGIL A2 and TITLE PAGE TO PART ONE, facsimile title page inserted, an abbreviated manuscript title page in red and black, 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 of various sizes ranging from 120 x 165 mm to 215 x 170 mm (4¾" x 6¼" to 8½" x 6¼"), 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 the portrait, 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) has damaged margins and has been reinserted on a tab, margins repaired, 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) 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") 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, potrait 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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        Die brösamlin. Compiled by Johann Pauli

      Strassburg: Johannes Grüninger, 1517. Folio (313 x 205 mm). 2 parts: 110 (recte 106); 92 leaves. Gothic types, double column. Title printed in red and black within a woodcut Renaissance-style border block, thirty-four text illustrations printed from 32 blocks (including several repeats and two illustrations printed from two or three blocks) by the Master H. F. (Hans Furtenbach?), Hans Schäufelein and others; woodcut and metalcut initials. Bifolium D3.4 printed on a slightly smaller sheet. Small tear in gutter of P2.5, repaired in P5, short marginal tears to a couple of leaves. Contemporary German blind-tooled alum-tawed skin over wooden boards, covers with intersecting parallel fillets forming a tall narrow central panel, borders and interstices stamped with repeated impressions of an ave maria banderole, a large rosette, small armorial shield, IHS shield and a leaf tool, two brass fore-edge clasps with catchplates; ms. spine title; pastedowns consisting of large fragnments from a 14th-century manuscript on vellum, apparently an astronomical text (including several mentions of winds and of celestial movement). Provenance: contemporary marginalia in first few pages of part one; Buxheim, Carthusians, 16th-century inscription on title, armorial inkstamp, purchase inscription on verso of title by Wilhelm von Zell, domicellus (cellarer) of the Buxheim monastery (Dyss buch ist...gekaft worden von dem Edler[?] ... wilhelm von Zell, den Commerz Brüder unnsres Gotzhuss Maria Sals...); Graf von Otstein; Graf Hugo von Waldbott-Bassenheim, sale, Munich (Carl Förster), 20 September 1883.*** Only Edition of an illustrated collection of sermons of the peerless pre-Reformation Alsatian preacher Johannes Geiler (1445-1510). Geiler preached in German, largely in the Strassburg Cathedral, from his Latin notes. The published collections of his sermons were thus compiled by auditors, some more accurate than others. The present collection of "little crumbs" (Brösamlin, the title of one of the sermons), recording selected sermons delivered by Geiler in 1507 and 1508, was the work of the Minorite Johann Pauli (d. after 1520), whose renderings of Geiler's sermons (five or six collections are recorded) are considered generally reliable. "In temperament and in their ways of working Pauli and Geiler had much in common. Both loved satire and irony mixed with humor, and both favored picturesque stories and cycles of interrelated sermons" (Warnock, art. Pauli, Verfasserlexikon 2 7:372-3). Geiler's sermons were known for his colorful, bold and often down-to-earth language, combined with great erudition and uncommon exempla. The sermons are grouped thematically, the themes being approached from various angles; thus the section relating to merchants (Kaufleute or Kaufmaenner) includes sermons on moral guidelines for commercial behavior and on the sins and temptations of commerce, as well as extended comparisons of merchants to the Devil. Other themes are lions, heresy, the sins of the mouth (or of speech), marriage, the love of god, and hubris, etc. To print his collections of Geiler's sermons Pauli turned to the Strassburg printer Johann Grüninger, who drew on his own extensive stock of woodblocks but also commissioned new woodblocks to illustrate the most important editions, including this one. Ten of the present illustrations are signed by the Master H.F. Showing vivid, almost cartoon-like scenes of everyday life, they were designed for the edition; four are dated 1516. This Swiss monogrammist, possibly a pupil of Hans Baldung, was active from the 1490s to about 1520, and has been variously identified as Hans Furtenbach, Hans Franck, or Hans Fries. Other notable cuts are the splendid title border, overflowing with putti, cornucopiae, arabesques, swags and grotesques, "author portraits" at the head of each part, showing Geiler preaching from a pulpit (A4v), and Geiler and Pauli, the latter collecting the "crumbs" (scraps of writing) from the preacher's desk (a6v), a full-page Ascension cut, and three nearly full-page cuts, including a fine Coronation of the Virgin. VD-16 G717; Adams G-207; Muther, Deutsche Bücherillustration, 1404 & 1443; Schmidt, Répertoire bibliographique strasbourgeois jusque vers 1530, 154 (p. 67); cf. art. Geiler, Verfasserlexikon2 2:1141-1151.

