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        Der swangern Frawen und hebammen roszgarten.

      [Cologne: Arnt von Aich, 1518?]. An exceptionally fine copy, in an untouched contemporary binding, of one of three editions of this landmark work published at about the same time, this probably being the third (see below). This is the earliest printed textbook for midwives and one of the first printed books devoted to obstetrics, including engravings attributed to the Frankfurt artist Martin Kaldenbach, a pupil of Albrecht Dürer. Although copies of these editions occasionally appear on the market, they are almost always in poor condition, and usually rebound, as a result of extensive use over the centuries. "The most important items in my collection of rare obstetrical books are the 1513 editions of the famous obstetrical textbook, Der Swangern Frauwen und Hebammen Roszgarten by Eucharius Roesslin, a physician from Worms. All three were published in the same year but each was set up and printed differently (Nos. 1, 2, 3). One is dated; the other two are not. There is, of course, no way of knowing which of these three was the real first edition" (Hellman). All three editions are extremely rare. "Roesslin's obstetrical treatise, first published in German in 1513 under the title Der swangern Frawen und hebammen roszgarten, had an enormous impact on contemporary obstetrical practice and remained influential for two hundred years, going through over one hundred editions before the close of the eighteenth century. The work contained little original material, being primarily a survey of Greek and Roman obstetrical literature, but it was the first to deal with obstetrics as a separate subject, and the first to print illustrations of the birth chair and the fetus in utero. It was also the first obstetrical work written especially for midwives, which was the reason for its originally appearing in the vernacular" (Norman). ABPC/RBH record no other copy sold at auction in the last 35 years, and when this copy was sold in 1985 Sotheby's noted that "All these early editions of 1513 are extremely rare; none is recorded as having been sold by auction in England or Germany with the exception of the Hellman-Gunn set sold in London at Bonham's in 1979, which included a rather poor copy of the present issue. It appears that there is only one copy of this issue in America, at the National Library of Medicine, lacking the last signature." OCLC lists copies of the two undated issues (see below) in US at Duke, KSU, Minnesota, Nebraska and Yale, but does not distinguish between them. Provenance: London bookseller and bibliophile Irving Davis (sold Sotheby's, 2-3 April 1985, £18,700); from the library of Jean Blondelet. "What is the importance of this rare work, usually referred to as "Rosengarten"? The opinion held until recent times that this was the first printed work dealing exclusively with obstetrical knowledge is erroneous. In 1476 the Secreta Mulierum of Albertus Magnus made its appearance in print, and about 1495 the Buechlein der Schwangeren Frauen, the so-called "Frauenbuechlein" by Ortolff von Bayerland, also appeared. Both of these can be called obstetrical monographs. The significance of the "Rosengarten" is not due to its being the first printed obstetrical work, but rather to the fact that its text and illustrations resumed a tradition, broken for almost fifteen hundred years. Roesslin's famous pictures of the position of the child closely resemble the sixteen in the manuscripts of antiquity, i.e., Mustio's catechism of women's diseases and midwifery, largely based on Soranus of Ephesus (see Sarton I, 98, 138). "Not only does Roesslin's booklet point back to the distant past, but it also had an enormous influence on the obstetrical practices of the midwives and surgeons of his own time. Latin, the universal language of scholars at that period, was not comprehensible to Roesslin's public. His book in the vulgar tongue or vernacular, the language of the common people, was therefore popular. The great number of reprints of the German edition testifies to this fact, and to the need for such a text for those not conversant with Latin ... "Roesslin established the necessity for thorough instruction of midwives. In his versified preface he censured the wretched condition of the current obstetrics, and the ignorance, carelessness, and superstition of the midwives, who brought about unnecessary deaths of numberless new-born. The infant mortality, Roesslin bluntly labelled murder, for which the guilty ones deserved to be buried alive, or "broken on the wheel," instead of being allowed to receive an honorarium for services rendered. In his book, which he wrote at the order of the Duchess Katherine of Brunswick and Luneburg and which he dedicated to her, he attempted to eliminate, or at least mitigate, these evils. "Eucharius Roesslin, the date of whose birth is uncertain, lived in Freiburg, in Breisgau, in the last decade of the fifteenth and the beginning of the sixteenth century. In 1506 he left there and went to Frankfurt on the Main. He remained at Frankfurt until 1511 with only a slight intermission in 1508 when he was at the court of the Duchess Katherine. In 1513 he became town physician in Worms. He returned to Frankfurt in the same capacity in 1517. There he continued active at his post until his death in 1526 ... "In the "Rosengarten" Roesslin spoke not only from his own obstetrical experience, but quoted passages from the best known medical authors of antiquity and the middle ages, such as Hippocrates, Galen, Rhazes, Avicenna, and Albertus Magnus. Distinguishing his work from the works of his predecessors are the gynecological and obstetrical descriptions which he added, and, above all, the seventeen little pictures of the different positions of the foetus in utero. These are included in all the editions of the "Rosengarten" and its variously titled later editions, and in the several translations. "The representation of twins is new; the remaining sixteen constitute the same number as in the several illustrated manuscripts. As we know today, Mustio's illustrations can be traced back to Soranus of Ephesus, the great gynecologist and obstetrician who lived in Rome at the time of Trajan and Hadrian. Either Soranus was translated by Mustio, or Mustio's work was based on the work of the former. Soranus described the various faulty positions of the child in detail, deeming them important because of their significance in labor and delivery. "In Roesslin's presentation of the foetus in utero we see the same bottle or balloon, resembling a more modern cupping-glass, to which Soranus and Mustio had previously compared the womb (see both the famous Mustio manuscripts, that of the twelfth century in Copenhagen and that of the thirteenth in the Vatican). Since this codex, which is now to be found in the Vatican, was in the library of the Castle at Heidelberg until the year 1623, it is probable that Roesslin saw it there while on a visit from nearby Frankfort or Worms, and that he copied its pictures in order to use them as illustrations for his "Rosengarten." "From the practical obstetrical standpoint, the significance of the "Rosengarten" lies also in the fact that Roesslin again brought to the fore the knowledge of podalic version which had been almost forgotten since the time of Soranus and Mustio. He thus limited cephalic version, which has more theoretical merit but is less practical in execution. "The normal position of the foetus, according to Roesslin, is the head (cephalic) presentation with the hands on the upper thighs, a view which Soranus had already presented. As the next most favorable position, Roesslin designates the complete footling presentation, provided that the arms lie against the body and the hands touch the upper thighs. The same footling presentation, but with the arms directed upwards, "So das Kind erscheinet mit beiden Fuessen und hat die Hend nit neben ihm unter sich gestrecket, sondern iiber sich," is represented as the most dangerous. Strangely enough Roesslin does not consider the transverse position in any way hazardous. "The three membranes surrounding the foetus he calls the "Bueschlein," or "Nachgeburt," "Biles" and "Armatura Conceptis." He describes the signs of labor as pains in the back, pains in the abdomen, pains in the genitals, and heat in the uterus. In dealing with the period of pregnancy, he recommends a laxative diet for healthy women and a strengthening diet for weak ones. He mentions the great survival power of the seven months' child, ascribing to it a greater vitality than that possessed by the child carried in utero for eight months. Today this is, of course, considered erroneous. He also attributes difficult delivery to the smallness of the uterus, to stenosis of the cervix as a consequence of pathological changes in it, abdominal tumors, hemorrhoids, asthenia of abdominal pressure, depressed morale (the psychosomatic designation of that day), abnormal largeness or smallness of the child, pregnancy with twins, too early ending of the pregnancy, too light or too heavy membranes, rupture of the membranes, and death of the baby. "Roesslin recommends a half-sitting position for the woman in labor, preferably on a special birth-stool, whose representation can be found in most editions of the "Rosengarten" and its translations, and which Soranus had already described fourteen hundred years earlier ... "Soranus gave exact instructions for the type of aid to be rendered by the midwife and her assistant during labor. These regulations were repeated by Roesslin. The midwife in clean clothes sits opposite the laboring woman, but a little lower - because the arrival of the foetus ("frucht") proceeds from above downward. Roesslin recommends one or two helpers instead of the three helpers recommended by Soranus. They are pictorially presented in the woodcuts of the "Rosengarten" (Hellman). "Midwives [in the 15th and 16th century] were likely to be married women with children of their own - their personal experience of childbirth was regarded as the most essential midwifery qualification. With no medical education, a midwife's last resort during a difficult labour was in prayer with charms and incantations. Recognition of the status of midwives by the Church was only in connection of midwives baptising dying babies in an emergency, and the mother was always advised to make her confession before the onset of labour, in case she died in childbirth. If the baby was not baptised, it would be 'shut out of heaven' and could not be buried in consecrated ground.   "Labour was a female family ritual excluding all men, with the mother-in-law usually organising events. Rest was considered the cornerstone of all treatment in the middle and upper classes, but female labourers continued with their tasks in fields and barns. Labour was a painful, hard business, made worse by the belief that pain was God's punishment for Eve's transgression in the Garden of Eden and a necessary part of childbirth. Consequently pain-relief was often disapproved of, and comprised herbal and floral treatments, such as opium seeds, chamomile ointment, mugwort tea, raspberry tea and mandrake. It has been estimated that 3% of women died in childbirth during the 15th century, compared to 7 in 100,000 now in the UK, and disease and poor-diet contributed to this number.   "During the postnatal period, a woman had to remain in the home until she had been 'churched'. Churching of women (a religious blessing) after childbirth took place when she was considered to be past 'the unclean' period brought on by labour: this was a happy occasion, often accompanied by a celebration of the woman's return to society. She was also allowed to resume sexual activity at this time. Breastfeeding was the preferred diet for the child's first two years, and had the advantage of providing immunological resistance in the baby against infection, and also in suppressing ovulation and so naturally reducing the birth rate" (Royal College of Obstetricians and Gynaecologists, "From RCOG Heritage: A 500 year old Rose in our Garden").   The first edition of this work was published at Strasburg in 1513 by Martin Flach (Hellman 1). Two other editions, although undated, had previously been assigned the date 1513 (e.g., by Hellman). However, Josef Benzing ('Zu den ersten Ausgaben des 'Rosengartens' von Eucharius Rösslin,' Das Antiquariat, Wien, 12, Nr. 5/6, 57-58), has assigned dates 1515 and 1518 to these editions, the two being distinguished by the presence of a full-page woodcut and the word 'herbammen' on the title of the latter (Hellman 2), while the former has 'herbamme' and no woodcut (Hellman 3). On this basis, our copy is of the 1518 printing. Benzing also shows that the 1515 edition was printed by Heinrich Gran at Hagenau, and the 1518 by Arnt von Aich at Cologne (previously it had been thought that Gran had issued both undated editions). An English translation by Richard Jonas was published in 1540, printed by Thomas Raynalde, and entitled The Byrth of Mankynde; this was the first book on the subject to be printed in English. It was also translated into Italian, French, Spanish, Dutch, Polish and Czech.   Garrison-Morton 6138; not in Adams; not in Norman; Waller 8091. Choulant, History and Bibliography of Anatomic Illustration (1945) pp. 73-75; Green, The Sources of Eucharius Roesslin's 'Rosegarden for Pregnant Women and Midwives' (1513), Medical History 53 (2009), 167-92; Hellman, A collection of early obstetrical books... including 25 editions of Roesslin's Rosengarten, (New Haven, Privately printed, 1952), no. 2; Klein, Eucharius Rösslin's 'Rosengarten' gedruckt im Jahre 1513. Facsimile mit Begleit-Text von G. Klein (Munich 1910); Stillwell, Awakening Interest in Science during the first century of printing, 507. For a bibliographical study of the work, see Sir D'Arcy Power's article in The Library, 1927, 4 ser. 8, 1-37, subsequently reprinted in book form. 4to, 56 leaves, the last blank, full-page woodcut of two women in a rose garden, one holding a baby in swaddling clothes, within a woodcut border of renaissance design in four blocks, full-page woodcut of the author presenting his book to Katherine, Duchess of Brunswick and Luneburg (the dedicatee), woodcut of the birth chair on D2v. and 19 woodcuts (including two duplicates) showing the different positions of the foetus in utero. Contemporary blind-stamped calf-backed wooden boards, one of two clasps torn, a very small round wormhole through second half of the book, mostly marginal, but just affecting a letter or two, a fine copy.

      [Bookseller: SOPHIA RARE BOOKS]
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        Die Stend des hailigen Römischen Reichs mitsampt allen Churfürsten un[d] Fürsten etc. gaistlichen und weltlichen, mit iren Titeln, un[d] geschickten Potschafften. . .

      Augsburg: 1518. 1st Edition. Soft cover. 4to - over 9¾ - 12" tall. 4to (202 x 145 mm), [22] leaves. Large woodcut illustration on title. Unbound, probably from a sammelband. Little browned, occasional minor spotting, light waterstains to final 14 leaves. ----BMC/STC German p. 383. FIRST EDITION and an early example of a fete book celebrating a wedding. The first part is an account of the Diet of Augsburg providing a listing of the notables who participated. The second part describes the wedding of KASIMIR (1481-1527), Margrave of Brandenburg-Kulmbach, and SUSANNE (1502-1543) of Bavaria, and the procession from Munich to Amberg via Augsburg where the wedding took place during the Diet. The wedding was attended by Maximilian I. Very Good.

