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Displayed below are some selected recent viaLibri matches for books published in 1520

        Sammelband mit 4 Rechtsordnungen, alle in Erstausgabe.

      Fol. Mit 2 Titelholzschnitten von Caspar Clofigl, einem gefalt. Holzschn.-Stammbaum u. 2 (1 altkolor.) Wappenholzschnitten. Blindgepr. Kalbldr-Bd. d. Zt. über Holzdeckeln. 1) Gerichtzordnung Im fürstnthumb Obern und Nidern Bayrn Anno 1520 aufgericht. [München, H. Schobser, 1520]. Mit einem großen Titelholzschnitt von C. Clofigl. 16 nn. (das letzte weiß), 87 num. Bll. - Erste Ausgabe. - Der prachtvolle Titelholzschnitt zeigt die bayrischen Herzöge Wilhelm und Ludwig im Kreis ihrer Berater. - 2) Reformacion der bayrischn Lanndrecht. Im fünftzehenhundert unnd Achtzehendm Jar Aufgericht. [Ebda., 1518]. Mit Titelholzschnitt von C. Clofigl u. einem gefalt. Holzschn.-Stammbaum. 36 nn. (das letzte weiß), 169 num., 1 weißes Bll. - Erste Ausgabe. - Blatt Dd7 verso endet Bayrischn teütschs. - 3) Dy new ercleru[n]g der landszfreyhait des loblichen haus und Furstenthumbs obern und Nidern Bairn. Anno funffzehenhundert und im Sechzehenden auf den achtundzweintzigsten tag des monats Marcy zu Ingelstat aufgericht. Landshut, J. Weißenburger, 1516. Mit einem altkolor. Wappenholzschnitt auf dem Titel. 18 nn. Bll. - Erste Ausgabe. - 4) Des Loblichen haus und furstenthumbs Obern und Nidern Bayren freiheyten. [Ebda.] 1514. Mit einem Wappenholzschnitt auf dem Titel u. 2 kl. Textholzschnitten. 40 nn. Bll. - Erste Ausgabe. - Einband an den Kanten restauriert. Rücken, Schließen u. Vorsätze erneuert. Zeitgen. Besitzvermerk am ersten weißen Blatt. Vereinzelte hinterlegte Randläsuren. Der gefalt. Stammbaum mit durchg. restauriertem Falzriß (etw. Bildverlust). Tlw. etw. fleckig. - Die ersten drei Drucke durchg. in Rot u. Schwarz gedruckt, der letzte Druck mit alten Marginalien. Insgesamt gutes u. breitrandiges Exemplar. - Ad 1) VD16, B 989 Schottenloher, Schobser 171 Hollstein V, 195, 4. - Ad 2) VD16, B 1007 Schottenloher, Schobser 153 Fairfax Murray 50 (Pgmt.-Expl.) Dodgson II, 267, 1. - Ad 3) VD16, B 976 Schottenloher, Landshut 35. - Ad 4) VD16, B 953 Schottenloher, Landshut 14.

      [Bookseller: Antiquariat Wolfgang Friebes]
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        SVENSKT SILVERSMIDE 1520-1850.

      1520 1520 - 4 bd. (1: Renässans och barock 1520-1700. 2: Senbarock, Fredrik I:s stil och rokoko 1700-1780. 3: Gustaviansk stil, empire och romantik 1780-1850. 4: Guld- och silverstämplar). Stockh.: Nordisk Rotogravyr & Nordiska Museet 1941-63. Rigt illustr. 4to. Bind 1-3 indbundet i smukt orig. brunt nigerskind, bind 4 i orig. hellærred.

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        LIBRO DEL PEREGRINO. Diligentemente in lingua Toscha correcto. Et novamente stampato. & historiato.

      Venetia, per Nicolo Zoppino, V april. 1520. In-24 gr. (mm. 147x100), p. pelle coeva, ricche cornici a secco ai piatti, dorso a cordoni, 284 cc.nn. Al frontespizio grande vignetta xilografata (mm. 100x75) che raffigura un giovane uomo, quasi nudo, legato ad un albero; nell?aria vola un Amorino che lo mira con una freccia; a destra e a sinistra due satiri suonano strumenti musicali; in alto la scritta ?Ancora spero solver me? e in basso ?P. Amor?. Ciascuno dei 3 libri in cui è divisa l?opera è introdotto da una vignetta (mm. 46x66), pure xilografata, che raffigura il Pellegrino che parla ?a Violante, a Hacate e a Theodoro?. Al verso della c. AA12, inno al lettore inquadrato in cornice architettonica. Dedica a Lucrezia Borgia, Duchessa di Ferrara. ?Romanzo del sacerdote parmense Iacopo Caviceo (1443-1511), pubblicato nel 1508. E? la storia boccaccesca degli amori di due giovani, Peregrino e Ginevra, che l?autore finge d?aver ascoltato (in tre tempi) dall?ombra del protagonista stesso apparsogli in visione.. e reso piccante dalle numerose allusioni a uomini contemporanei e dalla lubricità di parecchi episodi. Godette al suo tempo di una grandissima popolarità; in mezzo secolo fu ristampato 19 volte e tradotto in francese e in castigIiano.? Così Diz. Opere Bompiani, IV, p. 394. Cfr. Sander,I,1876 - Short-Title Cat. British Library, p. 163 - Essling, vol. II-p. I, 1891 - Choix de Olschki,IX,12696 - Brunet,I,1701: ?il y a aussi des éditions de Venise, 1520, 1526, .. qui sont rares?. Solo prime 3 cc. con picc. fori di tarlo margin. (restaurati al frontesp.), altrim. esemplare ben conservato.

      [Bookseller: Libreria Malavasi sas]
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        LORRAINE [France]: Lotharingia [et] Vastum Regnum.

      - "An extraordinary example of Martin Waldseemüller’s map of Lorraine, a major monument in the history of surveying, Renaissance map printing and colouring and a historically significant map of a region that was at the centre of World cartography. The present map is considered to be one of the finest and most remarkable maps of the Renaissance era. Critically, it is considered to be the earliest printed regional map to be based on systematic surveys. It is the first map to be printed in three colours (black, green and red). It is the earliest printed map of Lorraine or, for that matter, any region in modern France. The map is also a powerful rhetorical device proclaiming the glory and ambitions of the Duchy of Lorraine during its political apogee. Additionally, it is also one of the most interesting creations of Martin Waldseemüller, the man who coined the term ‘America’ to describe the New World. Notably, the present example represents the second state of the map (issued in 1520), following on the heels of the first state (issued 1513). This particular example is exceptional in that the three-colour printing is augmented by resplendent original hand colour, some applied by stencilling. The map is orientated with the southern direction facing upwards, a common perspective of early maps, in an era in which a solar compass was employed as a means of navigation. The focus of the map is the Duchy of Lorraine, labelled ‘Lotharigia’ (today a part of France) and the adjacent Westrich Plateau region (Westricher Hochfläche, also Zweibrücken Westrich), which is mysteriously labelled ‘Vastum Regnum’, which extends into the modern German länder of Saarland and Rhineland-Westphalia. The area depicted is drained by the watersheds of the ‘Mosella Flu.’ (Moselle River) and the ‘Sara flu’ (Saar River), which have their origins in the ‘Vosgus Mons’ (Vosges Mountains), that run conspicuously across the upper portions of the map. The bordering regions of ‘Alsatie’ (Alsace, extreme upper left) and ‘Lucemburgie Pars’ (Luxembourg, extreme lower right) are labelled, but are represented in more sparing detail. Numerous cities and villages are labelled, positioned with a degree of planimetric accuracy that was amazingly impressive for the time. Notable locations include ‘Nanceii’ (Nancy, in the centre of the map, the traditional capital of Lorraine); ‘S. deodatus’ (St. Dié, in the upper left, the village where Waldseemüller drafted the present map); ‘Argentium’ (Strasbourg, far left, the capital of neighbouring Alsace and the city where the present map was printed); ‘Metis’ (Metz, lower centre, today the capital of Lorraine); ‘Tullium’ (Toul, upper right); ‘S. Nicolaus’ (centre, the pilgrimage site of Saint-Nicolas-de-Port); ‘Sara pons’ (Saarbrücken, Germany, in the lower left); ‘Zweybruck’ (Zweibrücken, Germany, lower left); and ‘Treveris’ (Trier, Germany, extreme bottom centre). The lands below the mountains are shown to be an almost bucolic landscape, well watered by gentle rives and surrounded by forests. A scale of latitude can be found on the left-hand margin. In an age when noble titles were of paramount importance, the map is adorned with 19 coasts of arms. In the upper portion of the map are the arms of ‘Ducatus Lotharingie’ (the Duchy of Lorraine) and the ‘Dominii Vastiregni’ (Domain of Westrich). Noted in the extreme upper right corner is the label ‘Comitatus et Baronatus Lotharingie et vasti reg’ (Counties and Baronies of Lorraine and Westrich). In the register that runs along the right side and bottom of the map are the arms of the 7 counts and the 10 baronies of the region, including the ‘C. Biamont’ (Counts of Blâmont), ‘C. Ruxinga’ (Counts of Réchicourt), the ‘C. Salm’ (Counts of Salm) and the ‘C. Zweibruc’ (Counts of Zweibrücken), amongst others. The present example of the map represents the second of the two states of the map. The first state was issued as part of Martin Waldseemüller’s and Matthias Ringmann’s greatly expanded edition o

      [Bookseller: Antiquariat Dasa Pahor]
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        Sammelband mit 5 juristischen Drucken. - I. Das büech der gemeinen Landpot, Landsordnung, Satzung vnnd Gebreuch des Fürstenthumbs in Obern vnnd Nidern Bairn Jm Fünftzehenhündert vnnd Sechtzehendem Jar aufgericht.