      [Bookseller: Musinsky Rare Books, Inc.]
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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, 1517. Latin text, folio bound in eights, approximately 315 x 215 mm, 12½ x 8½ inches, 2 parts in one, LACKING PORTRAIT OF VIRGIL A2 and TITLE PAGE TO PART ONE, facsimile title page inserted, an abbreviated manuscript title page in red and black, 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 of various sizes ranging from 120 x 165 mm to 215 x 170 mm (4¾" x 6¼" to 8½" x 6¼"), 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 the portrait, 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) has damaged margins and has been reinserted on a tab, margins repaired, 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) 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") 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, potrait 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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        OPERA (Aeneis, Bucolica, Georgica, Opuscola, Aegloga, etc. J.Badius Ascensius curavit). Lyon, J.Sacon (per C.Hochperg), 1517

      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".

      [Bookseller: Libreria Antiquaria Pregliasco]
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        La battaglia degli uomini nudi

      1517. Bulino 1517, firmato e datato in lastra in basso a sinistra. Esemplare nell'unico stato conosciuto. Bellissima prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame e completa della linea marginale, lieve restauro nella parte inferiore centrale, per il resto in ottimo stato di conservazioni. Al verso disegno a matita sanguigna calco dello stesso soggetto. Nei palazzi rinascimentali era uso decorare le sale più importanti con scene di battaglia e di torneo, che richiedevano tutta la maestria degli artisti, nel realizzare composizioni con uomini e cavalli in movimento. I più famosi esempi del primo cinquecento sono la Battaglia di Cascina di Michelangelo e la Battaglia di Anghiari di Leonardo, entrambe disegnate per un affresco, mai poi realizzato, per la Sala dei Cinquecento di Palazzo della Signoria a Firenze. I cartoni ed i disegni preparatori dei due artisti esercitarono una grandissima influenza su tutta l'arte del Rinascimento. Nel 1513 a Tiziano fu offerto di dipingere una scena di battaglia per il Palazzo Ducale di Venezia; lavoro che l'artista iniziò nel 1537 per terminare l'anno successivo, e che fu distrutto nell'incendio del 1577. Sebbene non sia comprovabile, questa incisione del Campagnola riflette una delle prime idee del maestro per la scena di battaglia. Sicuramente è netta l'influenza del Tiziano su questa composizione; affinità stilistiche sono riscontrabili con alcune scene della celebre silografia Il passaggio del Mar Rosso, che Tiziano realizzò nel 1514. Opera molto rara. Engraving, 1517, signed and dated on plate at lower left. Example in the only state known. Magnificent work, printed on contemporary laid paper without watermark, trimmed to the platemark and with complete borderline, tiny restoration on the lower central part, in good conditions. On verso, a sanguigna drawing, copy of the same subject. In the Renaissance, it was widespread the habit to decorate the most important rooms of the main palaces with scenes of battles and tournaments, quite a demanding task for any artist, for they had to portray men and horses in motion. At the beginning of the XVI century, the most famous battle pieces were the Battle of Cascina by Michelangelo and the Battle of Anghiari by Leonardo, both prepared for a fresco (neither ever realized) in the Sala dei Cinquecento, of the Palazzo della Signoria in Florence. The cartoons and the preparatory drawings of both artists have influenced the whole artistic production of the Renaissance. In 1513 Titian was offered to paint a battle scene for the Palazzo Ducale in Venice; the artist began his work in 1537 and finished the following year; the painting was unfortunately destroyed in the fire of 1577. Although it can't be proved, this engraving of Campagnola represents one of the first ideas for the battle scene. For sure, the influence of Titian is evident in this composition; we can also find stylistic similarities with the famous woodcut Drowning of Pharaoh's Army in the Red Sea, which Titian executed around 1514. Rare work Early Italian Engraving from the National Gallery of Art pp. 428/429 n° 156, Hind p.211 n° 4.

      [Bookseller: Libreria Antiquarius]
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        Confessionale pro istructione confessorum reverendi patris fratris Hieronymi Sauonarolae Ferrariensis Ordinis praedicatorum.