      [Bookseller: Milestones of Science Books]
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        Die historie van Belgis, diemen anders namen mach: Den spieghel der Nederlantscher audtheyt.Ghent, widow of Gheeraert van Salenson, 1574. Small folio (28 x 19.5 cm). With Salenson's woodcut device, the woodcut coat-of-arms of the author on the back of the title-page, and woodcut illustrations in the text (7 coats of arms, including 1 block repeated but with an added crown; and about 16 mostly pictorial illustrations plus about 38 repeats). 19th-century boards covered with paper.

      - Belg. Typ. 9272; Bibl. Belg. II, p. 410 (V 64) (6 copies); Netherlandish books 29948 (8 copies). Second edition of a popular history of the Low Countries by Marcus van Vaernewijck (1518-1569), a poet and historian descended from an old noble family from Ghent, and a member of the chamber of rhetoric "Maria 't Eeren". He was twice elected alderman of the city of Ghent. His present book covers the history of the Low Countries in antiquity and the Middle Ages in a lively style, including both real and imaginary people and exploits. It reports events to 1506. Of special importance is the part on Ghent, its monuments and political organisation, the author being particularly well informed on this subject. Ulco Poost's copy, with his bookplate on the paste-down, and with an earlier library stamp on a free endleaf. Slightly browned throughout and with small holes in about 5 leaves, but otherwise in good condition, with only a minor stain in the foot margin of 4 leaves. Binding somewhat dirty and with a couple small scuffs on the back board, but still good. A popular history of the Low Countries with woodcut illustrations.

      [Bookseller: ASHER Rare Books]
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        Confessionale pro instructione confesso[rum].

      per Francisum de Bindonis, 1518. Savonarola's detailed instructions for confessors are here newly edited by the philologist Lucas Olchinensis Panaetius (fl. 1518) and dedicated to Antonio Contarini (d. 1524), a patriarch of Venice. First published coincident with Savonarola's death, this manual was reprinted at least 42 times in the next 200 years and was so popular that the Pope in 1581 contributed a preface! Specifically addressed to young priests, it reviews various sins, describes the qualities of a good confessor, guides the reader through interrogation techniques, and assigns appropriate penances, thereby bearing => singular, significant witness to Savonarola's effective work as a conventional priest, not a radical public reformer loudly auguring the Apocalypse. The Rudimentary References of Elias de Ferrariis (d. 1348), another tool for novice priests, is appended starting on p. 45. A famous woodcut of Savonarola seated to the left of a desk in his cell, writing, beneath a crucifix and a window without bars, introduces an edition of his text that is neatly printed in Gothic type with two large, ten-line criblé woodcut initials beginning the major sections. Marks of readership: Sparse underlining, a couple annotations, and manicules, all in early ink.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        Der swangern Frawen und hebammen roszgarten.

      [Cologne: Arnt von Aich, 1518?]. An exceptionally fine copy, in an untouched contemporary binding, of one of three editions of this landmark work published at about the same time, this probably being the third (see below). This is the earliest printed textbook for midwives and one of the first printed books devoted to obstetrics, including engravings attributed to the Frankfurt artist Martin Kaldenbach, a pupil of Albrecht Dürer. Although copies of these editions occasionally appear on the market, they are almost always in poor condition, and usually rebound, as a result of extensive use over the centuries. "The most important items in my collection of rare obstetrical books are the 1513 editions of the famous obstetrical textbook, Der Swangern Frauwen und Hebammen Roszgarten by Eucharius Roesslin, a physician from Worms. All three were published in the same year but each was set up and printed differently (Nos. 1, 2, 3). One is dated; the other two are not. There is, of course, no way of knowing which of these three was the real first edition" (Hellman). All three editions are extremely rare. "Roesslin's obstetrical treatise, first published in German in 1513 under the title Der swangern Frawen und hebammen roszgarten, had an enormous impact on contemporary obstetrical practice and remained influential for two hundred years, going through over one hundred editions before the close of the eighteenth century. The work contained little original material, being primarily a survey of Greek and Roman obstetrical literature, but it was the first to deal with obstetrics as a separate subject, and the first to print illustrations of the birth chair and the fetus in utero. It was also the first obstetrical work written especially for midwives, which was the reason for its originally appearing in the vernacular" (Norman). ABPC/RBH record no other copy sold at auction in the last 35 years, and when this copy was sold in 1985 Sotheby's noted that "All these early editions of 1513 are extremely rare; none is recorded as having been sold by auction in England or Germany with the exception of the Hellman-Gunn set sold in London at Bonham's in 1979, which included a rather poor copy of the present issue. It appears that there is only one copy of this issue in America, at the National Library of Medicine, lacking the last signature." OCLC lists copies of the two undated issues (see below) in US at Duke, KSU, Minnesota, Nebraska and Yale, but does not distinguish between them. Provenance: London bookseller and bibliophile Irving Davis (sold Sotheby's, 2-3 April 1985, £18,700); from the library of Jean Blondelet. "What is the importance of this rare work, usually referred to as "Rosengarten"? The opinion held until recent times that this was the first printed work dealing exclusively with obstetrical knowledge is erroneous. In 1476 the Secreta Mulierum of Albertus Magnus made its appearance in print, and about 1495 the Buechlein der Schwangeren Frauen, the so-called "Frauenbuechlein" by Ortolff von Bayerland, also appeared. Both of these can be called obstetrical monographs. The significance of the "Rosengarten" is not due to its being the first printed obstetrical work, but rather to the fact that its text and illustrations resumed a tradition, broken for almost fifteen hundred years. Roesslin's famous pictures of the position of the child closely resemble the sixteen in the manuscripts of antiquity, i.e., Mustio's catechism of women's diseases and midwifery, largely based on Soranus of Ephesus (see Sarton I, 98, 138). "Not only does Roesslin's booklet point back to the distant past, but it also had an enormous influence on the obstetrical practices of the midwives and surgeons of his own time. Latin, the universal language of scholars at that period, was not comprehensible to Roesslin's public. His book in the vulgar tongue or vernacular, the language of the common people, was therefore popular. The great number of reprints of the German edition testifies to this fact, and to the need for such a text for those not conversant with Latin ... "Roesslin established the necessity for thorough instruction of midwives. In his versified preface he censured the wretched condition of the current obstetrics, and the ignorance, carelessness, and superstition of the midwives, who brought about unnecessary deaths of numberless new-born. The infant mortality, Roesslin bluntly labelled murder, for which the guilty ones deserved to be buried alive, or "broken on the wheel," instead of being allowed to receive an honorarium for services rendered. In his book, which he wrote at the order of the Duchess Katherine of Brunswick and Luneburg and which he dedicated to her, he attempted to eliminate, or at least mitigate, these evils. "Eucharius Roesslin, the date of whose birth is uncertain, lived in Freiburg, in Breisgau, in the last decade of the fifteenth and the beginning of the sixteenth century. In 1506 he left there and went to Frankfurt on the Main. He remained at Frankfurt until 1511 with only a slight intermission in 1508 when he was at the court of the Duchess Katherine. In 1513 he became town physician in Worms. He returned to Frankfurt in the same capacity in 1517. There he continued active at his post until his death in 1526 ... "In the "Rosengarten" Roesslin spoke not only from his own obstetrical experience, but quoted passages from the best known medical authors of antiquity and the middle ages, such as Hippocrates, Galen, Rhazes, Avicenna, and Albertus Magnus. Distinguishing his work from the works of his predecessors are the gynecological and obstetrical descriptions which he added, and, above all, the seventeen little pictures of the different positions of the foetus in utero. These are included in all the editions of the "Rosengarten" and its variously titled later editions, and in the several translations. "The representation of twins is new; the remaining sixteen constitute the same number as in the several illustrated manuscripts. As we know today, Mustio's illustrations can be traced back to Soranus of Ephesus, the great gynecologist and obstetrician who lived in Rome at the time of Trajan and Hadrian. Either Soranus was translated by Mustio, or Mustio's work was based on the work of the former. Soranus described the various faulty positions of the child in detail, deeming them important because of their significance in labor and delivery. "In Roesslin's presentation of the foetus in utero we see the same bottle or balloon, resembling a more modern cupping-glass, to which Soranus and Mustio had previously compared the womb (see both the famous Mustio manuscripts, that of the twelfth century in Copenhagen and that of the thirteenth in the Vatican). Since this codex, which is now to be found in the Vatican, was in the library of the Castle at Heidelberg until the year 1623, it is probable that Roesslin saw it there while on a visit from nearby Frankfort or Worms, and that he copied its pictures in order to use them as illustrations for his "Rosengarten." "From the practical obstetrical standpoint, the significance of the "Rosengarten" lies also in the fact that Roesslin again brought to the fore the knowledge of podalic version which had been almost forgotten since the time of Soranus and Mustio. He thus limited cephalic version, which has more theoretical merit but is less practical in execution. "The normal position of the foetus, according to Roesslin, is the head (cephalic) presentation with the hands on the upper thighs, a view which Soranus had already presented. As the next most favorable position, Roesslin designates the complete footling presentation, provided that the arms lie against the body and the hands touch the upper thighs. The same footling presentation, but with the arms directed upwards, "So das Kind erscheinet mit beiden Fuessen und hat die Hend nit neben ihm unter sich gestrecket, sondern iiber sich," is represented as the most dangerous. Strangely enough Roesslin does not consider the transverse position in any way hazardous. "The three membranes surrounding the foetus he calls the "Bueschlein," or "Nachgeburt," "Biles" and "Armatura Conceptis." He describes the signs of labor as pains in the back, pains in the abdomen, pains in the genitals, and heat in the uterus. In dealing with the period of pregnancy, he recommends a laxative diet for healthy women and a strengthening diet for weak ones. He mentions the great survival power of the seven months' child, ascribing to it a greater vitality than that possessed by the child carried in utero for eight months. Today this is, of course, considered erroneous. He also attributes difficult delivery to the smallness of the uterus, to stenosis of the cervix as a consequence of pathological changes in it, abdominal tumors, hemorrhoids, asthenia of abdominal pressure, depressed morale (the psychosomatic designation of that day), abnormal largeness or smallness of the child, pregnancy with twins, too early ending of the pregnancy, too light or too heavy membranes, rupture of the membranes, and death of the baby. "Roesslin recommends a half-sitting position for the woman in labor, preferably on a special birth-stool, whose representation can be found in most editions of the "Rosengarten" and its translations, and which Soranus had already described fourteen hundred years earlier ... "Soranus gave exact instructions for the type of aid to be rendered by the midwife and her assistant during labor. These regulations were repeated by Roesslin. The midwife in clean clothes sits opposite the laboring woman, but a little lower - because the arrival of the foetus ("frucht") proceeds from above downward. Roesslin recommends one or two helpers instead of the three helpers recommended by Soranus. They are pictorially presented in the woodcuts of the "Rosengarten" (Hellman). "Midwives [in the 15th and 16th century] were likely to be married women with children of their own - their personal experience of childbirth was regarded as the most essential midwifery qualification. With no medical education, a midwife's last resort during a difficult labour was in prayer with charms and incantations. Recognition of the status of midwives by the Church was only in connection of midwives baptising dying babies in an emergency, and the mother was always advised to make her confession before the onset of labour, in case she died in childbirth. If the baby was not baptised, it would be 'shut out of heaven' and could not be buried in consecrated ground.   "Labour was a female family ritual excluding all men, with the mother-in-law usually organising events. Rest was considered the cornerstone of all treatment in the middle and upper classes, but female labourers continued with their tasks in fields and barns. Labour was a painful, hard business, made worse by the belief that pain was God's punishment for Eve's transgression in the Garden of Eden and a necessary part of childbirth. Consequently pain-relief was often disapproved of, and comprised herbal and floral treatments, such as opium seeds, chamomile ointment, mugwort tea, raspberry tea and mandrake. It has been estimated that 3% of women died in childbirth during the 15th century, compared to 7 in 100,000 now in the UK, and disease and poor-diet contributed to this number.   "During the postnatal period, a woman had to remain in the home until she had been 'churched'. Churching of women (a religious blessing) after childbirth took place when she was considered to be past 'the unclean' period brought on by labour: this was a happy occasion, often accompanied by a celebration of the woman's return to society. She was also allowed to resume sexual activity at this time. Breastfeeding was the preferred diet for the child's first two years, and had the advantage of providing immunological resistance in the baby against infection, and also in suppressing ovulation and so naturally reducing the birth rate" (Royal College of Obstetricians and Gynaecologists, "From RCOG Heritage: A 500 year old Rose in our Garden").   The first edition of this work was published at Strasburg in 1513 by Martin Flach (Hellman 1). Two other editions, although undated, had previously been assigned the date 1513 (e.g., by Hellman). However, Josef Benzing ('Zu den ersten Ausgaben des 'Rosengartens' von Eucharius Rösslin,' Das Antiquariat, Wien, 12, Nr. 5/6, 57-58), has assigned dates 1515 and 1518 to these editions, the two being distinguished by the presence of a full-page woodcut and the word 'herbammen' on the title of the latter (Hellman 2), while the former has 'herbamme' and no woodcut (Hellman 3). On this basis, our copy is of the 1518 printing. Benzing also shows that the 1515 edition was printed by Heinrich Gran at Hagenau, and the 1518 by Arnt von Aich at Cologne (previously it had been thought that Gran had issued both undated editions). An English translation by Richard Jonas was published in 1540, printed by Thomas Raynalde, and entitled The Byrth of Mankynde; this was the first book on the subject to be printed in English. It was also translated into Italian, French, Spanish, Dutch, Polish and Czech.   Garrison-Morton 6138; not in Adams; not in Norman; Waller 8091. Choulant, History and Bibliography of Anatomic Illustration (1945) pp. 73-75; Green, The Sources of Eucharius Roesslin's 'Rosegarden for Pregnant Women and Midwives' (1513), Medical History 53 (2009), 167-92; Hellman, A collection of early obstetrical books... including 25 editions of Roesslin's Rosengarten, (New Haven, Privately printed, 1952), no. 2; Klein, Eucharius Rösslin's 'Rosengarten' gedruckt im Jahre 1513. Facsimile mit Begleit-Text von G. Klein (Munich 1910); Stillwell, Awakening Interest in Science during the first century of printing, 507. For a bibliographical study of the work, see Sir D'Arcy Power's article in The Library, 1927, 4 ser. 8, 1-37, subsequently reprinted in book form. 4to, 56 leaves, the last blank, full-page woodcut of two women in a rose garden, one holding a baby in swaddling clothes, within a woodcut border of renaissance design in four blocks, full-page woodcut of the author presenting his book to Katherine, Duchess of Brunswick and Luneburg (the dedicatee), woodcut of the birth chair on D2v. and 19 woodcuts (including two duplicates) showing the different positions of the foetus in utero. Contemporary blind-stamped calf-backed wooden boards, one of two clasps torn, a very small round wormhole through second half of the book, mostly marginal, but just affecting a letter or two, a fine copy.