      Mit Titelholzschnitt. 12 unn., LXIX (falsch LXVII) num., 1 w. Bll. - - VD 16, B 968. - Nachdruck der verbesserten zweiten Ausgabe von 1520. - II. Perneder, Andreas: Institutiones. Auszug vn(d) anzaigung etlicher geschrieben Kayserlichen vnnd des heyligen Reichs rechte, wie die gegenwertiger zeiten inn vbung gehalten werden... Ingolstadt, Alexander Weissenhorn, 1545. 25 unn., 1 w., CXXXII num. Bll. - Vgl. VD 16, P 1495 u. Stalla 192 (Variante mit abweichend gesetztem Titel). - Verbesserte dritte Ausgabe des erstmals im Vorjahr erschienenen, oft aufgelegten Kompendiums des geltenden Rechts. "Zu den vielgebrauchtesten und vergleichsweise besten Schriften der popularisierenden Richtung gehören die von Perneder" (Stobbe II, 173). Perneder (gest. 1540), Unterrichter am Hofgericht in München und herzoglich bayerischer Rat und Sekretär, "ist ein gelehrter Praktiker, der es unternommen hat, das geltende Recht (Privatrecht, Proceß, Lehnrecht, Strafrecht, Notariat) für das Bedürfnis seiner Berufsgenossen mit besonderer Rücksicht auf Bayern und Tirol darzustellen" (Stintzing/L. I, 573ff.). - III. ders., Gerichtlicher Process, in welichem die gemainen Weltlichen vnnd Gaistlichen recht..., ordenlich in... verstentlichen... Teütsch tranßferiert vnd verdolmetschet seind... Ebenda, 1546. 12 unn., XCVII num. Bll. - VD 16, P 1478 Stalla 219. - Verbesserte vierte Ausgabe der erstmals 1544 erschienenen Abhandlung. - IV. ders., Der Lehenrecht kurtze vnd aygentliche Verteütschung... Jtem ain Gerichtliche Practica aller Malefitz oder Peinlichen sachen... (= Von straff vnnd Peen aller vnnd yeder Malefitz handlungen ain kurtzer bericht...). 2 Tle. Ebenda, 1545. 6 unn., XLI num., 1 w. Bll. 4 unn., XXIV (falsch XXIII) num. Bll. - VD 16, P 1512 Stalla 194 u. 197. - Verbesserte dritte Ausgabe der erstmals 1544 erschienenen Abhandlungen. - V. (Rolandinus de Passageriis). Sv(m)ma Rolandina. Das ist ein kurtzer bericht, von allerhand Contracten vnnd Testamenten... Jtem ein Tractat der Regeln... Bartholomei Soncini... durch... Andreas Perneder... verteütscht... Ebenda, 1546. 9 unn., 1 w., LIX num. Bll. - VD 16, R 2938 Stalla 220. - Dritte Ausgabe der erstmals 1544 erschienenen Übersetzung Perneders. Hldr. des 18. Jhdts. mit goldgepr. Rückenfileten, 2 Rückenschildern und Rotschnitt. Folio. Der attraktive Einband leicht berieben. Seitlich knapp beschnitten, dadurch etwas Text- u. Bildverlust beim Titel von I, bei den anderen Drucken sind vereinzelt Foliierung und Marginalien tangiert. Durchgehend etwas gebräunt und stockfleckig, Ränder stellenweise auch etwas wasserfleckig.

      [Bookseller: Antiquariat Turszynski]
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        Neuestes Gemälde der Oesterreichischen Monarchie. (= Schützs Allgemeine Erdkunde, Bde. 13, 14 u. 28). 3 Bände.

      8. Mit 16 (1 gefalt.) Kupfertafeln. Zus. ca. 1520 S., HLwd.-Bde. d. Zt. m. etw. Rückenverg. u. goldgepr. Rückentiteln. Vollständiges Exemplar dieser Beschreibung der Lage, des Klimas, der Naturprodukte, Landeskultur, merkwürdigsten Städte, Gegenden, Kunstwerke, Ruinen und Denkmäler dann der Einwohner, deren Lebensart, Kleidung, Handel, Künste, Wissenschaften, Religion und Staatsverfassung mit Ansichten von Wien (mehrf. gefaltet), Linz, Salzburg, Graz, Innsbruck, Triest, Mailand, Venedig, Prag, Eger, Brünn, Lemberg, Karpathen, Ofen und Pest, Fiume u. Hermannstadt. - Einbände berieben u. etw. bestoßen. Etw. gebräunt u. stockfleckig. - Engelmann 724 Nebehay/W. I, 101 vgl. Wurzbach I, 445.

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Petrus und Paulus. Kupferstich.

      In der Platte mit dem Monogramm und der Jahreszahl. Schöner, klarer Druck. Mit der vollen Darstellung, auf die Plattenkante geschnitten. 6,1 x 4,5 cm. Bartsch 37. Pauli 39. Blatt 2 aus einer Folge mit sieben Blättern "Christus und die zwölf Apostel", von 1520. Ehemals aus Sammlung Dr. Karl Max Osthof (nicht bei Lugt). Verso Sammlerstempel "Fünfzackiger Stern" (braun), vgl. Lugt 2882. - Minimale, druckbedingte Quetschfalte am rechten Rand auf der Höhe der Hand des Paulus. In den Ecken jeweils mit einem Bleistiftpunkt.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        In C. Julii Solini Polyhistoria dies in Griechisch enarrationes. Additus eiusdem Camertis Index, tum literarum ordine, tum rerum notabiliu copia, percomodus Studiosis.

      8 Bll., 336 S., 18 Bll. (letztes weiß). Mit vierteiliger Titelholzschnitt-Bordüre, figürlichen Holzschnitt-Initialen, Holzschnitt-Verlegermarke im Kolophon und großer Holzschnitt-Druckermarke, in der unteren Randleiste signiert vom Formenschneider und Ornamentist Hans Rebell. Folio. Renaissance-Lederband d. Z. mit reicher Rollen-Blind- und Goldprägung (auf dem Vorderdeckel datiert mit 1520). Rücken professionell im Stil d. Z. erneuert (Mitte 20. Jahrhundert?), inkl. der Blindprägung etwas berieben und bestoßen in den Ecken kleinere Bezugsfehlstellen (Wurmfraß?) Goldprägung oxydiert Lederschließen fehlen Innengelenke mit alten Papierstreifen verstärkt teils wasserrandig und etwas fleckig mit zeitgenössischen Anstreichungen und Marginalien S. 137 fehlpaginiert als 139 verkleinerte Fotokopie der Titelei auf hinteren Innendeckel geklebt auf Titel und letztem Textblatt mit Privatstempel "Bibl. Bernhard Vrat(isl)" (Breslau) Exlibris von Victor v. Stedingk auf Innendeckel, seine hs. bibliographischen Glossen (in Bleistift) auf dem fliegenden Vorsatz v. Stedingks (?) Wappen-Prägeexlibris auf Titelei. Die berühmte, mehrfach gefaltete Holzschnittkarte "Tipus orbis Universalis iuxta Ptolemei Cosmographi traditionem (...) An. Do. MDXX" des Petrus Apianus (Peter Bennewitz, Mathematiker, 1495-1552) fehlt wie oft und ist als Faksimile auf altem Papier beigebunden (Einriß in Knickfalte). Harrisse (Bibl. Americana. no. 126) gibt als ihr erstes Erscheinungsdatum 1522 an (in: P.Mela: De situ Orbis. Basel). Sie ist nach Waldseemüller (1507) die erste Karte, die die Bezeichnung "America" trägt, wobei die Halbkontinente noch durch einen breiten Kanal getrennt sind, der Isthmus von Panama fehlt und der nördliche Teil nur "Terra incognita" benannt ist. "Although the Polyhistoria of Solinus was first printed in Venice in 1473, this 1520 edition by Camers is the first to have any American interest" (Sabin 86390 Bd 21, S. 546). Mayer (Wiens Buchdruckgeschichte. I, 38) nennt diesen schönen Scholiendruck der Polyhistoria des Solinus (aus der 1. Hälfte des 3. Jahrhunderts) mit den Kommentaren Camers' "eine Zierde der Wiener Pressen überhaupt." VD16, ZV 14498.

      [Bookseller: Antiquariat am Moritzberg]
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        Historia mundi, denuo emendata ... in Sigismundi Gellenii annotationibus operi adnexis apparet.

      Mit großer Holzschnitt-Druckermarke Joh. Herwagens (zweimal wiederholt), und vielen schönen figürlichen Initialen von Hans Holbein, in Metall geschnitten von J. F. (d. i. Johann Faber). 44 unn. Bll., 671 S., 66 unn. Bll. Blindgeprägter Schweinslederband d. Zt. mit 2 Schließen. Folio. 39 x 26 cm. VD16 P 3537 Schweiger 768f Choulant 191. - Dritte Froben-Ausgabe, hier erstmals mit den Anmerkungen von Sigmund Galenius (bei dieser Ausgabe vor den Haupttext gebunden). Schöner Druck mit den Initialen Holbeins mit heidnischen und biblischen Szenen, die seit 1520 nachweisbar sind (vgl. Butsch I, Tafel 59 und Schmid, Holbein I, 234, Abb. 750) im Haupttext und einer kompletten Alphabetfolge im Register. - Der dekorative Einband ist bestoßen und fleckig, an den Ecken mit reparierten Ausbrüchen. Die Schließen wurden sachgerecht erneuert. Vorsätze erneuert. Alter Vorsatz mit reparierten Fehlstellen. Titel mit Eintragungen von alter Hand, untere rechte (weiße) Ecke ausgeschnitten. Innen leicht gebräunt und vereinzelt fleckig. Die ersten Lagen sind etwas feuchtfleckig, erste Blätter etwas stärker und mit Wurmspuren im weißen Rand. Mit wenigen Anmerkungen im Text und auf dem weißen Rand.