      Cesare Arrivabene, 1517. In 8°, 104 cc. Segn.: A - N8. Frontespizio con vignetta xilografica raffigurante il frate nel proprio studio chino su uno scrittoio, iniziali ornate di diverse misure Colophon con marca tipografica xilografata su fondo nero. Leg. pergamena floscia di epoca successiva. Esemplare ottimo. Epistola dedicatoria ad Antonio Contarini, Patriarca di Venezia, morto nel 1524. La prima edizione dell'opera fu stampata nel 1497 col titolo Introductorium confessorum. Savonarola descriveva il suo "Confessionale" come un compendio breve della vasta letteratura sulla confessione e sulla penitenza e lo proponeva come una semplice descrizione dei princìpi e delle procedure che i confessori dovrebbero seguire. Nella prima parte descrive le qualità del buon confessore e i tipi di censura ecclesiastica (scomuniche, censure, interdetti, ecc.). Nella seconda parte egli esamina la prassi confessionale nelle sue fasi (il confessore, l'interrogazione del peccatore, e l'assoluzione) per interrogare i penitenti e conclude con una breve parte, De Mulierum maliciis, destinata a mettere in guardia devoti e religiosi.

      [Bookseller: Libreria antiquaria Atlantis]
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        Comentarii... tradotti per Agostino Urtica della Porta genovese. Et postillati delli nomi moderni

      (Bernardinum venetum de Vitalibus) 1517 addì 4 novembre 4to (cm. 22,3), 234 (di 236) cc.nn. (mancano le due ultime carte: la penultima con la sottoscrizione e l’ultima bianca). Buona legatura antica in pergamena con titolo ms. al ds. Prima e ultima carta notevolmente brunite. Alcuni lievi aloni di umidità e percorsi di tarlo marginali, ma nell’insieme esemplare in discrete condizioni generali. Adams, C 82.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Cornucopiae, siue linguae latinae commentarij diligentissime recogniti: atque ex archetypo emendati

      Perotto Nicolò, - Colophon (l. K8r): Venice, heirs of Aldus Manutius the Elder e Andrea Torresano, May 1517. Colophon (l. Y7v): Venice, heirs of Aldus Manutius the Elder e Andrea Torresano, November 1513.Folio (294x205 mm); early 18th-century vellum over boards, spine with lettered-piece, red edges; (80, of which the last is a blank) ll., 1436 cols., (1) l. Printer's device on the title-page and at l. K8v and Y8v. Some quires a bit browned and stained, inner margin of gatherings a and b stonger stained, round wormhole that starts at leaf N6 and goes up to the end of the volume (it becomes a 20mm-long track in quires O and P) affecting the text, upper margin short, but all in all a good, nicely bound copy. At the end of the volume are bound 6 leaves that provide an index to the volume in a 18th-century hand. Also bound at the end before the flyleaf is a 14th-century manuscript leaf on vellum containing Justinian's Pandects.THIRD ALDINE EDITION, a reissue of the 1513 edition. Perottus' Cornucopiae was first published by Paganino in 1489. The work was revised and expanded by Perotto's son Pyrrhus. Aldus printed the text in 1499 and 1513, his heirs in 1517 and 1527.Written as a commentary on book I of Martial, it became a standard work of reference on the Latin language and "a massive encyclopedia of the classical world. Every verse, indeed every word of Martial's text was a hook on which Perotti hung a densely woven tissue of linguistic, historical and cultural knowledge" (B. Ogilvie, The Science of Describing: Natural History in Renaissance Europe, Chicago, 2006, p. 118).Born in Sassoferrato (Marche), Perotti studied with Vittorino da Feltre in Mantua in 1443, then in Ferrara with Guarino. For a period he was at the service of the Englishman William Grey, later Lord High Treasurer, who was travelling in Italy and was a student of Guarino. In 1447 he became secretary of Cardinal Basilius Bessarion. From 1451 to 1453 he taught rhetoric and poetry at the University of Bologna. In 1452 he was made Poet Laureate in Bologna by the Emperor Frederick III. In 1455 he became secretary to Pope Callixtus III. In 1456 he was ordained and from 1458 he was Archbishop of Siponto. He also travelled on diplomatic missions to Naples and Germany. He wrote a Latin school grammar, Rudimenta Grammatices (printed by Pannartz and Sweynheim in 1473), one of the earliest and most popular Renaissance Latin grammars, which became a bestseller of its day, with 117 printings. Perotti was also involved in Lorenzo Valla's dispute with Poggio Bracciolini and in 1453 he sent an assassin to murder Poggio, then Chancellor of Florence. When the attempt failed and the Florentine government protested, he was forced by Bessarion, his employer, to write an apology to Poggio. Together with the Florentine bookseller Vespasiano da Bisticci, he collected books for the Papal library. He died in Sassoferrato in 1480 (cf. A. Grafton, Niccolò Perotti, in: "Contemporaries of Erasmus", P.G. Bietenholz, ed., Toronto, 2003, III, p. 68).Edit 16, CNCE37579; Adams, P-721; Renouard, 81.10. [Attributes: Hard Cover]

      [Bookseller: Libreria Alberto Govi di F. Govi Sas]
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