      [Bookseller: SOPHIA RARE BOOKS]
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        Le grant kalendier et compost des bergiers, composé par le berger de la grant montaigne auquel sont adjoustez plusieurs nouvelles figures et tables, lesquelles sont bien utilles a toutes gens ainsi que vous pourrez veoir cy apres en ce present livre.

      Paris, Veuve Jehan Trepperel, [1518 ou 1519]. ____ Seul exemplaire connu de cette édition. Elle est illustrée de plus de 100 gravures sur bois. Livre populaire, livre d'usage, tous les éditions de cet ouvrage sont très rares. Très curieux pour son texte et son illustration, c'est une sorte d'encyclopédie des connaissances météorologiques, astrologiques, agricoles, médicales et morales. C'est le premier almanach qui ait été imprimé en France. "On s'explique facilement la faveur d'un ouvrage qui s'adressait aux masses populaires et rurales et leur donnait des conseils de toutes sortes sur la médecine et l'hygiène, l'agriculture, la manière de se comporter en ce monde en vue d'arriver sainement dans l'autre, en même temps qu'il donnait aux gens illettrés des notions sur l'astronomie et la division du temps. Les démonstrations étaient renforcées par des images explicatives pour ceux qui ne savaient pas lire." (M. Monceaux). "Ces livres sont en fait des compilations à usage pratique et moral destinées à un public laïc. Ils s'inspirent d'ouvrages médiévaux tels que "Le Livre des propriétés des choses" de Barthélémy l'Anglais, les "Grandes Danses Macabres", les traités préparant les âmes au Jugement Dernier. Ils ont recours à l'astrologie, très présente aux XVe et XVIe siècles. Les signes du zodiaque, les planches anatomiques, les danses macabres ou représentations des enfers, les représentations des activités agricoles ou artisanales pour chaque mois de l'année, doivent enrichir le texte pour guider l'homme vers son salut." (Bibliothèque de Troyes) Publié pour la première fois en 1491, à Paris par Guy Marchant, ce "Calendrier" a connu de nombreuses éditions. L'édition la plus proche donnée par la veuve Jehan Trepperel et Jehan Jehannot, avec un calendrier débutant en 1516, est longuement décrite dans le catalogue Rothschild (N° 2562). Sa collation est un peu différente (cahier a8 est ici a6 sans manque) et le contenu n'est pas exactement le même. Le bois gravé du titre, bien que très semblable, présente des différences. Les 8 premiers feuillets sont imprimés en noir et rouge. Grand bois gravé sur le titre, répété au dernier feuillet, montrant un berger faisant la leçon à ses compagnons. Parmi les illustrations les plus étonnantes, et souvent d'une facture assez primitive, citons une série effrayante montrant les peines de l'enfer, trois hommes anatomiques, une opération chirurgicale, un berger "pratiquant le cadran de nuit" (pour connaître l'heure la nuit), un dragon volant, une comète, un "nègre, héraut de la Mort"... La date nous est donnée au feuillet c1 : "On doit entendre que cette année Mil cinq cens XIX..." Le calendrier des éclipses commence en 1518 et se termine en 1553. Supra-libris doré de Victor Masséna, prince d'Essling (1836-1910), avec sa devise "Victor et Fidelis". Petit-fils du maréchal d'Empire, il avait construit une exceptionnelle bibliothèque d'incunables et d'éditions illustrées du XVIe siècle. ***** Only known copy of this edition. Illustrated by more than 100 woodcuts. Popular book, all the copies of this work are very rare. Very curious for its text and its illustration. It is a kind of encyclopedia of the meteorological, astrological, agricultural, medical and moral knowledge and also the first almanac which was printed in France. Published for the first time in 1491, in Paris by Guy Marchant, the "grant kalendrier" was printed in numerous editions. The closest of this one, printed by the widow of Jehan Trepperel and Jehan Jehannot, with a calendar beginning in 1516, is described at length in the Rothschild catalog (N°2562). Its collation is a little bit different (gathering a8, is here a6 without lack) and contents is not exactly the same. The woodcut on title, although very similar, present differences. The first 8 leaves are printed in black and red. Large woodcut on title, repeated on the last leaf, showing a shepherd making the lesson to his companions. Among the most striking illustrations, we find a terrible serie showing the punishments of hell, three anatomical men, a surgical operation, a shepherd " practising the night dial " (how to know the hour at night), a flying dragon, a comet, a negro, as a "herald of the Death "... The date of 1519 is given on leaf c1 and the timetable of eclipses begins in 1518 and ends in 1553. Supra- libris gilded on cover of Victor Masséna, prince of Essling (1836-1910 ). In-4. Collation : (86) ff. [a-d4, e8, f-t4, v6] Maroquin brun, dos à nerfs, armoiries dorées au centre des plats, tranches dorées sur marbrure. (Reliure du XIXe, signée Hardy-Mennil.).

      [Bookseller: Hugues de Latude]
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        Pomponius Mela, Julius Solinus, Itinerarium Antonini Aug., Vibius Sequester, P. Victor de regionibus urbis Romae, Dionysius Afer de situ orbis, Prisciano interprete

      233-[3] ff. Venetiis, in aedibus Aldi, et Andrea Soceri, octobre 1518, in-8, 233-[3] ff, basane marbrée du XVIIIe siècle, dos à nerfs orné, tranches rouges, Signatures a8-z8, A8-F8, G4 (les ff. q8 et G3 sont blancs). Maque à l'ancre aldine au titre et au verso du dernier feuillet. Au colophon : Venise, Héritiers d'Alde l'Ancien et Andrea Socer, Octobre 1518. PREMIÈRE ET UNIQUE ÉDITION ALDINE de ce recueil de géographes et cosmographes latins. Impression italique, issue de l'imprimerie d'Alde Manuce, conduite par Andrea Torresano (André d'Asola) en association avec Andrea Socer. Notes manuscrites de l'époque parfois rognées. L'ouvrage comprend 6 travaux d'auteurs classiques, édités par Franciscus Asulanus qui a signé la préface au lecteur (feuillet 2) : Pomponii Melae de situ orbis - Iulii Solini polyhistor - Itinerarum Antonini Augusti - Vibius Sequester Virgiliano Filio slautem - P. Victoris, de regionibus urbis Romae liber - Dionysii Afre poema de orbe situ Prisciano intete. Ex-libris manuscrit Arthême Pannier, architecte normand du XIXe siècle, originaire de Lisieux, et timbre sec armorié de la famille Le Vicomte (Normandie) accompagné de la devise "Le Visconte e L'Enor". Petits accrocs aux coiffes, greffe de papier sur la page de titre dans l'angle inférieur externe. Brunet IV-800 ; Renouard, Alde, I-143.

      [Bookseller: Librairie Alain Brieux]
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        Tabula Asiae VIII

      Artist: Ruscelli Girolamo ca ( - 1566 ) Venice; issued in: Venice; date: 1564 1518 - - technic: Copper print; colorit: original colored; condition: Very good; size in cm : 18,5 x 24 - description: Map shows north Indai with Radschastan, partly Pakistan, China and Himalaja - Vita of the artist: Girolamo Ruscelli (1518-1566) was an Italian polymath, humanist, editor, and cartographer active in Venice during the early 16th century. Ruscelli is best known for his important revision of Ptolemy's Geographia, which was published post humously in 1574. It is generally assumed that Alexius Pedemontanus was a pseudonym of Girolamo Ruscelli. In a later work, Ruscelli reported that the Secreti contained the experimental results of an ?Academy of Secrets? that he and a group of humanists and noblemen founded in Naples in the 1540s. Ruscelli?s academy is the first recorded example of an experimental scientific society. The academy was later imitated by Giambattista Della Porta, who founded an ?Accademia dei Secreti? in Naples in the 1560s.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Opus de arcanis catholicae veritatis. Hoc est, in omnia difficilia loca Veteris Testamenti, ex Talmud, aliisqu(e) Hebraicis libris . contra obstinatam Judaeorum perfidiam, absolutissimus commentarius. Ad haec, Joannis Reuchlini.de Arte Cabalistica libri tres. Basel, (J. Herwagen) 1550. Fol. 12 Bll., 891 (recte 791) S., 16 Bll., mit 2 Holzschn.-Druckerm. u. tls. figürl. Holzschnittinitialen, Hldr. d. 19. Jhts. mit goldgepr. Rtitel.

      - VD 16, C 4615 u. VD 16, R 1237 (Reuchlin, Johannes: De arte cabalistica libri tres) - STC 218 - Adams C 2419 - Fürst I, 314 - vgl. Caillet 4304 (unter Galatini u. mit and. Ausg.).- Sehr seltene erste Ausgabe bei Herwagen (erstmals 1518 in Ortona erschienen).- Galitanus "verteidigt den Katholizismus gegen das Judentum und verteidigt auch zugleich Reuchlin gegen die Angriffe seiner Zeitgenossen, so daß das Werk in Form eines Dialogs zwischen Capnio (Reuchlin) und Galatino eingerichtet ist" (Fürst). Mit vielen hebräischen Textstellen u. Zitaten. Ab S. 719 der in der Erstausgabe (und auch in der dritten Ausgabe) nicht enthaltene Abdruck von Reuchlins "De arte cabalistica", erstmals 1517 erschienen.- Paginierfehler: Zählung springt von S. 314 auf S. 415. Titel, zu Beginn u. am Ende wasserrandig (Titel mit dunklem Feuchtrand im Gelenk), tls. etw. braunfleckig, Ebd. etw. berieben. insges. gutes Exemplar.# Second edition (first publ. in 1518).- With many Hebrew passages and quotations. At the end: Reuchlin's "De arte cabbalistica" (not included in the first edition). This famous work on cabbalistic art is written in the form of a discussion between three men: the Jew Simon, the Muslim Marranus, and the Pythagorean Philolaus, who come together for talks at Frankfurt/Main, the residence of the Jew.- At the beginning and at the end waterstained margins (title with dark wet edge in the hinge).- [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Johannes Müller]
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        1518 1ed Saint John Climacus Jacob’s Ladder Divine Ascent Heaven Hell Orthodox

      Venice : P. Pincius, 1518. - 1518 1ed Saint John Climacus Jacob’s Ladder Divine Ascent Heaven Hell Orthodox Extremely Rare with No Other Examples Worldwide This absolutely incredible early-16th-century post-incunable work was designed to help teach the reader how to raise one’s soul and body to God through various virtues. Climacus, the author, frequents the analogy of Jacob’s Ladder as a basis for his teachings. He outlines the thirty steps of the ladder which correspond to the age of Jesus at his baptism/beginning of his ministry. Saint John Climacus, also known as John of the Ladder, was a 7th-century Christian monk at the monastery on Mount Sinai. He is revered as a saint by the Roman Catholic, Oriental Orthodox, Eastern Orthodox and Eastern Catholic churches. Of John's literary output we know only the (Latin: Scala Paradisi) or Ladder of Divine Ascent. The Ladder of Divine Ascent, or Ladder of Paradise (Scala or Climax Paradisi), is an important ascetical treatise for monasticism in Eastern Christianity written by John Climacus in ca. AD 600 at the request of John, Abbot of Raithu, a monastery situated on the shores of the Red Sea. We find no other examples of this book for sale anywhere else worldwide, nor do we find any recent auction records! Main author: Saint John Climacus Title: Triginta gradus scale celestis Published: Venice : P. Pincius, 1518. Language: Latin Notes & contents: • 1st edition • Hand-drawn notes in margins FREE SHIPPING WORLDWIDE Wear: wear as seen in photos Binding: tight and secure vellum binding Pages: complete with all pages; plus indexes, prefaces, and such Publisher: Venice : P. Pincius, 1518. Size: ~6in X 4in (15cm x 10cm) FREE SHIPPING WORLDWIDE Shipping: Very Fast. Very Safe. Free Shipping Worldwide. Satisfaction Guarantee: Customer satisfaction is our priority. Notify us within 7 days of receiving your item and we will offer a full refund guarantee without reservation. $1500 Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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        Tabula Asiae VII

      Artist: Ruscelli Girolamo ca ( - 1566) Venedig; issued in: Venedig ; date: 1561 1518 - - technic: Copper print ; colorit: colored ; condition: Very good ; size in cm : 19 x 25 - description: Ptolemaic map with Persia / Pakistan - Vita of the artist: Girolamo Ruscelli (1518-1566) was an Italian polymath, humanist, editor, and cartographer active in Venice during the early 16th century. Ruscelli is best known for his important revision of Ptolemy's Geographia, which was published post humously in 1574. It is generally assumed that Alexius Pedemontanus was a pseudonym of Girolamo Ruscelli. In a later work, Ruscelli reported that the Secreti contained the experimental results of an ?Academy of Secrets? that he and a group of humanists and noblemen founded in Naples in the 1540s. Ruscelli?s academy is the first recorded example of an experimental scientific society. The academy was later imitated by Giambattista Della Porta, who founded an ?Accademia dei Secreti? in Naples in the 1560s.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Durchflüge durch Deutschland, die Niederlande und Frankreich. (die Bände 4-7 auch unter dem Titel: Fortgesetzte Durchflüge durch Deutschland, die Niederlande und Frankreich).