      [Bookseller: Antiquariat Turszynski]
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        Phial

      Colfax, WA: Timothy C. Ely, 2015 [-2016]. Unique. Hardcover. New. Timothy C. Ely. Planetary Collage Standard binding, conventional sewing on small cords, black leather spine, Sitka spruce wood for cover boards, painted, scraped and waxed. Gold foil tooling, largely cribriform writing, and stamping on the boards. Edges treated with a spectral range of dry pigments and wax, hand-sewn endbands matching the top and bottom edge decoration. 25 full spreads, including the painted and illustrated endpapers.Book:19cmx15cmCustom drop back box, interior with large cement-like border around the book. Box covered with a stone-like textile, an embossed paper with an ink painting adorns the upper tray.Box:30cmx22cmArtists statementPhial is an excursion into the transformation of surface and thought. it is an alembic, an alchemical vessel which is used for distillation. in Cockerells famous book, Bookbinding and the Care of Books (p. 37, 1901 first edition) there is a diagram of page imposition, something a binder must deal with when receiving a book in sheets. Flat sheets, upon which several book pages are printed together, are folded down in a prescribed way that turns it into a section of pages in proper order. All sections are then sewn together to form a book.I found this diagram in the 1980s, and it seemed to possess an odd dimensional structure, for when the sheets are laid out flat, page one naturally is not next to page two, but if the whole sheet is folded down correctly, the proper order of pagination is intact. order created out of a swirl. I found this idea to be compelling visually. I could compose a large formatted drawing, a plan view of an alchemical motif or a diagram for transmission. When the sheet was cut down and folded, the dimensional shift would occur. To me this formatting device was an alembic. This alembic would take diagrams that were first composed with a certain order or discipline on the full size sheet, and shift them to another plane, or intersect that plane from an unplanned angle when folded down into folios. I use this method often to defeat the idea of knowing too much, and to introduce an element of chaos into the process.Alchemy is a secret art, and I have always liked the persistent idea that the work is occluded. Personal transformation is secret, and even our attempts to reveal what goes on within the self are often, or always, beyond words. Alchemy may have been a discipline that was erroneously thought to be teachable. it seems not to be. in any event, the pertinent ideas for me are to convert something like mud from a specific location into a functional surface, or a metaphor, or into a material with which to make a mark.As with alchemy, I seek ways to get materials to transform or for surfaces to respond to my drawing methods. Acting upon pigments with water or heat or grinding can change its character. I size the paper with glues or glaze a mix of marble or plaster into areas that seem too restrained. These surfaces can be delicately carved into and worked with additional information until it all reads.The boards of Phial are also special. I used Sitka spruce, which is an ideal wood for guitar tops. Though the natural wood is beautiful, I wanted a depth and character change as well as some unity with the spine. I used enamel on the wood, scraped, sanded, waxed, scraped again for days until a surface was achieved that could take gold tooling, stamping, and other treatments. Once I was satisfied that the wood would not curl divergently from the form, it was drawn over with a cribriform layer in gold and given a final wax job. A bit of hot rod red pulls it together.

      [Bookseller: Abby Schoolman Books ]
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        Opera nova intitulata Il perche, utilissima ad intendere le cagioni de molte cose: & maximamente alla coseruatione della sanita: et phisionomia. Et virtu delle herbe. Nouamente stampata

      Im Kolophon: Stampata in Venetia per Alessandro di Bindoni. Nel Anno dela incarnatione del Signore 1520 ad 21 Luio Regnante lo inclito Principe Misser Leonardo Lauredano. - Neuer Hldrbd mit rotem Rückenschild u. Rückentitel. Titelblatt mit Holzschnitt, darstellend die Gerechtigkeit mit Schwert und Waage. Im Holzschnitt Besitzvermerk: A B, interessant auch zwei abgebildete Wappen im Holzschnitt. Eingedruckter alter Besitzstempel (unleserlich) u. hss. Signatur auf dem Titelblatt, Tintenkritzeleien von alter Hand, auch auf Bl. 2 u. Bl. 20 u. 21., Bl. 1 u. 2 kleine Fehlstelle durch Tintenfraß. Vom Titelbl. bis Bl. 125 ein kleines Wurmlöchlein. Dreiseitiger Blauschnitt. Die Qualität des Druckes geschmackvoll und sehr gut. Sehr seltene Ausgabe, in Deutschland in keiner Bibliothek vorhanden. - www.antiquariat-birk.de

      [Bookseller: antiquariat birk]
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        Opera iam quarum accuratiori vigilantia a mendis repurgata] Divi Caecilii Cypriani Episcopi Carthaginensis et Martyris opera iam quarum accuratiori uigilantia à mendis repurgata per Des. Erasmvm Roterod. Accessit liber eiusdem apprime pius ad Fortunatum De ducplici martyrio, antehac Nunquam excusus.Angebunden: L.COELII LACTANTII FIRMIANI: Diuinarum institutionum Libri VII, De ira Dei Liber I, De opificio Dei Liber I, Epitome in libros suos, liber acephalos. Phoenix.Carmen de dominica resurrectione.Carmen de passione domini. Praeterea ..., index copiosißimus.

      [28 nn], 527, [27 nn] S. mit den zwei großen Holzschnittdruckermarken und zahlreichen prächtigen Holzschnittinitilanen / [20 nn] 149 [3 nn S.] mit 2 Holzschnittdruckermarken und wunderschöner Holzschnittbordüre sowie zahllosen Holzschnittinitialen Fol. Neuerer Pappband mit Rückenschild. Ad 1: VD 16 C 6513 Erste von Erasmus herausgegebene Ausgabe (im zweitem Abdruck, EA 1520) der Werke Cyprians. Erasmus benutze dazu neben den zuvor erschienenen gedruckten Ausgaben (Rom 1471, Deventer 1480 und Paris 1512) auch zwei Handschriften aus Gembloux und Paris. Er widmete das Werk dem Kardinal Lorenzo Pucci (Allen, Ep. 1000) ad 2.: VD 16 L 40. - Adams L 20. Frühe Ausgabe des Werke des "christlichen Cicero". Divinae institutiones (Göttliche Unterweisungen) und umfasst 7 Bücher, diese sind: de falsa Religione (Über die falsche Religion). de origine erroris (Über den Ursprung des Irrtums). de falsa sapientia (Von der falschen Weisheit). de vera sapientia et religione (Über die wahre Weisheit und Religion). de justitia (Über die Gerechtigkeit). de vero cultu (Von der wahren Verehrung). de vita beata (Über das selige Leben). Die schöne Bordüre auf Blatt 1 recte (mit Darstellung einer Fuchsjagd und eines Bauerntanzes) nach Hans Holbein d. Jüngeren, geschnitten von J. Faber (Ausstellungskatalog Basel 387). Das erste Titelblatt mit zarten Ergänzungen von alter Hand, die ersten Seiten mit kleinem Wurmgang ohne Textverlust, letztes Blatt etwas unfrisch, sonst sehr wohlerhaltenes und breitrandiges Exemplar.

      [Bookseller: Antiquariat Michael Solder]
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        ALLGEMEINE WELTGESCHICHTE. Übersetzt von Christian Gottlob Heyne Christian Gottlob Heinrich. 1785 - 1790.

      über 50000 Seiten/ 82 Bände, (Bd.24, 30 fehlen) hardcover Format: 8 17 cm hoch, 10 cm tief, die Einzelbände sind zw. 2-4 cm breit. Im Englischen herausgegeben von Wilh. Guthrie und Joh. Gray.Die Bände sind aus festen Karton mit Buntpapierbezug, Lederrücken und Ld. Ecken. Der Titel und die Nummern der Bände sind goldgeprägt. Grünes Lesebändchen. Der Zustand der ganzen Sammlung ist gut bis sehr gut, im Betracht des Alters der Bücher (Sammlerstücke, nur im Regal gestanden) Rückenschilder gering berieben, Ecken lt. bestossen, Schnitt staubig, Innen gering stockfleckig, sonst sehr sauber.Die Allgemeine Weltgeschichte wurde von William Guthrie und John Gray unter dem Namen Universal History in England veröffentlicht. Anfänglich wurde das Werk in die deutsche Sprache übersetzt, später "Nach dem Plan Wilh. Guthrie und Joh. Gray und anderer gelehrten Engländer entworfen und ausgearbeitet. Das monumentale Werk beinhaltet den Zeitraum von der Schöpfung der Welt bis zum Jahre 1520 und der deutschen Reichsgeschichte, uvm. Insgesamt handelt es sich um eine sehr seltene, in der gänze nur in einzelnen Bibliotheken (Baltimore, Leipzig) aufzufindende Enzyklopädie, die in einem erstaunlich guten Zustand ist. Interessant ist auch die Historie der Sammlung durch das schöne Exlibris. Bilder können auf Anfrage gemailt werden.In jeden Band ein Exlibris von Ernst Bernhard Sehring (* 1. Juni 1855 in Edderitz, Anhalt27. Dezember 1941 in Berlin-Charlottenburg) war ein deutscher Architekt. Sehring wurde bekannt durch zahlreiche Entwürfe, Wettbewerbsteilnahmen, Theater- und andere Neubauten. Das Theater des Westens in Berlin-Charlottenburg betrieb er anfangs sogar selbst mit einem Kompagnon der Versuch blieb jedoch finanziell erfolglos. 1907-1921 erbaute er als Sommersitz seiner Familie die Roseburg bei Ballenstedt (Harz).

      [Bookseller: Antiquariat im Schloss]
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        Q. Curtii De Rebus Alexandri Regis Macedonorum.

      Venetiis: In Aedibvs Aldi, Et Andreae Soceri, 1520. 8vo (164 x 98 mm). (8), 170, (2) lvs. Blind-tooled dark brown morocco. All edges gilt. First Aldine edition on Alexander the Great in a fine 19th century binding. Fine copy of a rare post-incunable. For a full description and more images please visit: www.zaalbooks.nl .

