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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the exclusive right or privilegio to issue a printed edition the complete works of Tacitus, including the previously unpublished “lost” books from the Corvey manuscript.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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        Sermones sancti Augustini ad Heremitas & nonnulli ad sacerdotes suos & ad aliquos alios.

      1517 - Et primo de institutione irregularis vite. [Venezia 1517. Melchiorre Sessa il vecchio & Pietro Ravani!]. Impr. per Merchiorem Sessam & Petrum de Rauannis socios. (15,5 x 11 cm), k. [136], 1 ilustr. drzewor., inicj. tyt. drzewor., sygnet druk., opr. perg. z epoki. Druk w szpaltach. Åšlady zawilg. i zabrudz. opr. Zapiski z epoki w tekÅ›cie oraz na k. tyt. i ostatniej str. DzieÅ‚o zawiera 62 homilie skierowane do eremitów i kapÅ‚anów. Augustyn z Hippony (354-430) - Å›wiÄ™ty KoÅ›cioÅ‚a katolickiego (bÅ‚ogosÅ‚awiony prawosÅ‚awny) i doktor KoÅ›cioÅ‚a, wczesnochrzeÅ›cijaÅ„ski teolog, filozof, pisarz i organizator życia koÅ›cielnego. Na poczÄ…tku manichejczyk, potem neoplatonik i sceptyk, nawrócony na chrzeÅ›cijaÅ„stwo przez Ambrożego. Rzadkie. The editor of this work is Melchiorre Sessa (il vecchio) and Pietro Ravani. The binding is from that epoch. Signs of moisture, old writing in the text and on the title and the last leaf. The work contains 62 homilies addressed to hermits and priests. Rare work. [Attributes: Hard Cover]

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

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

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

      

      [Bookseller: Richard C. Ramer Old & Rare Books]
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        [Epigrammata]

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

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Ars Magna, generalis et ultima: quaru(m)cun & artium et scientiarum ipsius Lull.

       (Lyon, Jacob Marechal für Simon Vincent 5. V. 1517). 8°. 4 Bll., CXXIV num. Bll. Mit Titelvign., Druckermarke, 10 Diagrammen (dav. 3 ganzseit., 2 auf einer gefalt. Taf.) in Holzschn. sowie zahlr. ornament. Initialen. Zweispaltiger Druck. Titel in Rot u. Schwarz. Marmor. Pbd. d. 18. Jhdts. m. goldgepr. Rückensch.Graesse IV, 295; Cat. générale...Bibl. Nationale CI, 836f.; Adams L, 1697; Palau 143693; Duveen, Suppl. 236; Panzer VII, 318, 349 - Dritte Ausgabe, erste v. Bern. de la Vinhetta herausg. \"Lull`s most famous work on logics. He here develops a method which, as he believed, would enable one to evidence the essential unity of science, and to attain encyclopedic and certain knowledge from above alost automatically.\" (Duveen) - R. Lull (ca. 1232 - 1315) katalan. Dichter, Theologe, Missionar, Philosoph wurde wegen seines enzyklopäd. Werks - so auch hier - \"Doctor illuminatus\" bezeichnet. Er lehrte in Paris u. Montpellier. Ab 1263 versuchte er die alleinige Wahrheit der christl. Lehre zu beweisen um vor allem die arabische Welt zu missionieren. Nach seiner Auffassung muß der Glaube durch den Verstand unterstützt werden, der die Glaubenswahrheiten aus den Prinzipien einer christl. Universalwissenschaft, der \"Ars Magna\" od. \"Ars generalis\", so der vorlieg. Titel seines Hauptwerkes, ableitet. Versand D: 4,00 EUR Alte Drucke, Theologie, Religionsgeschichte, Philosophie

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

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

      [Bookseller: ASHER Rare Books (Since 1830)]
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        [ Der heiligen Leben ] Der Hochen vntailbarlichen Tryfaltikayt zu lob Marie wirdigsten Junckfrawen vñ müter vnsers herren Jesu Christi zueren vnd allen hayligen vnd den Christnmenschen zu hayl ... der hayligen lebñ ... das Summertayl. Beigebunden: Das Passional oder der Hayligen Leben .... Winterteil, Augsburg 1518,