      7, kl.8. 17,5 x 10,5 cm. 1518 Seiten, In gutem Zustand. die Einbandrücken etwas berieben und lichtbedingt gleichmäßig farblich verändert, die Einbandecken meist gering bestoßen, die Farbschnitte teils vom Gelben ins Schwärzliche verfärbt, die Buchblöcke aber trotzdem erstaunlich frisch und sauber, nur die Vorsätze etwas braunfleckig. Jonas Ludwig von Heß (1756-1823) wanderte von 1789 bis 1800 durch Deutschland, die Niederlande und Frankreich, entgegen dem Titel wurden nur die Berichte über Deutschland veröffentlicht, die Berichte über die Niederlande und Frankreich blieben ungeschrieben, die Bände 1 bis 4. alle in der 2. Auflage vorliegend, davon erschienen die Bände 1-3 im Jahre 1796, Band 4 im Jahre 1797 ( alle bei Bachmann und Gundermann), die Bände 5 bis 7 in neuem Verlag, alle in der 1. Auflage im Verlag B.G. Hoffmann, Hamburg erschienen, die Bände 5 und 6 im Jahre 1798, der Band 7 im Jahre 1800.

      [Bookseller: Leipziger Antiquariat e.K.]
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        Agenda sive Benedictionale commune agendorum : cuilibet pastori ecclesie necessarium.

      [per Jacobum de Pfortzheym],. [Impressum Basilae], [per Jacobum de Pfortzheym], [1518]. Klein-Quart. LXXXVIII [=86], [2] Blatt. [Titelblatt, eine Seite und zwei Holzschnitte (verso des Titelblatts und am Ende des Buchs) fehlen]. Original Hardcover / Zeitgenössischer Holzdeckeleinband mit zwei Schliessen / Holzdeckel mit floral geprägtem Pergamentbezug. Buchblock komplett bis auf das Titelblatt und die zwei Holzschnitte. Blatt IX/X lose. Beide Einbanddeckel vom Buchblock gelöst. Eine Schliesse fehlt. Die andere Schliesse defekt. Einbandrücken defekt. Mit zahlreichen zeitgenössischen Annotationen. Blätter teilweise mit Wasserrand. Handschrift in Tinte auf zahlreichen Seiten ergänzt teilweise einige der Noten. Besitzvermerk von Corvi[nus] Herbipolensis [Corvinus Herbipolensis]. Extremely scarce, one of only four known editions of this publication on the Latin Liturgy which was radically reformed by Martin Luther, using exactly this publication to compose his "Taufbüchlein" ("Baptism Ritual") in 1523. For more information see Hughes Oliphant Old's publication on "The Shaping of the Reformed Baptismal Rite in the Sixteenth Century".nContemporary monk binding (Wooden boards with floral embossed quarter vellum. Both boards cleanly detached. Spine missing. Titlepage and two woodcuts missing but bookblock complete.) Extensive manuscript annotations and even added notes in the Missale section of this rare Postincunabula. 16th century owner's name (Corv[inus] Herbipolensis (that is today's "Würzburg" in Germany).nn[VD16 A 624 ; Dtsch. Gesamtkat. 2, 2864]nnDie hier vorliegende Agenda communis war das Grundlagenwerk zu Martin Luther's "Taufbüchlein". Vier Beispiele der sogenannten Agenda communis sind bekannt: (Leipzig, Melchior Lotter, 1501 und 1512 / Basel, Wolff, 1518 und 1520) (Quelle: The Shaping of the Reformed Baptismal Rite in the Sixteenth Century By Hughes Oliphant Old).nnJacob Wolff von Pforzheim (gestorben 1519) (Auch: Jacob von Pforzheim)nMagister (Meister) Jacobus de Pfortzheim, wie er sich gern nannte, stammte aus Pforzheim (Ghztm. Baden) und wurde 1482 Basler Bürger (zs. mit seinem Teilhaber Johannes Wurster von Kempten) und zu Safran zünftig. Er war mit Dorothea David und in zweiter Ehe (spätestens ab 1485) mit Elsbeth von Schongau verheiratet. Begann um 1489 zu drucken, zunächst als Lohndrucker für Adam von Speyer u. Jacob von Kilchen. Seine Offizin hatte er auf dem Heuberg, wo er 1482 das Haus "Waltzhut" erworben hatte. Druckte zahlreiche Liturgica sowie Schulschriften. Gest. 1519 (zw. 10.2 u. 2.4.). Die Druckerei übernahm sein Sohn Thomas Wolff. Wirkungszeit: 1489-1519 / Druckte zu Beginn für Adam von Speyer u. Jacob von Kilchen sowie 1504/05 für Wolfgang Lachner u. 1509 für den Augsburger Verleger Johann Rynman. (Quelle: UB Basel)nn

      [Bookseller: The Time Traveller's Bookshop ]
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        Biblia, Das ist, Die gantze Heilige Schrifft Alten und Neuen Testaments, vormahls in die Deutsche, von D. Martin Luthern.

      mit Titelkupfer (Porträt M. Jo. Ernst Hertzog, Churfürstl. sächs. Hoff Prediger), 8. 20,8 x 17,8 cm. (13) Bll.,1518,254,174, Seiten, In gutem Zustand. der Einband geschwärzt und mit Resten von Schließbändern, Dreiseitenrotschnitt, die Beschläge angerostet, auf dem vorderen Spiegel Besitzeintrag von 1886, die Vorsätze braunfleckig, der hintere Spiegel mit Bleistifteintrag, der Buchblock sauber, teils gering braunfleckig und teils mit Eckknicken, kulturhistorisch von großer Bedeutung - erste vollständige Bibelausgabe in Obersorbisch. vollständiger Titel: Biblia, Das ist, Die gantze Heilige Schrifft Alten und Neuen Testaments, vormahls in die Deutsche, von D. Martin Luthern, Jetzo aber in die Ober-Lausitzische Wendische Sprache mit aller treu und Fleiße von Einigen Evangelischen Predigern übersetzet. - dies ist die erste Gesamtbibel in obersorbischer Sprache, Johann Lange aus Pohla, Pfarrer in Milkel, Matthäus Jokisch aus Schwarznaußlitz, Pfarrer in Gebelzig, Johann Böhmer aus Rodewitz, Pfarrer in Großpostnitz und Johann Wauer aus Meschwitz, Pfarrer in Hochkirch waren die vorgenannten evangelischen Prediger, die die Übersetzung unternahmen noch zur Seitenzahl: 1 Blatt, vom Doppeltitel fehlt das Blatt in sorbischer Sprache, das Neue Testament mit der Jahreszahl 1727 nur mit obersorbischem Titel, - es fehlen die Seiten 961/962, diese wurden offensichtlich vom Drucker vergessen, kein Hinweis auf Herausreißen.

      [Bookseller: Leipziger Antiquariat e.K.]
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        Die Stend des hailigen Römischen Reichs mitsampt allen Churfürsten un[d] Fürsten etc. gaistlichen und weltlichen, mit iren Titeln, un[d] geschickten Potschafften. . .

      Augsburg 1518 - 4to (202 x 145 mm), [22] leaves. Large woodcut illustration on title. Unbound, probably from a sammelband. Little browned, occasional minor spotting, light waterstains to final 14 leaves. ---- BMC/STC German p. 383. FIRST EDITION and an early example of a fete book celebrating a wedding. The first part is an account of the Diet of Augsburg providing a listing of the notables who participated. The second part describes the wedding of KASIMIR (1481-1527), Margrave of Brandenburg-Kulmbach, and SUSANNE (1502-1543) of Bavaria, and the procession from Munich to Amberg via Augsburg where the wedding took place during the Diet. The wedding was attended by Maximilian I. [Attributes: First Edition; Soft Cover]

      [Bookseller: Milestones of Science Books]
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        O die Stund ist aus - Vergrösserte Kopie nach einem Kupferstich von Hans Behaim. Tusche a. Lwd..

      1518/2016 18 x 24 cm, 34 x 42 cm, gerahmt, Tadell. Auf Rückseite vom Kopistenkünstler Joachim Wittke (Künstler und Restaurator (www.atelierwittke.com) signiert - Sebald Beham (1500-1500)war der ältere Bruder Barthel Behams. Sein erster Vorname Hans. der nach der Form seines Monogramms angenommen wird. ist in den zeitgenössischen Quellen nicht nachweisbar. Über die Ausbildung der beiden Maler und Kupferstecher sind ebenfalls keine zeitgenössischen Quellen erhalten. Durch die künstlerische Nähe zu Albrecht Dürer wird in der Sekundärliteratur vermutet. dass die Brüder Beham ihre Ausbildung in der Werkstatt Dürers erhielten. 1524. nach einem Aufenthalt Thomas Müntzers in Nürnberg. sympathisierten er. sein Bruder Barthel und Georg Pencz. ein weiterer Geselle Dürers. mit dem religiös und politisch radikalen Flügel der Reformation. Ob sie sich tatsächlich der sozialrevolutionären Bewegung der Täufer anschlossen. ist unklar. Die drei \"gottlosen Maler\" wurden zusammen mit anderen Angeklagten. unter ihnen der Schulmeister Hans Denck (1495-1527) festgenommen und im Januar 1525 vor Gericht gestellt. Der Rat ließ relative Milde walten und verbannte die Künstler im Einvernehmen mit der Geistlichkeit lediglich aus der Stadt Nürnberg. Sebald Beham kehrte schon 1528 nach Nürnberg zurück. wurde 1529 der Verbreitung von Pornographie verdächtigt und abermals ausgewiesen und begab sich nach München. In den Jahren 1530 und 1531 arbeitete er unter anderem für Kardinal Albrecht von Mainz. Um 1532 siedelte er nach Frankfurt am Main über. wo er 1540 das volle Bürgerrecht erhielt. In Frankfurt schuf er zahlreiche Vorlagen für Holzschnitte (Bibeln und Chroniken) und trat als Kupferstecher und Entwurfszeichner für Holzschnitte hervor. Er hat etwa 270 Kupferstiche und 300 Holzschnitte geschaffen. Versand D: 20,00 EUR Totentanz

      [Bookseller: Antiquariat Peter Petrej]
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        Agenda sive Benedictionale commune agendorum : cuilibet pastori ecclesie necessarium.