      [Bookseller: Zaal Books]
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        De Aequinoctiorum Solsticiorumque Inventione Ad R. in Christo patrem, D. Franciscum Molinium Abbatem. S. Maximini, a secretis & consilio. R. Francorum Christianiss. & pijs largitionibus eiusdem praepostium primarium. Eiusdem De Ratione Paschalis celebrationis, Deque Resitutione ecclesiastici Kalendarij. Ad Beatissimum Patrem Leonem. X. Pontificem Maximum

      Title within woodcut border. One woodcut diagram in first section. Criblé initials. xxiii leaves, [2] pp.; xxx leaves. Small folio, attractive antique panelled calf, gilt fleurons in corners. Paris: [C. Resch & P. Vidoue], ca. 1520. First edition of a rare astronomical book. Pighius (1490-1542), theologian, mathematician, and astronomer, "studied philosophy and began the study of theology at Louvain, where Adrian of Utrecht, later Pope Adrian VI, was one of his teachers…He followed his teacher Adrian to Spain, and, when the latter became pope, to Rome, where he also remained during the reigns of Clement VII and Paul III, and was repeatedly employed in ecclesiastico-political embassies. He had taught mathematics to Cardinal Alessandro Farnese, afterwards Paul III; in 1535 Paul III appointed him provost of St. John's at Utrecht, where he had held a canonry since 1524."-Catholic Encyclopedia. This is Pighius's treatise on the "equinoxes and solstices and celebration of Easter and the restitution of the ecclesiastical calendar. He admits that Johann Essler of Mainz back in 1508 had written a tract in which he held that the vernal equinox preceded the beginning of Aries in the astronomical tables by four and a half degrees. Pigghe will show that it does so by more than five degrees, which he does with a great deal of bluster and overemphasis. All that his criticism seems to amount to is that the tables refer the movements of the stars to the ecliptic of the primum mobile instead of to the true (as he holds) ecliptic of the eighth sphere and that thereby all astrological predictions are thrown out of gear. It seems probable that anyone who knew how to use the Alfonsine Tables would be perfectly well aware of what they referred the positions of the planets to. This is the treatise by Pigghe which aroused the ire of Marcus Beneventanus, as has been noted in our chapter on the conjunction of 1524. Nunes, the Portuguese mathematician, in his treatise on the art of navigation pointed out a mistake of Pighius in geometry and another concerning the declination of the fixed ecliptic. Indeed, he excoriated Pigghe for some nine pages which he opened with the statement that the writings of Marcus Beneventanus had not come to his hands but that he had read the book of Pigghe on equinoxes and solstices and his Apology and that he was not so often right as he thought he was."-Thorndike, V, pp. 281-82. Fine copy. ? Harrisse, Bibliotheca Americana Vetustissima, 107. Lalande, p. 41. Moreau 2452.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        San Gioacchino e Sant'Anna

      1520. Bulino datato e monogrammato in lastra. Buona prova nella seconda variante dell'unico stato, impressa su carta vergata coeva priva di filigrana, rifilata al rame e completa della linea marginale, in ottimo stato di conservazione. Rara. Engraving 1520, dated and monogrammed on plate. Good proof in the second variant of the single state, printed on contemporary laid paper without watermark, trimmed at the platemark with borderline, in very good conditions. Rare. The New Hollstein 34b. 70 105

      [Bookseller: Libreria Antiquarius]
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        De sestertio, talentis, pecuniis, ponderibus, me[n]suris, stipendiis militaribus antiquis [...]. [Basel], Johann Froben, [um 1520].

      1520. (4), 62, (6) SS. Mit Holzschnittdruckermarke am Titel (am letzten Bl. verso wdh.) und 3 schwarzgrundigen Holzschnittinitialen. Dreiseitiger Farbschnitt. Geheftet. 4to. Frühe Ausgabe eines öfter aufgelegten Handbuchs über Münzen, Maße und Gewichte des Altertums, herausgegeben und eingeleitet von Giovanni Battista Egnazio. Auf S. 58 Diagramm eines antiken Längenmaßes. - Durchgehend etwas gebräunt. Wohl altem Sammelband entnommen; Marginalien von zeitgenöss. Hand auf S. 13 vom Messer des Buchbinders erfasst. Am erhaltenen hinteren Zwischen- (bzw. Umschlags)blatt alter hs. Besitzvermerk und Notizen mit Maßen. VD 16, P 4394. BM-STC German 713. Vgl. Heckethorn (The Printers of Basle) 114, 6 (Ausg. 1530 by Hieronymus Froben). Nicht bei Adams.

      [Bookseller: Antiquariat Inlibris]
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        Ein trostlich predig von der gnaden gottes vnd fryen willen. Vnd von dem gewalt der schlüssel sant Petri.

      Basel, Adam Petri 1520. - Mit 2 Titelholzschnitten und 2 schwarzgrund. Initialen. Pappband mit Marmorpapierbezug. 19 x 14,5 cm. VD16 L 6196; BL 404. - Erstmals im Vorjahr erschienen. Die hübschen Titelholzschnitte zeigen Petrus und Paulus. - Breitrandiges Exemplar. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Uwe Turszynski]
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        Lazzaro nella casa dell'uomo ricco

      1520. Xilografia, circa 1520, monogrammata in basso a sinistra. Magnifica prova, ricca di toni, impressa su carta vergata coeva priva di filigrana, completa della linea marginale, piccolo foro di tarlo in basso a destra, per il resto in ottimo stato di conservazione. Rara. Bibliografia: Bartsch 16; Hollstein 13. Dimensioni 164x216. Woodcut, circa 1520, signed at lower left. A magnific impression, printed on contemporary paper, in very good conditions. Rare. Bartsch 16; Hollstein 13. Dimensioni 164x216.

      [Bookseller: Libreria Antiquarius]
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        Vo(n) der liebe gottes ein wu(n)der hübsch underrichtung, beschriben durch D. Johan Staupitz, bewert unnd approbiert durch D. Martinum Luther.

      - Basel, A. Petri, 1520. 4to. 18 Bl. Mit schmaler Holzschnitt-Titelbordüre u. kleinen Titelholzschnitt. Moderner Pappband. Zuerst 1518 unter dem Titel 'Ein seligs newes Jar, von der lieb Gottes etc.' erschienen. Die kleine Schrift zeigt eine von der deutschen Mystik herkommende christozentrische Frömmigkeit und wurde später wiederholt - u.a. durch Schwenckfeld und durch Joh. Arnd - neu herausgegeben. Für den jungen Luther war sie in seinem Ringen um das Problem der Rechtfertigung von großer Bedeutung. Luther hat sie so sehr geschätzt, daß er sie seiner Mutter zum Geschenk machte (nur hierauf bezieht sich wohl der Titelzusatz). Staupitz war als Generalvikar der deutschen Ordenskongregation ein Vertreter des Reformflügels innerhalb des Augustinerordens. Er war es, der Luther an die Universität Wittenberg geholt, ihn seelsorgerlich begleitet und sich anfangs schützend vor ihn gestellt hat. Nach 1520 trennten sich die Wege beider Männer. - Der kleine Titelholzschnitt versinnbildlicht die göttliche Dreifaltigkeit. - Knaake III, 1012; Kuczynski 2560; Slg Stickelberger 715 (mit Abbildung der Bordüre und des Holzschnittes); RE XVIII, 786; VD 16 S 8710. - Vereinzelt leicht fleckig. Innensteg teilw. mit größerer Wurmspur ohne Textberührung. [Attributes: Hard Cover]

      [Bookseller: Buch & Consult Ulrich Keip]
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        Secreta sublimia ad varios curandos morbos verissimis auctoritatibus illustrata additionibus nonnullis, flosculis item in margine decorata diligentissime castigata nusquam impressa feliciter incipiunt. Venice, Alessandro Bindoni, 20. XI. 1520.

      1520. 8vo. (8), 127 ff. (wanting final blank f.). Half vellum using a leaf from an antiphonary. Second edition; the first was published the previous year by Garaldi in Pavia. "Early in the 14th century Varignana wrote a remarkable treatise which he entitled 'Secreta medicinae' [...] The plan on which the book is constructed is simple and convenient for rapid consultation. The author begins at the head, and goes through all the diseases in detail right down to the feet" (Ferguson II, Suppl. 2, S. 18). The physician and philosopher Guglielmo da Varignana (1270-1339) was the brother of the municipal physician of Bologna, Bartolomeo da Varignana, known for having performed the first forensic dissection there. - Slight waterstaining throughout; trimmed rather closely. Several marginalia by a contemporary hand. Edit 16, CNCE 34074. Wellcome 6495. Durling 2198. Hirsch/Hübotter V, 708. Ferguson (Bibliogr. Notes, Index) 317. Not in BM-STC Italian, Adams or Waller.

      [Bookseller: Antiquariat Inlibris]
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        Christiani Poenitentis Confessio e decem praeceptis, humanorum morum & officia & errata quamlibet multa perstringens.

      Basel, (Adam Petri) 1520. 62 (1) p. Rebound half Cloth, 4° (The final page with the printers device in facsimile. With some old underlinings and annotations.).

      [Bookseller: Antiquariaat De Roo]
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        PROCESSIONARIUS SECUNDUM ORDINEM CISTERCIENSEM NOVITER IMPRESSUS:

      - ar ab omnib? me[n]dis purgat? nec nõ ad veritate[m] eiusdem ordinis redactus. [Printer?s device: LE PELLICAN A G AMBROISE GIRAVLT]. Venu[n]datur Parisiis sub signo Pelicani. In vico diui Jacobi. [Paris, circa 1520-1540]. In 8º (16x11 cm). Col: 56 folios. Encadernação artística da época (inteira de pele) com ferros gravados a seco sobre as pastas. Corte das folhas dourado à cabeça. Ilustrado com belo frontispício a duas cores com a vinheta e escudo do impressor. Obra impressa em Paris por Ambroise Girault composta na sua totalidade por partituras musicais iniciadas por belas maiúsculas decorativas xilografadas. Impressão a duas cores: preto e vermelho. Exemplar com folhas de guarda renovadas. Obra raríssima com as letras e as músicas das procissões segundo os ritos da Ordem Cisterciense para todo o ano (Processionaris totius ani). Na última página ?Finit processionarius? Excessively rare book with lyrics and songs of the processions according to the rites of the Cistercian Order for the whole year (Processionaris totius ani). Printed in two colors (black and red) and profusely engraved on every page with woodcut capital letters. At the bottom of the last page ?Finit processionarius? marking the last folio. Copy with renewed end papers, and preserving the original full calf binding (blind tooled at both folders). No other copies known in public libraries. Location/localizacao: 6-AF-D

      [Bookseller: Livraria Castro e Silva]
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        Liber egregius de unitate ecclesiae, cuius autor periit in concilio Constantiensi. [Basel, Adam Petri], (August 1520).