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

      [Bookseller: REDIVIVUS Buchhandlung & Antiquariat]
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        ORTUS SANITATIS

      Strassburg: Reinhard Beck, 1517. n. Hardcover. A Very Fine Copy, with More than 1,000 Woodcuts, Most of them Colored. mm (). 356 leaves. EXCELLENT CONTEMPORARY BAVARIAN BLIND-STAMPED CALF over bevelled wooden boards, covers decorated in blind, vellum manuscript-lettered tabs, early paper label titled in manuscript on the spine (lacking clasps, catches, and corner and central bosses). Housed in a very fine new black morocco box. Title printed in red and black within woodcut border, full-page woodcut of skeleton on k1v, four small woodcuts on K1r, small cut of a woman with a physician holding a flask on GG1r, and 1,066 WOODCUT ILLUSTRATIONS IN THE TEXT, THE MAJORITY OF THEM (that is, those within the botanical section) IN CONTEMPORARY COLOR. Title page with early inscription of the Bamburg Augustinians; note in ink on pastedown that this is a Royal Library duplicate; early marginal notes in ink on a few leaves. Adams H-1019; Fairfax Murray German 195; Hunt 18; Nissen BBI 2366; Durling 2469; Cushing H-463; Klebs 50. A little wear to the joints, spine ends chipped, other signs of use externally, but the original attractive binding solid and with very considerable appeal. A half dozen small, round wormholes in the first few leaves, other trivial defects in the text, but AN EXTRAORDINARILY FINE COPY INTERNALLY, THE PAPER FRESH, BRIGHT, AND CLEAN, and with strong impressions of the woodcuts. This is a remarkably well-preserved contemporary copy of an early 16th century edition of what Hunt calls "the most important medical woodcut book" from the incunabular era, offered here with contemporary coloring that is almost never seen in copies of this edition. An encyclopedia of the plant, animal, and mineral kingdoms and the medical applications of their products, the "Hortus Sanitatis" is an herbal of the greatest importance, offering a comprehensive view of the Medieval understanding of the natural world. Hunt says that "though based in part on the 'Gart der Gesundheit,' [the 'Hortus'] was almost entirely rewritten and elaborated upon, especially in the parts on animals, birds, fishes, stones and minerals (all of which were less well represented in the earlier work), and in the treatise on urines; the text on herbs too is quite different, each chapter beginning with a description of the plant, its synonyms, and often something about its geographical origin, and ending with a list of the plant's medicinal virtues in a separate section headed 'Operationes.'" The present edition is the sixth overall and fourth Strassburg edition, a page-for-page reprint of the three Prüss editions, Beck having taken over the Prüss printing establishment. The design of the title page is variously attributed to Urs Graf, Hans Wechtlin, or Hans Baldung Grün. A few of the woodcuts are new to this edition, but most are reversed versions of the Prüss blocks. According to Klebs, "the most interesting of the new cuts are some of the genre pictures (especially those to the parts on zoology and mineralogy), for the draughtsman worked on these more individually with regard to the costumes, which represent those in use in Alsace at that time. . . . A large section of the book is devoted to zoology[:] 164 chapters concern land animals, 122 birds and 106 fishes. Camels are portrayed and described in chapters xxvii, xviii and xxix of the section concerning land animals[;] they are among the earliest portrayals of these animals. The section on birds shows woodcuts of a falconer with several falcons, as well as several birds of prey . . . . These woodcuts belong to the earliest portrayal of these animals in a printed book." Copies of this work with period hand coloring are exceptionally rare. The only other such copy we could locate in North America is at the Yale University Medical Library. Early herbals are notoriously afflicted with the signs of heavy use, and it is only just short of miraculous to find one as fresh and clean and this one.

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

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

      [Bookseller: Sokol Books Ltd. ABA ILAB]
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        Epigrammata

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

      [Bookseller: Sokol Books Ltd. ABA ILAB]
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        Theuerdank. Blatt mit Holzschnitt 72: "Abermalen leyd der Edel Tewrdannckh ein grosse wasser not durch einen graussamen sturm windt" (Theuerdank bei Sturm und Hagelschauer auf dem Meer bei Seeland).

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

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

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

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

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

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

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

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