      [Impressum Basilae]: [per Jacobum de Pfortzheym]. Buchblock komplett bis auf das Titelblatt und die zwei Holzschnitte. Blatt IX/X lose. Beide Einbanddeckel vom Buchblock gelöst. Eine Schliesse fehlt. Die andere Schliesse defekt. Einbandrücken defekt. Mit zahlreichen zeitgenössischen Annotationen. Blätter teilweise mit Wasserrand. Handschrift in Tinte auf zahlreichen Seiten ergänzt teilweise einige der Noten. Besitzvermerk von Corvi[nus] Herbipolensis [Corvinus Herbipolensis]. . [Impressum Basilae], [per Jacobum de Pfortzheym], [1518]. Klein-Quart. LXXXVIII [=86], [2] Blatt. [Titelblatt, eine Seite und zwei Holzschnitte (verso des Titelblatts und am Ende des Buchs) fehlen]. Original Hardcover / Zeitgenössischer Holzdeckeleinband mit zwei Schliessen / Holzdeckel mit floral geprägtem Pergamentbezug. Buchblock komplett bis auf das Titelblatt und die zwei Holzschnitte. Blatt IX/X lose. Beide Einbanddeckel vom Buchblock gelöst. Eine Schliesse fehlt. Die andere Schliesse defekt. Einbandrücken defekt. Mit zahlreichen zeitgenössischen Annotationen. Blätter teilweise mit Wasserrand. Handschrift in Tinte auf zahlreichen Seiten ergänzt teilweise einige der Noten. Besitzvermerk von Corvi[nus] Herbipolensis [Corvinus Herbipolensis]. Extremely scarce, one of only four known editions of this publication on the Latin Liturgy which was radically reformed by Martin Luther, using exactly this publication to compose his "Taufbüchlein" ("Baptism Ritual") in 1523. For more information see Hughes Oliphant Old's publication on "The Shaping of the Reformed Baptismal Rite in the Sixteenth Century". Contemporary monk binding (Wooden boards with floral embossed quarter vellum. Both boards cleanly detached. Spine missing. Titlepage and two woodcuts missing but bookblock complete.) Extensive manuscript annotations and even added notes in the Missale section of this rare Postincunabula. 16th century owner's name (Corv[inus] Herbipolensis (that is today's "Würzburg" in Germany). [VD16 A 624 ; Dtsch. Gesamtkat. 2, 2864] Die hier vorliegende Agenda communis war das Grundlagenwerk zu Martin Luther's "Taufbüchlein". Vier Beispiele der sogenannten Agenda communis sind bekannt: (Leipzig, Melchior Lotter, 1501 und 1512 / Basel, Wolff, 1518 und 1520) (Quelle: The Shaping of the Reformed Baptismal Rite in the Sixteenth Century By Hughes Oliphant Old). Jacob Wolff von Pforzheim (gestorben 1519) (Auch: Jacob von Pforzheim) Magister (Meister) Jacobus de Pfortzheim, wie er sich gern nannte, stammte aus Pforzheim (Ghztm. Baden) und wurde 1482 Basler Bürger (zs. mit seinem Teilhaber Johannes Wurster von Kempten) und zu Safran zünftig. Er war mit Dorothea David und in zweiter Ehe (spätestens ab 1485) mit Elsbeth von Schongau verheiratet. Begann um 1489 zu drucken, zunächst als Lohndrucker für Adam von Speyer u. Jacob von Kilchen. Seine Offizin hatte er auf dem Heuberg, wo er 1482 das Haus "Waltzhut" erworben hatte. Druckte zahlreiche Liturgica sowie Schulschriften. Gest. 1519 (zw. 10.2 u. 2.4.). Die Druckerei übernahm sein Sohn Thomas Wolff. Wirkungszeit: 1489-1519 / Druckte zu Beginn für Adam von Speyer u. Jacob von Kilchen sowie 1504/05 für Wolfgang Lachner u. 1509 für den Augsburger Verleger Johann Rynman. (Quelle: UB Basel)

      [Bookseller: The Time Traveller's Bookshop]
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        Fanciulla accanto a un vaso

      1518. Bulino, 1518 circa, privo di firma. Magnifica prova, ricca di toni, impressa su sottile carta vergata coeva "testa di Re con corona in un cerchio", rifilata alla linea marginale, piccole ossidazioni, per il resto in ottimo stato di conservazione. Il foglio appartiene a un gruppo di incisioni delle stesse dimensioni raffiguranti giovani donne accanto a vasi antichi. I corpi, sommariamente coperti, sono di grande bellezza ed eleganza. Secondo il Bartsch questi soggetti derivano da Raffaello, mentre sia il Passavant che recentemente Oberhuber sostengono la derivazione da Giulio Romano o da Luca Penni. Timbro di collezione al verso sconosciuto al Lugt. Bibliografia: Bartsch, XIV, p.353, 474; Passavant, p. 594, 90; Oberuhuber, Roma e lo stile classico di Raffaello, p. 196, 130. Dimensioni 140x210. Engraving, 1518 circa, without signature. Magnificent work rich in shades, printed on thin contemporary laid paper with "King's head with crown in a circle", trimmed to marginal line, light oxidations, otherwside in very good condition. This sheet belongs to a group of engravings depicting young women with vases. The bodies, which are not very much cloche, are extremely beautiful and elegant. According to Bartsch, these subjects derive from Raffaello, while both Passavant and Oberhuber said they are after Giulio Romano or Luca Penni. Collection stamp on verso, not listed by Lugt. Bibliografia: Bartsch, XIV, p.353, 474; Passavant, p. 594, 90; Oberuhuber, Roma e lo stile classico di Raffaello, p. 196, 130. Dimensioni 140x210. Bartsch, XIV, p.353, 474; Passavant, p. 594, 90; Oberuhuber, Roma e lo stile classico di Raffaello, p. 196, 130. Dimensioni 140x210.

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        De inclito atque apud Germanos rarissimo actu ecclesiastico Kalendis Augusti Auguste. Celebrato anno domini 1518. Augsburg, S. Grimm und M. Wirsung, 1518.

      1518. 4to. 8 unnumbered ff, With nearly page-sized title woodcut and an armorial woodcut at the end, both by the Master of Petrarch. Marbled red boards. First and only edition of this probably rarest work by the Bregenz-born historiographer. The book was published "on the occasion of Albrecht of Brandenburg's creation as cardinal in honour of his defence of Christianity against the Turks, and the awarding of a sword and helmet-like fur cap, blessed by Pope Leo X on Christmas Day, to Emperor Maximilian through the hands of the Papal legates Cajetan and Lang" (cf. Musper). - The title woodcut shows an angel bearing the insignia of both these awards; the final woodcut shows Mennel's arms. - A clean and wide-margined copy. Rare; last at a German auction in 1964. VD 16, M 4614. BM-STC German 618. Panzer VI, 152, 133. Zapf II, 204, XV. Musper, Nachlese zum Petrarkameister, in: GJB 1951, 110 ff. Maximilian-Ausst. Wien 1959, 127.

      [Bookseller: Antiquariat Inlibris]
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        Omnia que gesta sunt in Orie[n]te inter Sophi & Maximum Turcarum & Suldanum, & que[m]admodum dux Turcaru[m] caepit Alepum & Damascum & Hierusalem cum om[n]ibus circumiace[n]tibus oppidis, & quo[rum] maximus Turcaru[m] voluit audire una[m] missam apud sanctu[m] sepulchru[m] Iesu Christi. [Basel, Pamphilus Gengenbach, 1518].

      1518. 4to. With woodcut illustration on title-page. (6) pp., final blank f. 19th century pink wrappers, in modern half vellum clamshell box. Rare 16th-century news pamphlet on the Ottoman-Mamluk War (1516-17). The booklet relates the events from June 1516 to July 1517, followed by an account of Sultan Selim's visit to Jerusalem. During the Ottoma-Mamluk war the Ottoman Sultan Selim I, known as "the Grim", conquered Syria and defeated the Mamluk Sultan in the Battle of Ridaniya. He subsequently captured and sacked Cairo, thereby placing the holy cities Mecca and Medina under Ottoman rule, which marked the beginning of Ottoman power in Arabia. - With two bookplates, some browning, otherwise in very good condition. VD 16, O 738. Göllner 115. USTC 679549.

      [Bookseller: Antiquariat Inlibris]
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        Gregorii Magni Opera

      Paris: Berthold Rembolt 1518 - A compilation of the works of the early Pope; it is this Gregory to whom is attributed the beginnings of Gregorian Chant, a form of plainsong prevalent in the Roman Catholic Church until after Vatican II (1962-1965). 9 ¾ in. x 14 ¼ in.; 2 ¾ in. thick. [22] 450; [8]. Leather over boards with six raised bands; gilt titling and designs on spine; small remains of a paper label also appear on the spine. General wear to the covers and their edges. Lower portions of five of the preliminary folios (4-8) became damaged or torn out and have been replaced, apparently many years ago, in manuscript underlined in red. Folio 242 is mis-numbered 243. The top margin of folios 355-367 shows a small amount of worming. A small number of the preliminary folios show a damp-stain. The frontispiece from another book, published in 1608 by Johannes Pillehotte, is pasted onto the front paste-down. This book came from the library of Ignatius Frederick Horstmann, Bishop of Cleveland, Ohio from 1892 to 1908; his signature appears on the title page. On the verso facing the title page is an interesting and highly unusual hand-written inscription, in ink, consisting of two lines (crossing out the name of a previous owner) and the words: "Ex Libra Pernet diaconi Cabillonensia." This is followed by an expertly drawn picture of a bird in flight, hovering over a bunch of grapes on a branch on which there is resting a small animal. The drawing measures approximately 1 ¾ in. x 2 ¼ in. Even though substantial research has been undertaken, whether "pernet" refers to a region in France or to a family cannot be determined. We have found no book or reference to a book with a similar inscription, which may be a very early example of what became known as bookplates. The book weighs 8.5 lbs. Postage may be extra on this item. [Attributes: Hard Cover]

      [Bookseller: Peter Keisogloff Rare Books, Inc.]
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        Il Trinciante Di M. Vincenzo Cervio, Ampliato, Et Ridotto a Perfettione Dal Cavalier Reale Fvsoritto Da Narni, Gia Trinciante dell'Illust.mo & Reuerendissimo Signor Cardinal Farnese. Con una bellissima aggiunta fatta nouamente dall'istesso caualier Reale. Con Privilegio. In Venetia, Appresso gli Heredi di Giouanni Varisco. M D XCIII. Separate title-page, with vignette, on f.[45] to: 'Aggivnta Fatta al Trinciante Del Cervio Dal Cavalier Reale Fvsoritto Da Narni, Trinciante Del'Illustriss. Et Rever. Sig. Cardinale Montalto', In Venetia MDXCIII

      This is the rare second and enlarged Venice edition of one of the most important renaissance books on the art of carving in a superb binding. The first edition was published in Venice in 1581 and a third edition was published in Rome, also in 1593. The splendid armorial binding, possibly Venetian, is in chestnut morocco with double gilt rule border and elaborate inner corner pieces gilt incorporating lions rampant. Gilt armorial in centre of both boards with raised central medallion; what might have been a crown or coronet at the head and coat of arms on the medallion have been rubbed away. Spine with three raised bands, gilt outlined, with gilt lion rampant in each compartment; minor loss at foot of spine. Purple silk ties at foredge. All edges gilt. Early floral patterned end-papers printed in burgundy and green. Octavo, leaf-size 199x 148mm. [4], 1-68 folios; signatures: [dagger]4, A-H8, I4 plus three fold-out plates.

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        Valerius maximus noviter recognitus commentario historico videlicet ac litterato Oliverii Arzignanensis: familiari admodum ac succincto Jodoci Badii Ascensii: qui quattuor et viginti exemplaaldino auspicio nuper inventat simili comentatione declaravi

      Augustinum De Zani de Portesio, 1518. In folio, cc. (10) + CCLXXI + (1) con bella insegna tip. al f. e 9 xil. n. t. Testo al f. in rosso e nero. Le 9 xilografie sono tratte dall'edizione di B. Zanni del 1508 e dall'edizione dell'Ovidio del 1506. Centinaia di capoletera in xil. Polverosita' al f. e piccoli forellini di tarlo che interessanno il testo in particolare nelle parte finale. Assolutamente poco fastidiosi date le minime dimensioni. Annotazioni mss. d'epoca ai marg. P. pl. setecentesca. Edizione con il classico testo contornato dal commento di Bade Joosse, Chalcondylas Theophilus, e Oliviero D'Arzignano. Essling, I, 256. Sander, III, 7456. ITA

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        La Pentecoste

      1518. Bulino, 1518, datato in lastra e firmato DO. CAP. sulla pergamena a sinistra. Magnifica prova, impressa su carta vergata coeva, rifilata alla linea marginale, in perfetto stato di conservazione. San Luca, negli Atti degli Apostoli (2: 1 - 4), racconta che nel giorno della Pentecoste lo Spirito Santo discese sugli apostoli e Maria, mentre pregavano insieme, in forma di singole lingue di fuoco che si posarono su ognuno di loro. Subito furono pieni di Spirito Santo e cominciarono a parlare nelle lingue delle nazioni che avrebbero evangelizzato. L'iconografia tradizionale riporta sempre Maria al centro della composizione, e gli Apostoli ai due lati. Dunque, l'assenza della Vergine nell'opera del Campagnola è un fatto assolutamente inusuale. Anche la forma ovale è inusuale, ma viene utilizzata da Domenico anche per la Decapitazione di un Santo, al punto che Hind ipotizza che possano essere state incise sui due lati di una stessa lastra. La composizione, proprio per l'assenza di Maria, sembrerebbe più appropriata per un'Assunzione, e infatti la disposizione e le azioni delle figure sono comparabili proprio con l'Assunzione del Campagnola stesso, datata 1517, ma anche con la celebre pala d'altare di Tiziano, per il convento dei Frari (1516 - 1518). In effetti, il modello per questa incisione è stato individuato in un disegno conservato al Louvre, raffigurante uno studio per un'Assunzione della Vergine o un'Ascensione di Cristo. Il disegno è spesso attribuito a Tiziano e considerato come preparatorio per l'Assunzione del convento dei Frari (1516 - 18). Secondo Oberhuber, il disegno del Louvre sarebbe proprio del Campagnola e rappresenterebbe un suo studio sull'opera di Tiziano. Inoltre, questa incisione rifletterebbe anche, con le dovute modifiche e adattamenti, il disegno di Domenico per la sua Assunzione, datata 1517. Comparando le due opere, si nota che la Pentecoste appare più accurata: la composizione è più nitida, le figure occupano un volume maggiore e i dettagli sono più rifiniti. Questa evoluzione sarebbe il risultato dell'influenza di Tiziano: in quel periodo, infatti, Domenico studiava le sue opere, e potrebbe anche aver studiato direttamente con lui. Hind sostiene che la lastra del Campagnola sia stata stampata prima senza data, e che l'anno 1518 sia stato aggiunto dopo, nel secondo stato. Tuttavia, Levenson - Oberhuber - Sheehan notano che gli esemplari non datati, da loro esaminati, non sono altro che impressioni tarde in cui la data è stata abrasa. Ottimo esemplare di questa rarissima incisione. Engraving dated 1518 and signed DO. CAP. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect conditions. According to the Acts of Apostles (2:1 - 4), on the day of Pentecost the Holy Spirit descended upon the apostles and the Virgin, gathering to pray, in the form of individual flames. All of them were filled with the Holy Spirit and began to speak in other tongues as the Spirit enabled them. The typical iconography shows the Virgin as the central figure of the composition, therefore, the absence of her in the work by Campagnola is quite unusual. The excited group here seems more appropriate for an Assumption of the Virgin, and the arrangement and actions of the figures are indeed comparable to the apostles in Domenico's own Assumption, and in the famous altarpiece by Titian of 1516 - 18.The composition of the print is based on a drawing in the Louvre of a group of apostles executed with an Assumption of the Virgin or perhaps a Ascension of Christ in mind. The drawing is similar to our print, in reverse, in a number of figures and in much of the general composition, and has been traditionally taken as a preparatory design by Titian for the Frari Assumption and for his Pentecost of c. 1550 in S. Maria della Salute in Venice. Oberhuber has ascriber it to Domenico himself as a reflection of a lost early stage in the genesis of the altarpiece in the Frari. Since he had already engraved an Assumption of the Virgin, he adapted the design to portray another excited gathering of the apostles, the Descent of the Holy Spirit. A comparison with the early Assumption shows that the later composition is clearer in structure and richer both in movement and spatial layout. This development, according to Oberhuber, is the result of Titian's influence; Domenico clearly studied his work very intensely at this moment and may even have studied with him. A fine example of this very rare work. Levenson - Oberhuber - Sheehan, Early Italian Engraving, n. 158 p. 434; M. J. Zucker I TIB.25.19.003; Hind, V, p. 168 n.3. Dimensioni 173x183. 173 183