      1520. 4to. (8), 231, (1) pp. With a large figurated woodcut "C" initial by Hans Holbein. 18th century half vellum with ms. spine title. First edition of Hus's principal work, commonly known in English as "Treatise on the Church", ascribed to Adam Petri's Basel printshop on the basis of typographical features. Written in 1413 at the castle of one of Hus's protectors in Kozí Hrádek, near Sezimovo Ústí, the book evidences the author's strong intellectual and spiritual ties with the English reformer John Wyclif, whose like-titled "De ecclesiae" has been written in 1378 (Hus however, unlike Wyclif, did not reject the notion of transsubstantiation). "This treatise became Huss's 'apologia pro sua vita', the defense of the views which he had drawn from Wyclif and advocated. [... It] has a place of first importance among works on the church [...] It is the best known work on the subject issued from Augustine to the Reformation period [and] has had a permanent influence upon the development of the idea of the church" (Schaff, Introduction to the 1915 edition, p. xi-xxxi). - A little more than a century after Hus was burned at the stake in Constance, Luther was sent a manuscript copy of the work and, upon reading it, enthusiastically embraced Hus's central tenets, famously writing to Georg Spalatin in February 1520 that "without knowing it, we are all Hussites". But half a year later, two printed versions appeared almost simultaneously in 1520 - one under the original title used here, the other entitled "De causa Boemica" (printed by Anshelm in Hagenau; the precise order of publication remains unclear). These first printings "enabled others to evaluate (or even emulate) Luther's conclusion [... The text was presented] in a disinterested manner, thus allowing an unbiased judgment of its contents"; it was published without polemical introduction or prologue, and the title page, "which did not mention Hus by name, contained the simple epigraph: 'I beg you, my kind reader, to attend not to who speaks, but to what is said'" (Haberkern). - Occasional slight brownstaining; a few insignificant wormholes to blank lower margin near end; old library shelfmark in ink to front pastedown. Quires M and Q bound out of order (3-4-1-2), but a complete, well-preserved and wide-margined copy. Quite scarce: only three copies in auction records internationally since 1975. VD 16, H 6173. BM-STC German 438. Adams H 1210. BNHCat H 630. Haberkern, Patron Saint and Prophet: Jan Hus in the Bohemian and German Reformations [Oxford 2016], p. 158.

      [Bookseller: Antiquariat Inlibris]
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        [Mishle Shelomoh]. Proverbia Salomonis. Praefatio in aeditionem parabolaru[m] Fratris Conradi Pelicani Minoritae. Epitome hebraicae grammaticae Fratris Sebastiani Munsteri Minoritae. Basel, Johann Froben, 1520.

      1520. 8vo. 3 parts in 1 volume. (124) ff. With 3 (repeated) woodcut title borders, 2 large printer's devices, and full-page tailpiece. Contemp. blindstamped leather with 2 intakten clasps. All edges red. In custom-made clamshell cloth case. First edition. - Rare; only the separately issued second part is recorded at auction (Münster's "Epitome", 32 ff.): Sebastian Münster's first independently published work and one of the earliest manuals of Hebrew published in the German-speaking countries. "Diesem Buch wurden zu Übungszwecken der hebräische Text mit einer lateinischen Übersetzung einiger christlicher Gebete sowie der Sprüche Salomos beigegeben. Es ist selbstverständlich, daß Konrad Pellikan an diesem Erstlingswerk Münsters noch maßgeblich beteiligt war; auch später hat Münster immer wieder den Rat seines von ihm sehr verehrten Lehrers eingeholt" (Burmeister, S. 10). - A fine, complete and well-preservedv volume. VD 16, B 3563 (= M 6668, M 6728). Burmeister 1. Hantzsch 219 & 234. Panzer VI, 219, 336. Steinschneider (Hdb.) 1372. Holbein-Kat. 353. OCLC 81845388. Adams B 1535. Not in BM-STC.

      [Bookseller: Antiquariat Inlibris]
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        Plutarchi Cheronei et Aemilii Probi Illustrium virorum vitae cum illo indice diligenter recognitae

      1520. Paris, Aera debent jodoco Badio Ascensio 1520 (Josse Bade). In-Folio plein vélin d'époque. Dos à nerfs orné de fleurons en noir. Titre manuscrit. Fleurons dans les angles des plats. 1 feuillet blanc, page de titre illustrée à la marque de l'imprimeur Bade. 21 feuillets non chiffrés pour la table alphabétique suivie de 393 feuillets ornés de lettrines décorées. À la fin du dernier feuillet. CCCXCIII : Finis in chalcographia ascensiana idibus julii 1520. Habes, lector studiose, quas in fronte polliciti sumus illustrium virorum vitas triplici discrimine : partim (quae plurimae sunt) e Plutarcho traductas, partim ex aliis sed plutarchicis addi solitas, partim ab Aemilio Probo concinnatas, cujus eum librum qui Romanos imperatores cum graecis... conferendos explicat desideramus. Quelques annotations anciennes manuscrites, une mouillure pâle en marge extérieure des dix derniers feuillets, sans atteinte au texte. Exemplaire complet et bien relié.

      [Bookseller: Librairie Artgil]
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        Adversvs execrabilem Antichristi bvllam.

      Wittembergae: [Melchior Lotter] Small 4to (19.5 cm; 7.75"). [10] ff.. 1520 Pope Leo X (r. 1513?21) struggled during the last years of his short papacy with Luther's insurgency and on 15 June 1520 issued his bull "Exsurge Domine," where the third sentence compares Luther and his followers in this way (translation at http://www.papalencyclicals.net/Leo10/l10exdom.htm): "Listen to our prayers [dear God], for foxes have arisen seeking to destroy the vineyard whose winepress you alone have trod." Later he asks God, "As far as Martin himself is concerned, O good God, what have we overlooked or not done? What fatherly charity have we omitted that we might call him back from such errors? For after we had cited him, wishing to deal more kindly with him, we urged him through various conferences with our legate and through our personal letters to abandon these errors." And in the end, the pope decides, "Therefore we can, without any further citation or delay, proceed against him to his condemnation and damnation as one whose faith is notoriously suspect and [who is] in fact a true heretic with the full severity of each and all of the above penalties and censures." Luther received his copy of "Exsurge Domine" on 10 October 1520 and, needless to say, was not pleased with this stern dressing down and excommunication; but how could he have been surprised? He interrupted his writing of "De captivitate babylonica ecclesiae" (i.e., "The Babylonian Captivity of the Church") in order to rebut the pope, and that rebuttal is the work offered here, published on 4 November. Of course Luther stood his ground, refusing the offer of recanting and being rewelcomed into the fold. In no way on the defensive, he attacks the pope, the Church, and the systemic corruption, hypocrisy, and theological errors that brought on his bringing on the excommunication. Written in Latin and printed in roman characters with a few historiated woodcut initials. => This the first edition. Removed from a nonce volume and sewing perished. Title-leaf with approximately one-third missing in blank fore- and bottom areas, replaced with later good quality paper; publication date noted and title partially underlined on title-page in old red ink. First text leaf remargined on fore- and bottom edges, and first page of text with red ink underlining and red ink marginalia in three places. A good copy. Complete.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
 27.   Check availability:     Biblio     Link/Print  


        A Sacratiss: Caesareae et Catholicae Maiestatis locumtenentib. et gubernatorib. supremis omnium provinciarum Austriae ad illust. Principes Guilhelmu[m] et Ludovicii utriusq[ue] Bavariae duces de Eckiana modestia, literae.

      Ohne Ort (Augsburg), ohne Drucker, o. J. (nach dem 8. Februar 1520). - Erstausgabe. - Der konvertierte Jude Paul Ricius studierte in Italien Medizin, war 1514 in Nürnberg und Salzburg als Arzt tätig und wurde im gleichen Jahr Leibarzt des Kaisers Maximilian I. In seiner „Isagoge Cabalae" behauptete er, daß der Sternenhimmel beseelt sei. Diese These wurde von Agrippa von Nettesheim noch weiter entwickelt, von Johann Eck im „Chrysopassus" und auf einer Disputation in Bologna jedoch abgelehnt. Ricius antwortete 1519 in seinem Werk „Naturalia et prophetica de Anima coeli [.]" in dem er seine Behauptung weiter untermauerte. Mitte Februar 1519 kam Ricius nach Ingolstadt, wo Eck eine Disputation in Gegenwart des Kardinals und Bischofs von Gurk, Matth. Lange veranlaßte. Eck zwang Ricius zu Zugeständnissen, die dieser in seiner Schrift „De anima coeli compendium" abzuschwächen versuchte. Es entwickelte sich daraus eine heftige Kontroverse, in der Eck Ricius der unverschämtesten aller Lügen bezichtigte und sich erbot, seine Ansicht einem Schiedsgericht zu unterstellen. „Ritius suchte nun sich Hilfstruppen zu verschaffen. Er klagte seinen Unmuth und das erlittene Unrecht den österreichischen Landständen. Diese ersuchten in einem Schreiben vom 8. Febr. 1520 die Herzoge Wilhelm und Ludwig von Bayern, ihr Ansehen möge verhindern ‚mordacissimo Eccii latratus rabidamque maledicentiam compescere, injungereque, ut quae in Ritium plena veneno scripta in publicum prodire non sinat, iniqui notam aut tergat, aut improperii multam reportet‘. Eck wird als ‚optimus maledicendi magister‘ bezeichnet" (Wiedemann). - Im Falz verstärkt. Min. fleckig bzw. wasserrandig. Mit wenigen kl. zeitgen. Marginalien. - VD16, O 490; Wiedemann, Eck 340. la Gewicht in Gramm: 350 8°. 2 nn. Bll. mit einer Holzschn.-Initiale „I", Mod. Kart. [Attributes: First Edition; Soft Cover]

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Adversvs execrabilem Antichristi bvllam.