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        Publis Ovidii Nasonis Metamorphoseos Libri Moralizati Cum Pulcherrimis Fabularum Principalium Figuris

      Milan Nicolai de Gorgonzola 1518In-folio (papier 295 x 200 mm, reliure 306 x 215 mm), 9 ff., 198 ff., reliure pastiche veau fauve clair estampé du XIXème siècle en très bon état, dos muet à cinq nerfs, fermoirs lanières cuir et métal. Titre et un bois en rouge et noir, vignettes et lettres ornées gravées sur bois, bon état intérieur. Petite restauration de papier sur les treize premiers feuillets avec quelques manques de lettres ; feuillet CLIX angle inférieur petit manque de papier sans manque de texte ; feuillet CLXVIIII marge extérieure plus courte sur 1 cm sans manque de texte. Infimes trous de vers partie inférieure des 20 derniers feuillets, la plupart dans la marge. // Folio (paper 295 x 200 mm, binding 306 x 215 mm), 9 ff., 198 ff., pastiche binding XIXth cent. in very good condition, blindstamped fair fawn calf, spine raised on five bands, no title on it, clasps with leather and metal strips. Title and a wood-cut in red and black, wood-engraved vignettes and decorated letters, good condition inside. Small restoration of paper on the thirteen first leaves with some loss of letters ; leaf CLIX small lack of paper on low corner without lack of text ; leaf CLXVIIII margin is shorter of 1 cm without lack of text. Minor worm-holes on bottom of 20 last leaves, mostly in margin.

      [Bookseller: Henri Picard et Fils]
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        Les passages doultremer faitz par les francoys. Nouvellement imprimé.

      Paris Michel le Noir 1518 1 Petit in-folio Veau havanePetit in-folio gothique à 2 colonnes de (6) ff., 227, (1) f. avec la marque de Michel Le Noir au verso. Infime restauration dans la marge supérieure du titre sans manque et dans un feuillet de table. Relié en veau havane anglais du XVIIIe siècle, filet doré encadrant les plats, armoiries couronnées frappées or au centre, dos à nerfs orné à froid, pièce de titre de maroquin rouge, filet doré sur les coupes, tranches jaspées. EDITION ORIGINALE FORT RARE DE CE LIVRE IMPORTANT SUR LA " TURQUIE, SYRIE ET PALESTINE ". L'édition originale, très recherché pour la partie intitulée " s'ensuit la Compendieuse Description de la terre promission ". L'illustration superbe se compose d'un titre gravé sur bois à pleine page. Le texte est en outre orné de 6 vignettes de scènes de bataille et de 6 autres gravures reproduisant les alphabets de Breydenbach. precieux exemplaire de ce volume fort rare relié au XVIIIe siècle pour le deuxième comte Spencer avec ses armoiries couronnées frappées au centre des plats. Volume fort rare dont il n'est passé qu'un autre exemplaire complet sur le marché public depuis plus de trente ans. Catalogue des livres rares du Baron Ruble, 377 ; Rahir, La Bibliothèque de l'amateur, 587 ; Brunet, IV, 415 ; Brun, Le livre français illustré de la Renaissance, 243 ; Mortimer, Harvard French, 363 ; Roehricht, 371. ***Rare first edition of this important book about Turkey, Syria and Palestine. The superb illustration consists of an engraved title-page, 6 vignettes of battles in the text and 6 other woodcuts showing Breydenbach's alphabets.A precious copy of this rare volume, bound in English 18th century calf for George John Spencer, the 2nd Earl Spencer, with his crowned coat of arms in the center of covers.*** Très bon

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        San Matteo

      1518. Bulino, 1518, datato e monogrammato in lastra in basso a destra. Da un soggetto di Giulio Romano. Esemplare nel primo stato di tre, avanti l'indirizzo di Antonio Salamanca. Magnifica prova, ricca di tonii, mpressa su carta vergata coeva priva di filigrana, rifilata al rame, in ottimo stato di conservazione. L'opera fa parte della serie ' I Quattro Evangelisti' che erroneamente il Vasari attribuiva a Marcantonio Raimondi, riprosurrebbero gli stessi Apostoli che Giulio Romano e Luca Penni avrebbero dipinto nella volts della cappella di Trinità dei Monti. Eccezionale tiratura. Engraving, 1518, signed and dated at lower right. After Giulio Romano. Example of the first state of three, before the address of Salamanca. A great impression, printed with tone on contemporary laid paper, trimmed to the platemark, very good ocndition. This work is part of a set called by Vasari ' The four Evangelists', wrongly ascribed to Marcantonio Raimondi. According with Vasari the engravings reproduce the frescoes by Giulio Romano and Luca Penni in the Chapel of Trinità dei Monti, in Rome. Excellent sample. Bartsch 95; Massari, Giulio Romano, p. 16, 12 I/III. 143 210

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        Ciceronis Orationum volumen primum...

      in Aedibus Aldi, 1518. Cm. 17, cc. 305 (1). Legatura settecentesca in piena pelle con il bel piatto anteriore originale decorato del '500 applicato, dorso a nervi. Tagli dorati e decorati. Esemplare purtroppo scompleto del primo quaderno di 12 cc. Peraltro ben conservato. Cfr. Renouard p. 85.

      [Bookseller: Studio Bibliografico Benacense]
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        Traiano incoronato dalla Vittoria

      1518. Bulino, 1518 - 1520 circa, monogrammato in basso a destra. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana "scudo con scala e fiore", rifilata al rame, numerose pieghe di carta restaurate, per il resto in ottimo stato di conservazione. L'incisione riproduce, con qualche variazione, un rilievo dell'arco di Costantino Sulla sinistra del foglio, Traiano è accolto da Roma, personificata, e incoronato d'alloro dalla Vittoria, mentre sulla destra i soldati romani combattono contro i Daci. Raimondi rinuncia ad ogni cornice, così da conferire maggiore ampiezza alla scena, mentre lo sfondo scuro dà risalto e rilievo alle figure, con un effetto scultoreo ottenuto anche grazie all'uso del bulino arrotondato, che accentua i volumi. L'artista ha aggiunto, invece, il muro sullo sfondo a destra, che ricorre anche nell'incisione di Marco Dente, della stessa epoca, raffigurante un altro rilievo di Costantino. L'incisione di Raimondi si data generalmente all'inizio degli anni venti del XVI secolo, perché stilisticamente affine alle scene di Amore e Psiche e all'Incensiere di Francesco I. Stegeimer e Shoemaker ritengono probabile che il disegno stesso dell'incisione sia opera del Raimondi, mentre non trova seguito l'ipotesi di Delaborde, per cui l'invenzione sia da attribuire a Giulio Romano. "Engraving, about 1518 - 1520, monogrammed lower right. Magnificent proof, rich in shades, printed on contemporary laid paper with watermark ""shield with scale and flower"", trimmed to copper, numerous folds of paper restored, otherwise in excellent condition. The subject derived from a bas - relief on the Arch of Constantine celebrating the Roman Emperor Trajan's 105/06 A.D. victory over the Dacians (from an area now encompassing Romania). The friezelike shape of the composition and the depth of the visual field mimic that shallow type of sculpture, while celebrating Rome's historical past at a moment just before the 1527 sack by the troops of Charles V, Holy Roman Emperor. Raimondi opts for no frame, so as to give greater breadth to the scene, while the dark background gives prominence and importance to the figures, with a sculptural effect achieved using the rounded burin, which accentuates the volumes. The artist has added, however, the wall in the background on the right, which also occurs in the coeval engraving by Marco Dente, depicting another Costantine relief Stegeimer and Shoemaker suggest that Marcantonio Raimondi probably made a drawing himself on which the engraving was based; while the assumption by Delaborde, for which the invention is attributed to Giulio Romano, is unfounded. The engraving is generally dated in the early twenties of the sixteenth century, because stylistically close to Cupid and Psyche and A Censer for Francis I." Bartsch, XIV, pp. 275 - 276 n. 361; Delaborde (1888), p. 220 n. 192; Oberhuber (1978), vol. 27, p. 57; Oberhuber, 1999, p.206, n. 138; Shoemaker, p.182 n. 61. Dimensioni 266x413. 266 413

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        Introductorium in Medicinam Legenti cuilibet perutile. Auguste Vindelicorum (Augsburg), Sigismondus Grimm et Marcus Wyrsung, MDXVIII (1518)

      S. Grimm and M. Wyrsung, 1518. in - 4, ff. 63 n.n. (manca l'ultimo bianco), leg. 600esca in pergamena. Titolo entro stupenda larga bordura silografica a carattere architettonico, con due figure allegoriche, datato MDXVIII; 12 capilettera ornati su fondo nero. Colophon: "In Officina Sigismundi Grim medicine doctoris, atque Marci Wyrsung, Augustae Vindelicorum, MDXVIII, die vero XIIII Decembris". Il Barzizza (da non confondersi con l'omonimo grammatico bresciano) nacque a Bergamo alla fine del XIV secolo. Dal 1431 al 1444 fu professore di arti e medicina all'Università di Padova; fu anche notaio. Ci rimane un inventario, anche se incompleto della sua biblioteca (cfr. Sambin, C.B. e i suoi libri, in Bollett.Museo Civico PD, XLIV, 1955); raccolta fornita degli strumenti bibliografici proprii di un medico del tempo, aperto anche ad interessi umanistici (è ricordato un codice di Virgilio, e sopravvive un suo Apuleio, ora ms C.M.526 I della Bibl.Civica di Padova). L'Introductorium, la sua opera più importante, fu stampata a Pavia nel 1494. Bellissimo esemplare, marginoso e fresco, su carta forte. Rarissimo, apparentemente nessun esemplare presente in raccolte in Italia.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Tempio de Amore del molto magnifico et celeberrimo poeta signor Galeotto marchese Dal Carretto. (In fine:) Mediolani, ex officina Minutiana kalen. Septembris M.D.xviii. impensis Ioannis Iacobi e fratrum de Legnano (Milano, 1518)

      De Legnano, 1518. in - 8, ff. (124, segn. *2, A - O8, P10). Legatura p. perg. rustica coeva, conservata in elegante astuccio mod. m. pelle. Edizione originale, rarissima, di questo componimento teatrale composto verso il 1504 e dedicato a Guglielmo, marchese di Monferrato, presso la cui corte, l'A. si rifugiò dopo che il suo castello di Finale fu raso al suolo dai Genovesi. E' un ''dramma allegorico'' in versi, senza la divisione in atti, che tratta un argomento profano nella forma della sacra rappresentazione, ed che include «altri componimenti come la versione in terza rima della ''Tavola di Cebete'' e il riassunto delle ''Metamorfosi'' di Apuleio» (D.B.I). Il piemontese Galeotto Del Carretto (nato nel contado di Acqui poco prima del 1455 e morto nel 1530) è personalità di spicco nell'aristocrazia, nella vita politica e culturale italiana a cavallo dei secoli XV - XVI; fu poeta, scrittore di teatro e storiografo (la sua ''Cronica di Monferrato'' in ottava rima, rimasta inedita per secoli benché fosse conosciuta e citata, ha visto la luce soltanto nel 1898, per cura di Giorcelli, nella ''Rivista di storia della prov. di Alessandria, VII, pp. 8 - 107). Di lui il Vallauri, nella sua ''Storia della poesia in Piemonte'', parla a lungo e molto bene, dichiarando che ''un nostro paesano fu quegli che scrisse nel 1502 la prima tragedia italiana, la Sofonisba'' (op. cit. I, p. 71). Bell'esemplare assai puro, a grandi margini, con antica nota di possesso di ''Pietro Bertolotti di Bricherasio'' alla sguardia anter. (Lievi ingialliture qua e là).

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        Legendario di sancti novamente ben stampado vulgare. Venetia, Niccolo et Domenico Sandri, fratelli dal Jesu, 2 August 1518

      1518. in - 4, ff. 344 (segn.354), 4 n.n. bella leg. ottocentesca ad imitazione antica, elaborata decorazione a secco ai piatti, tit. in oro e fregi a secco al dorso a nervi (piccoli restauri alle estremità delle cerniere, qualche abrasione). Testo impresso su due colonne, car. tondo in rosso e nero; titolo in grande car. gotico e istruzioni per la consultazione dell'opera impressi in rosso entro 5 tondi inseriti in bordura a grotteschi; al verso grande ''crisma'' con croce in negativo entro grande arabesco su fondo rosso; colophon in grande car. gotico entro bordura e, al verso, silogr. tonda con 2 angeli che reggono uno scudo vuoto. La stupenda illustrazione del volume comprende inoltre: 15 bordure di 4 legni con ritratti in tondo, e grande capolettera istoriato all'interno; 12 elaborate bordure con vasi e grotteschi, che comprende 5 tondi con calendario di ogni mese e sue peculiarità impressi in rosso; 56 tondi di diametro 15 cm con scene della vita dei Santi e Martiri, inscritti in quadrato con fregi agli ang.; un Giudizio Universale (colorato all'epoca) entro bordura di 4 legni con versi in rosso entro tondi; 5 silogr. di grandi formati diversi (Assunzione e Natività della Vergine, Adorazione dell'Eucarestia, Crocefisso della Scuola di S.Giovanni a Venezia, S.Adriano) e un foglio con 6 legni relativi a S.Apollonia; 124 vignette a larghezza di una colonna, raffig. scene della Bibbia, gran numero di grandi iniziali ornate. Questa edizione, come già quella del 1505, venne diffusa con due frontespizi differenti: in caratteri xilo - tipografici (di cui si conoscono il presente esemplare e altri 2, di cui uno presso la Biblioteca Casanatense di Roma e l'altro alla Fondazione Cini di Venezia; cfr L. Pagnotta, Le edizioni italiane della ''Legenda Aurea'' (1475 - 1630), Firenze 2005, p. 108) o in caratteri romani tipografici (noto in due esemplari: Biblioteca Apostolica Vaticane e Biblioteca Marciana). Una delle più belle edizioni della raccolta di vite e leggende dei Santi, composta da Jacopo da Varazze (1230 - 1298) verso il 1266, che conobbe enorme fama, ed ebbe gran numero di edizioni, anche figurate, tra XV e XVI sec. L'editore si è curato, oltre che di fornire le istruzioni per la consultazione sul frontesp., di corredare l'opera di un indice alfabetico, del registro e, fatto assai raro, dell'indicazione degli errori e delle omissioni nella numerazione delle carte. Rara e ricercata edizione volgare figurata, fedele ristampa dell'edizione del 1505 degli stessi tipografi; straordinaria per la ricchezza e la peculiarità dell'illustrazione, nella quale il tondo è tema ricorrente. La sua bellezza è confermata da Essling, che dedica ben 22 pag. di descrizione e riproduz. delle figure. Bell'esemplare, seppur con alcune bordure lievem. rifilate su 2 lati, strappo restaurato a un f. ed un alone nel margine inf. dei primi 8 ff.

      [Bookseller: Libreria Antiquaria Pregliasco]
 32.   Check availability:     maremagnum.com     Link/Print  


        Expositio pulcherrima hymnorum per annum s[ecundu]m curiam non amplius impressa.

      (Venedig, Giorgio dei Rusconi [Georgius de Rusconibus], 6. November 1518). 8°. Mit einem großen Titelholzschnitt u. zahlr. Holzschn.-Initialen. 56 nn. Bll., Mod. HPgmt. Hübscher, mit einem schönen Titelholzschnitt und zahlr. Holzschn.-Initialen geschmückter Druck aus der Offizin des Giorgio dei Rusconi, der zwischen 1500 und 1521 in Venedig tätig war. - Sehr selten, EDIT16 nennt nur einen Nachweis und auch über den KVK sind weltweit nur zwei Exemplare nachweisbar (keines ausserhalb Italiens). - Vereinzelt kl. Randläsuren. Etw. gebräunt, fleckig u. leicht wasserrandig (dadurch der Gelbschnitt tlw. etwas in den Rand verlaufen). - EDIT16, CNCE 11337; nicht bei Adams u. im BM STC, Italian Books. Versand D: 12,00 EUR Expositio pulcherrima hymnorum per annum s[ecundu]m Curiam non amplius impressa

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Sermonum decas ad Angelum Colotium Aesinatem. De parentum cura in liberos. Ad D. Iusinum Carosium. De filiorum erga parentes obedientia, honore & pietate.

      Venezia, Tacuinus de Tridino, 1518. - Gr-8°, circa 20,5 x 15 cm. 90 unnumbered leaves New half-cloth Rare post-incunabula, apparently unknown to the Italian online catalogue (ICCU) where only editions from 1503 and 1512 are mentioned. This is probably a self-contained volume of the "Opera omnia", but clearly complete like this according to the Registrum - Some waterstaining, stronger only to the first and last leaves, otherwise well preserved. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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        LA VITE DI PLUTARCHO, Vulgare, Novamente Imprese, et Historiate.

      Venice: Georgio de Rusconi & Nicolo Zopino e Vincenzo Compagni. 1518. n Later printing. 1/2 vellum. Good +. 4to. ff.cccxxvi, complete. Double column text. Title within an ornate woodcut border. Text with 26 woodcuts (2" x 4-1/2"). 19th century vellum over paste paper boards. OFFERED WITH: Plutarch. LA SECONDA & ULTIMA PARTE, DELLE VITE DI PLUTARCHO... (Venice: Nicolao di Aristotile detto Zoppino. 1525). 4to. ff.ccxv,(1);(16). Double column text. Title printed in red & black and within a woodcut border. With 27 (of 28) woodcuts in the text. A defective copy lacking 3 leaves, a2 (with cut), a3, and a4; one leaf (a6) repaired with loss at bottom of 4 lines of letterpress; 2 leaves with tears (a4 and a5) with no loss. Lower outer corner of title page repaired. Bound in matching 19th century vellum over paste boards.

      [Bookseller: Kenneth Karmiole, Bookseller, Inc.]
 35.   Check availability:     Biblio     Link/Print  


        Hoc volumine continentur haec. Commentariorum de bello Gallico libri VIII. De bello civili pompeiano libri IIII. De bello Alexandrino. liber I. De bello Africano. liber I. De bello Hispaniensi. liber I. Pictura totius Galliae, & Hispaniae secundum C. Caesaris Commentarios. Nomina locorum, urbium´q[ue];, & populorum Galliae, & Hispaniae, ut olim dicebantur latine, & nunc dicantur, secundum ordinem alphabeti. Pictura Pontis in Rheno. Item Auarici. Alexiae. Uxelloduni. Massiliae.

      Venetiis in Aedibus Aldi, et Andreae Soceri, Mense Ianuario M.D.XVIII. And: Mense Novemb. M.D.XIX.[Venice]. 1518 1518. and 1519.Octavo, leaf size 165x100mm.[16], 296 leaves.Bound in contemporary blind-tooled goatskin with 'COMMENT CE' gilt-tooled on the front board.Sometime rebacked in sympathetic style.Various ownership inscriptions on the front paste-down and one at the foot of the Aldine device on the title-page.The prelims include: Letter from Aldos the elder to the reader, Nov. 1513; double page maps of Gaul and of Spain; list of peoples and places in Gaul; list of place names in Spain; five woodcut illustrations which include the defences of Avaricum, Alexia, Uxellodunum and Massilia; Letter from Giovanni Giocondo to Giuliano II de Medici.The first part ends on leaf 264 with an Aldus device on the verso, dated January 1518.The register of the second part on leaf 296, i.e. the 'Index Eorum', is dated November 1519, with the Aldus device on the verso.Slight browning and marks of use on the first and last leaf and both paste-downs.Crisp and clean.COPAC reports this edition at just one location: University of Aberdeen Libraries (two copies).(Further information and photographs available on request.)

      [Bookseller: Collectable Books]
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        Exactissimi et q(ua)m maxime probati ac clarissimi doctoris Petri de Palude Predicatorij Ordinis Hierosolimitani quondam(m)

      Paris: Jean Petite, Francois Regnault, and Claude Chevallon, 1518. Early Edition. Hardcover (Full Leather). Good Condition. 18th century sheep well worn, covers loose, spine perished. Lacking title, occasional minor stains, bottom right with light dampstain through most of volume, generally very clean internally. [7 of 8], 239 leaves. A finely printed early Paris edition which splendid initial letters - Chevallon would marry the great printer Charlotte Guillard in 1520; her first husband, the printer Berthold Rembolt, died around the time this book was printed. She would go on to run his press until her death in 1557. Size: Quarto (4to). Quantity Available: 1. Shipped Weight: 1-2 kilos. Category: Religion & Theology; Inventory No: 046146.

      [Bookseller: Pazzo Books]
 37.   Check availability:     Biblio     Link/Print  


        Expositio pulcherrima hymnorum per annum s[ecundu]m curiam non amplius impressa.

      (Venedig, Giorgio dei Rusconi [Georgius de Rusconibus], 6. November 1518). - Hübscher, mit einem schönen Titelholzschnitt und zahlr. Holzschn.-Initialen geschmückter Druck aus der Offizin des Giorgio dei Rusconi, der zwischen 1500 und 1521 in Venedig tätig war. - Sehr selten, EDIT16 nennt nur einen Nachweis und auch über den KVK sind weltweit nur zwei Exemplare nachweisbar (keines ausserhalb Italiens). - Vereinzelt kl. Randläsuren. Etw. gebräunt, fleckig u. leicht wasserrandig (dadurch der Gelbschnitt tlw. etwas in den Rand verlaufen). - EDIT16, CNCE 11337; nicht bei Adams u. im BM STC, Italian Books. la Gewicht in Gramm: 350 8°. Mit einem großen Titelholzschnitt u. zahlr. Holzschn.-Initialen. 56 nn. Bll., Mod. HPgmt. [Attributes: First Edition]

      [Bookseller: Antiquariat Wolfgang Friebes]
 38.   Check availability:     ZVAB     Link/Print  


        Legendario di sancti novamente ben stampado vulgare.

      Venetia, Niccolo et Domenico Sandri, fratelli dal Jesu, 2 August 1518 - in-4, ff. 344 (segn.354), 4 n.n. bella leg. ottocentesca ad imitazione antica, elaborata decorazione a secco ai piatti, tit. in oro e fregi a secco al dorso a nervi (piccoli restauri alle estremità delle cerniere, qualche abrasione). Testo impresso su due colonne, car. tondo in rosso e nero; titolo in grande car. gotico e istruzioni per la consultazione dell'opera impressi in rosso entro 5 tondi inseriti in bordura a grotteschi; al verso grande ''crisma'' con croce in negativo entro grande arabesco su fondo rosso; colophon in grande car. gotico entro bordura e, al verso, silogr. tonda con 2 angeli che reggono uno scudo vuoto. La stupenda illustrazione del volume comprende inoltre: 15 bordure di 4 legni con ritratti in tondo, e grande capolettera istoriato all'interno; 12 elaborate bordure con vasi e grotteschi, che comprende 5 tondi con calendario di ogni mese e sue peculiarità impressi in rosso; 56 tondi di diametro 15 cm con scene della vita dei Santi e Martiri, inscritti in quadrato con fregi agli ang.; un Giudizio Universale (colorato all'epoca) entro bordura di 4 legni con versi in rosso entro tondi; 5 silogr. di grandi formati diversi (Assunzione e Natività della Vergine, Adorazione dell'Eucarestia, Crocefisso della Scuola di S.Giovanni a Venezia, S.Adriano) e un foglio con 6 legni relativi a S.Apollonia; 124 vignette a larghezza di una colonna, raffig. scene della Bibbia, gran numero di grandi iniziali ornate. Questa edizione, come già quella del 1505, venne diffusa con due frontespizi differenti: in caratteri xilo-tipografici (di cui si conoscono il presente esemplare e altri 2, di cui uno presso la Biblioteca Casanatense di Roma e l'altro alla Fondazione Cini di Venezia; cfr L. Pagnotta, Le edizioni italiane della ''Legenda Aurea'' (1475-1630), Firenze 2005, p. 108) o in caratteri romani tipografici (noto in due esemplari: Biblioteca Apostolica Vaticane e Biblioteca Marciana). Una delle più belle edizioni della raccolta di vite e leggende dei Santi, composta da Jacopo da Varazze (1230-1298) verso il 1266, che conobbe enorme fama, ed ebbe gran numero di edizioni, anche figurate, tra XV e XVI sec. L'editore si è curato, oltre che di fornire le istruzioni per la consultazione sul frontesp., di corredare l'opera di un indice alfabetico, del registro e, fatto assai raro, dell'indicazione degli errori e delle omissioni nella numerazione delle carte. Rara e ricercata edizione volgare figurata, fedele ristampa dell'edizione del 1505 degli stessi tipografi; straordinaria per la ricchezza e la peculiarità dell'illustrazione, nella quale il tondo è tema ricorrente. La sua bellezza è confermata da Essling, che dedica ben 22 pag. di descrizione e riproduz. delle figure. Bell'esemplare, seppur con alcune bordure lievem. rifilate su 2 lati, strappo restaurato a un f. ed un alone nel margine inf. dei primi 8 ff. Il Cat.Unico censisce un esempl., presso la Casanatense e uno presso la Fondazione Cini di Venezia, così come un esempl. del 1505, presso la B.Mai di Bergamo. Non in BMC né Adams. Sander 7729; Essling 689: ''magnifique volume, un des plus complets et des plus variés qu'il soit possible de voir en fait d'illustration'' [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
 39.   Check availability:     AbeBooks     Link/Print  


        Commentariorum de bello Gallico, libri VIII. De bello civili pompeiano, libri IIII. De bello Alexandrino, liber I. De bello Africano, liber I. De bello Hispaniensi, liber I.