      Wittembergae: [Melchior Lotter] Small 4to (19.5 cm; 7.75"). [10] ff.. 1520 Pope Leo X (r. 1513–21) struggled during the last years of his short papacy with Luther's insurgency and on 15 June 1520 issued his bull "Exsurge Domine," where the third sentence compares Luther and his followers in this way (translation at http://www.papalencyclicals.net/Leo10/l10exdom.htm): "Listen to our prayers [dear God], for foxes have arisen seeking to destroy the vineyard whose winepress you alone have trod." Later he asks God, "As far as Martin himself is concerned, O good God, what have we overlooked or not done? What fatherly charity have we omitted that we might call him back from such errors? For after we had cited him, wishing to deal more kindly with him, we urged him through various conferences with our legate and through our personal letters to abandon these errors." And in the end, the pope decides, "Therefore we can, without any further citation or delay, proceed against him to his condemnation and damnation as one whose faith is notoriously suspect and [who is] in fact a true heretic with the full severity of each and all of the above penalties and censures." Luther received his copy of "Exsurge Domine" on 10 October 1520 and, needless to say, was not pleased with this stern dressing down and excommunication; but how could he have been surprised? He interrupted his writing of "De captivitate babylonica ecclesiae" (i.e., "The Babylonian Captivity of the Church") in order to rebut the pope, and that rebuttal is the work offered here, published on 4 November. Of course Luther stood his ground, refusing the offer of recanting and being rewelcomed into the fold. In no way on the defensive, he attacks the pope, the Church, and the systemic corruption, hypocrisy, and theological errors that brought on his bringing on the excommunication. Written in Latin and printed in roman characters with a few historiated woodcut initials. => This the first edition. Removed from a nonce volume and sewing perished. Title-leaf with approximately one-third missing in blank fore- and bottom areas, replaced with later good quality paper; publication date noted and title partially underlined on title-page in old red ink. First text leaf remargined on fore- and bottom edges, and first page of text with red ink underlining and red ink marginalia in three places. A good copy. Complete.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Ex XIIII. T. Liuii Decadibus. Prima, tertia, quarta, cuius tertio libro prima pars, quae desyderabat, & decimo quicquid fere in calce non habebamus, additum est, ueram praeter haec ueluti fragmenta quartae Decadi adiuncta... Duplex epitome, quarum altera per singulos XIIII Decadum libros summatim explicantur quae in illis continebantur, atque eam ipsam putamus a T. Liuio compostam esse, alteram ab L. Florio, qui omnem historiam ex T. Liuio excerpsit...

      Venetiis in aedibus Aldi 1520-1521 3 parties en 1 vol. in-folio (20 x 30 cm) de (14)-106 ff. (10)-102 ff. (10)-127-(1) ff., veau fauve marbré, dos lisse orné, filet et frise dorés d'encadrement sur les plats, pièce de titre en maroquin rouge, tranches jaspées (reliure de la fin du XVIIIe siècle). Première édition aldine in-folio des Décades de Tite-Live ornée de l'ancre au dauphin sur le titre et in fine - établie sur l'édition octavo de François d'Asola publiée chez Alde en 1518. Chaque partie dont les souscriptions sont semblables avec des dates différentes - a sa pagination propre, précédée d'un index et d'un titre orné de la grande marque Aldine. La troisième partie comprend sous une pagination continue la quatrième Décade, l'Epitome et l'Historia de Florus. Au verso du titre général se trouve l'épitre de François d'Asola à Navagero reprise de l'édition octavo. Les cinq livres de l'Histoire des Romains de Polybe, reliés usuellement à la suite du Tite-Live, n'ont pas été joints à l'exemplaire. Bel exemplaire. Très belle impression aldine, d'une remarquable fraîcheur, rare dans ce format. Les emplacements des lettrines sont réservés. Légères épidermures au bas des plats, petits trous de ver sur les mors inférieurs. Brunet III, 1105 : «Edition rare » ; Adams L-1324 ; ; Renouard, Alde, p 89 n°6 ; Ahmanson Murphy, 172.

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        Rationale Divinorum officiorum. Uenundantur Lugduni ab Iacobo.

      Lugduni, Lyon Jacques Huguetan 1er Jacques Sacon 1520 In-4 gothique à 2 colonnes de 3 ff. lim., 188 feuillets chiffrés et 1 ff.n.ch., reliure d'époque veau estampé à froid, sur ais de bois, les fermoirs manquent, le dos a été restauré, 2 coins sont émoussés, le titre comporte des annotations du temps sur la marge extérieure. Impression lyonnaise de Jacques Huguetan dont la très belle marque orne la page de titre rouge et noire. Belles et nombreuses lettres ornées en entête de paragraphes, quelques erreurs de foliotages sans manque. Traces de mouillures anciennes sur quelques feuillets intérieurs. Jacques 1er HUGUETAN, frère ainé de Jean 1er, appartient à la série des marchands lyonnais qui suivirent l'exemple de Barthélemi et de Jacques Buyer puis d'Etienne Gueynard et contribuèrent à installer et à développer dans la ville de Lyon le commerce et l'industrie du Livre. Voir Baudrier 11ème série pp. 262. Ouvrage le plus célèbre de G. Durand né vers 1230 à Puimission près de Béziers. Huguetan eiusdem civitatis bibliopola in vico mercuriali ad angiportum quid ararim ducit Cum gracia et privilegio.

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        PONTIFICALE ROMANUM. Pontificale fm Ritus Sacrosancte Romane Ecclesie cum additionibus opportunis ex aplica bibliotheca sumptis alias non ipressis... (Colophon:).

      Lucamantonium de Giunta florentinum, anno Domini 1520 die xv septembris. PONTIFICALE ROMANUM. Pontificale fm Ritus Sacrosancte Romane Ecclesie cum additionibus opportunis ex aplica bibliotheca sumptis alias non ipressis... (Colophon:). In florentissima Venetiarum urbe per... Lucamantonium de Giunta florentinum anno Domini 1520 die xv septembris... In - folio, pergamena secentesca. 6 ff. nn., 253 ff., 1 f. bianco (mancante). Frontespizio stampato in rosso con grandi caratteri gotici entro bordura nera incisa in legno, testo e musica su due colonne in rosso e nero, 3 grandi illustrazioni racchiuse in bellissime bordure in silografia e 162 piccole figure incise in legno nel testo che si trovano quasi su ogni foglio le quali sono molto graziose, alla maniera di Zoan Andrea. L' esemplare è ben conservato, malgrado lievi tracce d' uso ai primi ff., e un piccolo strappo alla legatura in basso. Edizione rarissima. Manca alla Harvard College Library. Alès, Livres de liturgie, 165: Dans ce pontifical, chaque cérémonie est précédée d' une figure ad hoc; ces figures ne sont point reproduites dans le pontifical de 1572... Essling, 1695. Sander, 5839. Adams, 1238. B.M., Italian books, p. 387. Olschki, Choix de livres rares, 3230.

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        1- Divi Thome Aquinatis (...) scriptu[m] p[rimu]m locule[n]tissimu[m] angelico [con]cinnatu[m] ingenio ad su[m]ma[m] sacre fidei tutela[m] artificib[us] ().2- Problemata Divi Thome Aquinatis que quodlibeticas questiones inepte neoterici vocant (...).

      15202 ouvrages reliés en un volume, plein vélin ivoire estampé, dos à 3 nerfs gothiques comportant une étiquette manuscrite au premier caisson, plats biseautés ornés d'un décor à froid composé dun double encadrement de roulettes florales et à motif de chapiteaux et fleurs de lys entourant un décor central de filets gras en losange et fleurons à motif de fleurs de lys, fermoirs en cuir et laiton (reliure de lépoque), 374 f., (10) f.n.ch. et 156 f., (4) f.n.ch. Lugduni, Jacobi q(uondam) Francisci de Giunta, 1520 (en colophon) [Lyon, Jacques Myt pour Jacques Giunta, 1520]. Belle et précoce édition gothique lyonnaise, chez Jacques Giunta, de deux textes fondamentaux de Thomas d'Aquin réunis à lépoque.1- Le commentaire de Thomas d'Aquin sur le premier livre des Sentences de Pierre Lombard, édité par lhumaniste allemand Lambertus Campester, imprimées en caractères gothiques sur deux colonnes par Jacques Myt pour Jacques Giunta.Rédigée sur une période de plusieurs années, loeuvre témoigne du premier enseignement de Thomas dAquin. Il a fourni les matériaux à la Somme de théologie.2- Acte universitaire par excellence dans le haut enseignement médiéval, les "Disputes" constituent la clé de voûte de l'uvre de Thomas d'Aquin. C'est, plus encore, dans l'activité périlleuse et redoutée des "Disputes de quolibet" (questions extraordinaires), qu'il excellait particulièrement : elles permettaient aux participants, lors de séances solennelles, de poser librement au maître les questions les plus diverses, souvent de brûlante actualité.Thomas conclut l'un des douze exercices quolibetiques ainsi : "Si nous résolvons les problèmes de la foi par seule voie d'autorité, nous posséderons certes la vérité, mais dans une tête vide".Les deux ouvrages possèdent un titre gravé sur bois identique imprimé en rouge et noir montrant Saint Thomas dAquin à son écritoire dans un large encadrement architectural. Y figurent les initiales "IZF", le Z désignant le nom de Giunta en patois vénitien, ainsi que le lys rouge qui est la marque des Giunta. Grande vignette à la marque de Jacques Giunta au titre et en fin, adresse en fin.(Baudrier, VI, 102 et 104).Frottements, nombreux trous de vers à la reliure et aux feuillets, gardes anciennement renouvelées.Exemplaire dans sa condition de vélin estampé de parution, complet de ses deux fermoirs en cuir et laiton.

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        La Madonna della porta

      1520. Bulino, siglato con il monogramma di Albrecht Durer in basso al centro e datato 1520. Magnifica prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame, in ottimo stato di conservazione. L'opera viene descritta da Bartsch alla fine della sua classificazione delle opere raffiguranti la Vergine eseguite dall'artista di Norimberga. Per descriverla cita il parere dello studioso di Durer Christoph Gottlieb che afferma che l'opera è sicuramente eseguita da un disegno di Durer ma che certamente non è incisa dall'artista stesso; malgrado ciò tuttavia merita di essere inserita nel catalogo del Maestro, poiché si tratta di un pezzo bello ed estremamente raro. L'opera, dopo l'esclusione di Bartsch dal catalogo delle opere autografe, è rimasta successivamente poco studiata ed esclusa quindi dai numerosi repertori delle stampe dureriane. L'incisione viene attribuita, probabilmente per motivi stilistici, a Marcantonio Raimondi sia dal Passavant che dal Delaborde. Rara. Engraving, signed with the monogram of Albrecht Durer in the lower center and dated 1520. Magnificent proof, on contemporary laid paper without watermark, trimmed to copper, in excellent condition. The work is described by Bartsch at the end of his classification of the works depicting the Virgin, made ??by the artist of Nuremberg. To describe it cites the opinion of the scholar of Durer Christoph Gottlieb says that the work is certainly done from a drawing by Durer but that certainly is not etched by the artist himself; Despite this, however, deserves to be included in the catalog of the Master, because it is a beautiful piece and extremely rare. The work, after the exclusion from the Bartsch's catalog as autograph, remained little studied and therefore excluded from all the repertoires of Durer's prints. The engraving is attributed, probably for stylistic reasons, to Marcantonio Raimondi both from Passavant and Delaborde. Rare. Bartsch 45; TIB 1001. 045; Passavant, V, 302; Delaborde pp. 265/6; Fara p.91, 28. 121 169

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        Opera noua, laqual tratta dei doi Philosophi: cioè Democrito che rideva dele pacie di questo mondo: e Heraclyto che piangeva de le miserie humane. (In fine:) Venetia, Alessandro e Benedetto Bindoni, 1520

      Bindoni Aless. e Ben, 1520. in - 8, ff. (47, su 48, titolo facsimilato su carta antica). Legatura poster. m. perg. Purtroppo manca il frontesp. con la figura dei due filosofi (qui aggiunto in fac - simile, vedi riproduz. Essling n. 1783); alcune iniz. silogr. su fondo nero. La dedica a ''Monsignore Iafredo Carlo Iureconsulto: Presidente del Delphinato: e del Regio Senato in Milano'', datata 15 nov. 1505, è uguale alla seconda delle due che compaiono nella prima ediz. del 1506. Il testo si compone di 30 capitoli di terzine, quindici per il ''Riso de Democrito'' e quindici per il ''Pianto de Heraclyto'' che inizia al recto del f. E2. Di notevole curiosità e stranezza è l'inusuale segnatura del primo quaderno comprendente le due lettere abbinate (AB), inducendo in errore più d'un bibliografo. Infatti Essling (n. 1783) e Sander (I, 2940) indicano 56 ff. perché, secondo noi, nel vedere la segnatura fino alla lettera G, hanno calcolato tout - court 7 quaderni per 8 fogli, ottenendo il totale di 56. Olschki (Choix IV, 4574) ed ICCU, invece, attribuiscono correttamente all'opera 48 fogli. Trattasi, come si è detto, di due poemetti - visione, ciascuno in quindici capitoli di terzine: «Il primo, attraverso un impianto e un lessico di intonazione dantesca, ma con qualche locuzione comune ai poeti realisti toscani, introduce l'autore alle bellezze di un giardino e dopo l'incontro con Diogene e Platone, il protagonista si abbevera agli zampilli che sgorgano dal seno di una statua nutrice di quei "divi", la Filosofia. Nel Pinato di Heraclito il F., condotto da Dianeo, giunge dal filosofo che alimenta una fonte di lacrime. Egli descrive la vita come un progredire di affanni da cui il piacere di amore e il timore della morte non ci fa separare. L'unico rimedio che lascia intravedere riposa nelle poche vere amicizie» (DBIt., vol. 50, p.383). Il Fregoso, nato forse a Genova o più probabilmente a Carrara intorno al 1460 e morto dopo il 1532, fu valente poeta, autore di sonetti burleschi e poemetti allegorici di notevole fama; visse per lo più a Milano, prima alla corte di Ludovico il Moro e poi in una villa di campagna, in perfetta solitudine (donde il nome d'arte "Fileremo"). Esempl.

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        Spanish Reformers of two Centuries, from 1520, their lives and writings, according to benjamin b. wiffen's [1794 - 1867] Plan and with the use of his materials. Second Volume: Constantino Ponce de la Fuente; Calvin´s Cathecism and Liturgy; Sumario de indulgencias; Juan Perez de Pineda; Alonso de Peñafuerte; Reginaldus Gonsalvius, Montanus; Suplicacion a la Reyna de Francia; Pedro Nuñez Vela; Casiodoro de Reina and his sons Marcos and Augustino; Specimens of various Bible - traslations in Spanish. With notices concerning the literary history of the Spanish Bible.

      1520. Strassburg - London, Karl Trübner - Trübner & Co., 1883 ("Bibliotheca Wiffeniana"). 4to. mayor; XII pp., 374 pp., 1 h. Ejemplar intonso, en excelente estado. Encuadernación original en tela.

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        Venere che si asciuga il piede dopo il bagno

      1520. Bulino, 1520 - 30 circa, monogrammata AD (monogramma di Duerer), in basso a destra. Da un'incisione di Marcantonio Raimondi. Buona prova, impressa su carta vergata coeva, rifilata al rame, assottigliamento della carta in corrispondenza degli angoli, per il resto in ottimo stato di conservazione. Rispetto all'incisione dello stesso soggetto realizzata da Marcantonio Raimondi, che risulta in controparte, questa copia mostra sullo sfondo, attraverso una sorta di finestra, un paesaggio tipicamente nordico. Lo stile incisorio rimanda alla scuola del Raimondi. Si è pensato che il soggetto dell'incisione possa essere la settima scena, perduta, sulla parete nord della stufetta vaticana del cardinal Bibbiena, decorata da Raffaello e dalla sua cerchia con episodi della vita di Venere. Circa l'identificazione con la perduta scenetta del Bibbiena, cfr. Oberhuber, p. 335 e Mason, n. 69. Dell'incisione del Raimondi esistono varie repliche che ne attestano il vasto successo, tra cui quella di Altdorfer. La scena è di una raffinatezza delicata: Venere seduta, nuda, con un'espressione dolce e assorta, è chinata in avanti nell'atto di asciugarsi un piede con una veste. Accanto a lei, in piedi è Cupido alato, con il suo arco nella sinistra, e la mano destra tra i riccioli. Dalla finestra alle loro spalle, si scorge un paesaggio collinare. Il drappeggio sulla sinistra, con le sue pieghe, conferisce profondità spaziale alla scena. Engraving, about 1520 - 30, unsigned. Single state. A good proof, printed on contemporary laid paper, trimmed to copperplate, restoration at upper right corner perfectly executed, otherwise in excellent condition. Copy in reverse after Marcantonio Raimondi, with a landscape setting in place of the room with a window. The buidings in the background are suggested by those in Dürer's Hercules of about 1500, the stone bridge and stream with stones on the bank are copied from Dürer's Virgin and Child with the Monkey of about 1498. It is thought that the subject of the engraving may be the seventh scene, lost, on the north wall of the Stufetta by Cardinal Bibbiena, decorated by Raphael and his circle with episodes from the life of Venus. About identification with the lost scene of Bibbiena, see. Oberhuber, p. 335 And Mason 335, n. 69. Raimondi's engraving is available in several replicas that attest to the vast success, including that of Altdorfer. The scene is of a delicate refinement: Venus sitting, naked, with a sweet and thoughtful, is leaning forward in the act of wiping foot with a robe. Beside her, standing is winged Cupid with his bow in his left hand and the right hand between the curls. From the window behind them, you can see a hilly landscape. The draping on the left, with its folds, gives spatial depth to the scene. Barstch: XIV, p. 224; Delaborde, p. 161 n. 115; Hind, V, n. 44; Passavant, III, p. 281 n. 43; Raphael Invenit, p. 63 n. VII. 4 164 196

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        Ercole e Anteo

      1520. Bulino, 1520 - 22 circa, fermata in lastra, in basso a sinistra, con la tavoletta vuota. Da un soggetto di Giulio Romano. Bellissima prova, impressa su carta vergata coeva con filigrana non identificata, rifilata al rame, minimi restauri perfettamente eseguiti, in ottimo stato di conservazione. L'opera è considerata come una delle più belle incisioni di Marcantonio Raimondi, prodotte nel periodo immediatamente successivo alla morte di Raffaello. Il disegno preparatorio, perduto, viene attribuito a Giulio Romano. Le forza espressiva delle figure è caratteristica dello stile di Giulio Romano. Un'analogia ancora più forte con i lavori di Giulio risulta più evidente dal confronto tra la figura di Anteo con la figura maschile posseduta dal diavolo nella Trasfigurazione di Raffaello. Il paesaggio che fa da sfondo in Ercole e Anteo, con la sua macchia di alberi frondosi e le rovine di un antico tempio, ricorda gli sfondi di molte rappresentazioni della Madonna eseguite da Giulio negli ultimi anni della vita di Raffaello. La fonte per le figure di questa incisione, e quindi anche per il l disegno di Giulio, probabilmente è stata un gruppo scultoreo risalente al II secolo a.C. che, agli inizi del XV secolo, era tra le statue del Belvedere Vaticano agli inizi. Ugo da Carpi eseguì un chiaroscuro, in controparte, della stessa composizione. Engraving, 1520 - 22 circa, signed with an empty tablet at lower left. After Giulio Romano. A good impression, printed on contemporary laid paper with unidentified watermark, trimmed to the platemark, small repairs at the corners, very good condition. Praised by most authors as one of Marcantonio Raimondi's finest engravings, produced in the period immediately following the death of Raphael. The strongly expressive emotional types are characteristic of Giulio Romano's figures. An even closer analogy with Giulio's work becomes apparent in comparing the figure of Antaeus with Giulio's boy possessed of a devil in the right foreground of Raphael's Transfuguration. The setting of Hercules and Antaeus, with its clump of leafy trees and ruined ancient temple, also recalls the backgrounds of several of Giulio's Madonnas executed at the end of Raphael's life. The source of the figures in the engraving, and thus also in Giulio's drawing, was probably a fragmentary sculpture from the 2nd century B.C, located in the Belvedere at the beginning of the 16th century. Because of the flatness of Marcantonio's composition it is regarded as engraved after Giulio's own version of the sculpture. Ugo da Carpi made a chiaroscuro woodcut in reverse of the same composition. Bartsch, XIV, 258 - 50, 346; Passavant, VI, 28, 174; Delaborde 1888, no. 127; Shoemaker, The Engravings of Marcantonio Raimondi, no. 51; S. Massari, Raphael Invenit, p. 248, no. VII.1 213 308

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        De sestertio, talentis, pecuniis, ponderibus, me[n]suris, stipendiis militaribus antiquis [.].