      Venetiis (Venedig) Aedibus aldi et Andreae Soceri (Aldus Manutius) MDXVIII MDXIX ( 1519) 1518 - Ganzledereinband des 18. Jahrhunderts mit ornamental verzierten Rahmen auf Deckeln, Rücken mit zwei Ledertitelschildern. Ecken und Kanten beschabt, Buchblock fest, Vorsätze etwas leimschattig, Vorsatz mit Exlibris "T. D. C. Graham" , wenige Seiten im Randbereich etwas fleckig, ein Blatt mit restaurierter Fehlstelle im Blatt mit wenig Textverlust, unteres Drittel des Titelblattes von Hand fachgerecht ergänzt. (15 Bl.) mit 2 doppelseitigen Holzschnittkarten und 5 ganzseitigen Holzschnittabbildungen, 296 Blätter mit einem eingefügten Blatt mit Druckerzeichen des Aldus Manutius mit der Jahreszahl M.D.XVIII., letztes Blatt mit Kolophon und Druckerzeichen auf der Rückseite, kl. 8°. - - - Die Holzschnitte zeigen zwei frühe Karten von Spanien und Frankreich, jeweils auf einer Doppelseite abgebildet, die zahlreiche historische Orte benennen. Erst 30 Jahre später wurde in Sevilla von Pedro de Medina eine erste spanische Karte auf spanischem Boden gedruckt. Die weiteren ganzseitigen Holzschnitte zeigen: 1. Die von Caesar im Jahre 55 v. Chr. gebaute erste Rheinbrücke; 2. Teile der Verteidigungsanlage von Bourges, die im Jahre 52 v. Chr. von Caesar erobert wurde; 3. Die Stadt und Verteidigungsanlagen von Alesia, wo sich Vercingetorix im Jahre 52 v. Chr. ergab; 4. Die Verteidigungsanlagen und die Stadt Uxellodunum die im Jahre 51 v. Chr. erobert wurde; 5. Die Verteidigungsanlagen von Marseille die während des Pompejanischen Krieges im Jahre 49 v. Chr. erobert wurde. Die vorliegende Ausgabe ist die Zweite der ersten "Taschenbuchausgabe" von Cäsars Werken in der berühmten italienischen Type des Aldus Manutius, die von Francesco Griffo geschnitten wurde. [Attributes: Soft Cover]

      [Bookseller: Versandantiquariat Christine Laist]
 40.   Check availability:     ZVAB     Link/Print  


        Ioannis Ioviani Pontani amorum libri II, De amore conjugali III.

      Venedig, Aldus Manutius Presse, 1518. - 170 (2) Blatt mit Druckermarken (Anker mit Delphin) auf erstem und letzten Blatt. 15,3 x 9,5 cm, Ganzleder-Fächereinband mit reicher Goldprägung um 1650. Graesse P406, Bibliotheca Aldina: Pontani. - Erste und einzige Ausgabe der Aldus Presse von Pontanus Liebeslyrik in einem wunderschönen Fächereinband. Die Gelenke fachmännnisch und unauffällig verstärkt. Rücken etwas gedunkelt. Kaum berieben. Letztes Blatt mit der Druckermarke und mit zeitgenössischen Anmerkungen. Frisch und nahezu fleckenfrei erhalten. Ein Schmuckstück einer Aldine.

      [Bookseller: Antiquariat Mertens & Pomplun GbR]
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        Opera.

      Venetiis, in aedibus Aldi et Andreae Soceri Mense, Octobri M.D.XVIII (1518). 8vo. (18 the cent.) Full vellum with label on spine. 236 numbered leaves. Ancor/dolphine device on title page and on verso last leaf.*Library stamp on title-page and bookplate on inner cover. - First leaves some browning and staining. - Very good copy with all the blanks. - R. 83.6; Dibdin II: 355; Schweiger 606 'Seltene Ausg.'; Brunet IV:800.

      [Bookseller: André SWERTZ B.V.]
 42.   Check availability:     NVvA     Link/Print  


        Epistolarum libri X. Eiusdem Panegyricus Traiano principi dictus. Eiusdem de viris illustrib. in re militari & in administranda rep. [und weitere Werke].

      Venedig, Aldus Manutius, Juni 1518. 8°. Mit 2 Holzschn.-Druckermarken. 525 S., 27 Bll. (davon 2 weiße u. das letzte mit der Druckermarke), Goldgepr. Pgmt.-Bd. des 19. Jhds. auf 5 Bünden. Zweite Ausgabe bei Aldus, welche gegenüber der ersten Ausgabe von 1508 um einen Indexapparat erweitert wurde, darunter ein Index reurum memorabilium und eine Interpretation der griechischen Wörter und Passagen. „Deux éditions presque également rares“ (Brunet IV, 721). - Einband leicht berieben bzw. fleckig. Titel m. gelöschtem Besitzvermerk. Vereinzelt etw. fleckig bzw. mit handschriftl. Marginalien. Das letzte Blatt mit Randfehlstelle (ohne Bildverlust), sonst gutes Exemplar. - Adams P 1538; BM STC, Italian Books 525; Renouard 82, 1; Aldinenslg. SB Berlin 292f. Versand D: 12,00 EUR Plinius Caecilius Secundus, Epistolarum libri X. Eiusdem Panegyricus Traiano principi dictus. Eiusdem de viris illustrib. in re militari & in administranda rep., Postinkunabel, Postinkunabeln

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Opera a Marsilio Ficino traducta: adiectis ad eius vitae & operum enarrationem Axiocho ab Rodulpho Agricola: & Alcyone ab Augustino Datho tralatis.

      (Paris), Iannes Parvus & Ioducus Badius [Jean Petit & Josse Bade), (1518). Small folio. A magnificent pastiche-binding of full brown calf, with rasied bands and elegant gilt decorations to spine, blindstamped lineborders and gilt cornerpieces to boards, all edges gilt. Contemporary manuscript ownership inscription of the Franciscan library of Munich - St. Antonius - ("Monachii ad PP. Franciscanos, Bibl.") to title-page and contemporary handwritten annotations to margins (slightly shaved), mostly to first part. A leaf of handwritten index at end. A fairly small, mostly vague damp stain to upper margin and some small worm holes, otherwise a very nice, clean, and fresh copy. Beautiful woodcut border and printer's device on title page, woodcut initial letters throughout. [8], CCCLXXXIX ff.. First edition thus, being one of the most important (and beautiful) Plato-editions, namely the famous first Jean Petit and Badius-edition, which includes for the first time the pseudo-Platonic dialogues "Axiochus" (translated by Rodolphus Agricola) and "Halcyon" (translated by Agostino Dati), alongside Ficino's seminal translation of Plato's works. This edition became the standard Plato-edition for decades to follow; numerous editions followed this first, and it greatly influenced Renaissance readings of Plato.Josse Bade and Jean Petit were two famous and highly important contemporaries of Erasmus. Together they are responsible for some of the most finely printed and widely used editions of classical texts. Among the finest and most widely spread is the famous 1518-edition of Plato's works. Josse Bade (or Jodocus Badius) (1462-1535) was an associate of Erasmus and an outright pioneer of the printing industry. He was a scholar of considerable repute and a renowned grammarian. He studied in Brussels and Ferrara and taught Greek in Lyon from 1492 to 1498. It was in Lyon that he began working as a proofreader and editor, for the printer Jean Trechsel.He later moved to Paris, where Jean Petit - one of the four powerful "grand libraires" and the most important bookseller and publisher of the era - helped him establish his own printing house in 1503. The printing house quickly flourished and turned in to one of the most prolific and important presses of the 16th century. It took on the name "Prelum Ascensianum" and specialized in classical texts in Latin and works by contemporary humanist writers, who frequented the printed house from where much Renaissance thought was disseminated. Ficino is arguably the most significant of all Renaissance thinkers and his influence on this most crucial period in the development of modern thought remains unsurpassed. He is the chief representative of Renaissance Platonism and is largely responsible for spreading - and re-shaping - Platonism in the modern world. "The most central and most influential representative of Renaissance Platonism is Marsilius Ficinus, in whom the medieval philosophical and religious heritage and the teachings of Greek Platonism are brought together in a novel synthesis." (Kristeller, Renaissance Thought, p. 59). "If Florence enjoyed an age of gold in the quattrocento, it minted no coin brighter than the refined spirituality of Ficino's refurbished Platonism." (Copenhaver & Schmitt, Renaissance Philosophy, p. 163). His translations of and commentaries on the writings of Plato generated the Florentine Platonist Renaissance that influenced European thought for two centuries. "Whereas for Cusanus Platonism was an important part of his background, it constituted for Marsilio Ficino the very center of his work and thought. His Latin translation of Plato made the entire "Corpus" of Plato's dialogues available to Western readers for the first time, and hence it must be recorded as a major event in the history of Platonism and of Western thought...". (Kristeller, Renaissance Thought and its Sources, p. 160).It is difficult to overstate the significance of Ficino's Platonic achievements or the impact that they had on the development of early modern thought. They shaped and defined the form and contents of philosophical thought of the centuries to come. Graesse V:320

      [Bookseller: Lynge & Søn A/S]
 44.   Check availability:     Antikvariat     Link/Print  


        De officiis - de amicitia - de senectute nec non Paradoxa. Opus Bened. Brugnoli studio emaculatum. Cum interpretatone super officiis Petri Marsi, Franc. Maturantii nec non Jod. Ascensii Badii. In amcicitia vero Omniboni eiusdemque Ascensii. Mart. Philetici et Ascensii in senectut. et in ultimum Paradoxor.

      Venedig, Georg de Rusconibus, 1518. Fol. Schönes, geschmackvolles Titelblatt mit breiter Holzschnittbordüre und Titel in Rot-Schwarz-Druck, (8), 238 gezählte Blätter. Zeitgenössischer Renaissance-Einband mit Blindprägung auf den Buchdeckeln, auf drei Doppelbünden geheftet. Impressum Venetiis ac magis quod unq aliquo alio tempore emendatum sumptu miraque diligentia Georgii de Rusconibus Mediolanensis. Anno Salutiferae incaranationis M.D.XVIII. Die.XXIII. Maii. Regnante inclito Duce Leonardo Lauredano. Mit Druckersignet. Blatt 1recto: Holzschnitt Bl. 17recto: Holzschnitt: prudentia Bl. 19recto: Holzschnitt: iustitia Bl. 21verso: Duo genera inisutitiae Bl. 30verso: Fides etiam hostibus servanda Bl. 31verso: De beneficentia & liberalitate Bl. 41verso: Per splendidum dicitur id quod magno factum est animo atque excelso Bl. 57recto: De ambitione Bl. 62verso: Temperantia Bl. 68recto: Duplex iocandi genus Bl. 77verso: Adolescentis officia Bl. 78verso: Officia senum Bl. 78verso: Officia diversarum personarum conditionumque Bl. 79verso: Decorum a verecundia Bl. 81recto: Du genera pulchritudinis Bl. 82recto: Duplex orationis vis Bl. 83recto: Qualis sermo & quomodo utendum eo sit Bl. 84verso: Qualis debet domus honorati civis & principis Bl. 86verso: Ordo actionum cum decoro Bl. 89recto: De quaestibus artibusque honestis & inhonestis Bl. 90verso: Comparatione duarum honestatum inter se Bl. 94verso: De officiis liber secundus Bl. 98recto: De his quae ad utilitatem pertinent vitamque degendam Bl. 99recto: De divisione utilium ad eorum evidentiam Bl. 108recto: De his ex quibus gloria constat Bl. 116recto: Quomodo debeamus uti liberalitate ad captandam multitudinis benivolentiam Bl. 133recto: Liber tertius & Initiale mit Holzschnitt Bl. 139verso: Formula qua officium cognoscitur Bl. 143verso: Nihil et utile quod ad iniustitia & malitia perficiscitur Bl. 146recto: zwei verschiedene Holzschnitte mit Hinrichtungen Bl. 147verso: Hinrichtung mit dem Schwerte Bl. 149verso: Schiff Bl. 151verso: Fischerzene Bl. 154verso: Hausbau Bl. 162recto: Schiffsbau Bl. 162verso: Kaufszene? Bl. 163verso: zwei Holzschnitte mit antiken Motiven Bl. 164recto: De fortitudine Bl. 168verso: De temperantia Bl. 171recto: De amicitia (Beginn) Bl. 193recto: De amicitia (Beginn) Bl. 194recto: Dialogus Bl. 217recto: De Paradoxa (Beginn). Versand D: 2,00 EUR 0-0-Katalog-106-Varia

      [Bookseller: Antiquariat + Verlag Klaus Breinlich]
 45.   Check availability:     buchfreund.de     Link/Print  

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