      [Basel], Johann Froben, [um 1520]. - (4), 62, (6) SS. Mit Holzschnittdruckermarke am Titel (am letzten Bl. verso wdh.) und 3 schwarzgrundigen Holzschnittinitialen. Dreiseitiger Farbschnitt. Geheftet. 4to. Frühe Ausgabe eines öfter aufgelegten Handbuchs über Münzen, Maße und Gewichte des Altertums, herausgegeben und eingeleitet von Giovanni Battista Egnazio. Auf S. 58 Diagramm eines antiken Längenmaßes. - Durchgehend etwas gebräunt. Wohl altem Sammelband entnommen; Marginalien von zeitgenöss. Hand auf S. 13 vom Messer des Buchbinders erfasst. Am erhaltenen hinteren Zwischen- (bzw. Umschlags)blatt alter hs. Besitzvermerk und Notizen mit Maßen. VD 16, P 4394. BM-STC German 713. Vgl. Heckethorn (The Printers of Basle) 114, 6 (Ausg. 1530 by Hieronymus Froben). Nicht bei Adams. [Attributes: Soft Cover]

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        Examen vanitatis doctrinae gentium, et veritatis christianae disciplinae, distinctum in libros sex, quorum tres omnem philosophorum sectam universim, reliqui aristoiteleam et Aristotelis armis particulatim impugnan. Ubicunque autam Christiana et asseritur et celebratur disciplina. (In fine, recto f. 205, colophon:) Mirandulae, Ioannes Maciochius (Mazzocchi) Bundenius, 1520

      Mazzocchi Giovanni, 1520. in - folio, ff. (6), CCVIII, legatura del XVIII secolo in pelle con impresse al centro dei piatti le armi di Papa Pio VI Braschi (pontefice dal 1775 al 1799), titolo e fregi al dorso. Impresa tipografica in fine, testo in car. romano e qualche passo in greco, lettera - guida per le iniz. I fogli prelim. contengono il titolo, concessione papale dell'imprimatur al Mazzocchi dat. Roma, 10 aprile, 1519 con, al verso, dedica di Pico a Papa Leone X; segue la "tabula". Prima edizione di quest'opera e secondo ed ultimo libro impresso dal Mazzocchi a Mirandola (è noto che G. Mazzocchi aveva una stamperia a Ferrara, ma si trasferì a Mirandola nel 1519 - 1520 per stampare ivi solo due opere del conte Giov. Franc. Pico, e cioè il "Liber de veris calamitatum causis nostrorum temporum" nel 1519, e la presente l'anno successivo. Queste sono anche le uniche due opere impresse a Mirandola nel corso di tutto il Cinquecento (cfr. Fumagalli, p. 233). L'opera è un trattato filosofico - teologico che confuta molta parte della filosofia antica, contrapponendole la "verità" del Cristianesimo; è anche assai importante perché, come avverte Olschki, "contiene quattro passaggi relativi all'America". Gianfrancesco Pico (1469 - 1533), signore di Mirandola, nipote del più celebre Giovanni (di cui scrisse la Vita), fu filosofo, teologo e letterato, autore di numerose opere. Alcuni esemplari noti, non il presente, hanno il primo e sesto f. preliminare ristampati da Ottaviano Scoto, il quale nella parte bassa del titolo appose la propria impresa tipografica; il resto del volume è invariato. E' probabile che lo Scoto abbia acquistato le rimanenze dell'edizione ed abbia voluto provvedere a dotarla di un frontespizio con la propria impresa; tale particolarità, non è evidenziata da alcun repertorio bibliografico. Bell'esemplare.marginoso, assai raro, in importante legatura del 18esimo secolo.

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        Opera omnia ; Divine institutionis plenissima : artificibus typis in una coacta codicem Sermones temporanei simulac festivi : Sermoes varij argumeti in Sacre Scripture locos pcipuos. Domilie in Cantica Canticorum. Epistole tum familiares tum doctrinales : adiectis opusculis plurimis que sancti Bernardi veni imitatur : sanctimonia redolet.

      Iohannes Cleins, 1520. In 4°, p. perg., cc.nn. 58 + cc.n. CXCIIII + cc.nn. 4 + cc.n. CLIIII + XL + cc.nn. 3. Carta e stampa fresche. Frontespizi con pregevole ornatura, il primo dei due è scritto con inchiostro rosso. Numerose piccole capilettere. Al centro del 2° front. e dell'ultima c. si evidenzia marca tipografica. Segni e chiose antiche in inchiostro su alcune pp. Stampa a carattere gotico.

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        Gli scheletri

      1520. Bulino, circa 1520, monogrammato in lastra in alto a sinistra. Da un soggetto di Rosso Fiorentino. Esemplare nel secondo stato di due, con l'indirizzo dell'editore Antonio Salamanca. Bellissima prova, impressa su carta vergata coeva con filigrana "cerchio con giglio e lettere I e M", completa della linea del rame, in ottimo stato di conservazione. La composizione, sebbene sia più piccola nelle dimensioni, riproduce un soggetto analogo inciso da Agostino Veneziano e datato 1518. La scena raffigurata è stata interpretata dal Panofsky come la disputa tra il diavolo e la Morte circa il destino dell'uomo, raffigurato dallo scheletro giacente a terra: la Morte (lo scheletro alato), che simboleggia la potenza divina, ne rivendica per sé la pertinenza, sostenuta da asceti in atteggiamento di pietoso rispetto, mentre ad appoggiare il diavolo sono figure rabbiose e sinistre, tra cui l'Invidia con sembianze femminili. L'orientamento delle due opere è il medesimo, mentre numerose sono le differenze nella rappresentazione: in luogo dello sfondo scuro del Veneziano, Dente introduce un paesaggio roccioso e, a sinistra, un'architettura di blocchi; la figura a destra della Morte, nel Veneziano ha il capo coperto da un cappuccio, qui invece mostra la sua folta chioma; o ancora, la figura inginocchiata accanto al defunto lì ha il volto leggermente girato verso sinistra e gli occhi aperti, qui invece è abbandonato in avanti, di profilo, con gli occhi chiusi. Inoltre, Dente aggiunge altre figure e particolari che lì mancano. Il modello per l'incisione del Veneziano, è stato identificato in un disegno a sanguigna conservato agli Uffizi di Firenze. Datato 1517, risulta in controparte rispetto alle due incisioni e nell'800 è stato attribuito a Rosso Fiorentino. A Roma, dove Agostino si stabilisce dal 1516, il foglio sarebbe stato portato da Baccio Bandinelli che, secondo la testimonianza del Vasari commissionò a Veneziano di incidere una "notomia che aveva fatta d'ignudi secchi e d'ossame di morti". Sulla base delle differenze riscontrate tra le due incisioni, si può ipotizzare che le opere siano state eseguite indipendentemente l'una dall'altra. Secondo Bartsch anche il disegno utilizzato dal Dente doveva essere diverso e più ricco di dettagli, soprattutto nello sfondo, che è l'elemento di maggiore divergenza tra le due incisioni. Engraving, circa 1520, signed at upper left. After Rosso Fiorentino. Example in the second state of two with the address of Salamanca. A good impression, printed on contemporary paper with "circle with fleur de lys and letters IM", trimmed at the platemark, in very good conditions. The composition, although it is smaller in size, plays a similar subject engraved by Agostino Veneziano (1518). The scene depicted was interpreted by Panofsky as the dispute between the devil and Death about the destiny of man, represented by the skeleton lying on the ground: Death (the skeleton winged), which symbolizes the divine power, he claims for himself the relevance, supported by ascetics in an attitude of compassionate respect, and to support the hell are angry and sinister figures, including the Envy with feminine features. The orientation of the two works is the same, while there are many differences in the representation: in place of the dark background where Dente introduces a rocky landscape and to the left and architecture blocks. The model for the engraving of Agostino, was identified in a sanguine drawing in the Uffizi in Florence. Dated 1517 is counterpart in respect to the two engravings and was attributed to Rosso Fiorentino. In Rome, where Agostino is established in 1516, the drawing would have been brought by Baccio Bandinelli, according to the testimony of Vasari, Agostino was commissioned to engrave a notomia che aveva fatta d'ignudi secchi e d'ossame di morti". On the basis of the differences between the two works, one can assume that the works are carried out independently of each other. According to Bartsch also the drawing used by Dente had to be different and richer in detail, especially in the background, which is the element of greatest divergence between the two prints. Bartsch, XIV, 425; K. Oberhuber, Roma e lo stile classico di Raffaello, p. 190 - 191; Le Blanc, II, p. 112 n. 31;Panofsky, 1964, pp. 232 e ss; Massari, Tra Mito e Allegoria, pp. 50 - 53, IIc. 435 288

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        Petrus und Paulus. Kupferstich.

       1520. In der Platte mit dem Monogramm und der Jahreszahl. Schöner, klarer Druck. Mit der vollen Darstellung, auf die Plattenkante geschnitten. 6,1 x 4,5 cm. Bartsch 37. Pauli 39. Blatt 2 aus einer Folge mit sieben Blättern \"Christus und die zwölf Apostel\", von 1520. Ehemals aus Sammlung Dr. Karl Max Osthof (nicht bei Lugt). Verso Sammlerstempel \"Fünfzackiger Stern\" (braun), vgl. Lugt 2882. - Minimale, druckbedingte Quetschfalte am rechten Rand auf der Höhe der Hand des Paulus. In den Ecken jeweils mit einem Bleistiftpunkt. Versand D: 5,00 EUR Altmeistergraphik, Beham Pauli 39, Beham Bartsch 37, Kleinmeister, Apostel, Petrus, Paulus

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        Madonna con Bambino

      1520. "Bulino, 1520 circa, privo di firma e dati editoriali. Magnifica prova, nitida e ben contrastata, impressa su carta vergata coeva, con filigrana ""unicorno"", rifilata al rame, sporadiche e lievissime fioriture, nel complesso in ottimo stato di conservazione. Opera estremamente rara, sconosciuta ai repertori e non presente nelle principali collezioni pubbliche. Al British Museum abbiamo trovato una copia, recante il monogramma NWM, dell'incisore tedesco Nikolaus Wilborn, autore di stampe di derivazione dai Piccoli Maestri e da Jacopo de' Barberi. L'esistenza di questa sua copia, catalogata con il n. 1845,0825.363, supporta la suggestione che il modello sia proprio opera del de' Barberi. Il curatore del commento del British ritiene che l'opera non derivi direttamente da un modello del de' Barberi, ma sia piuttosto ispirata da diverse sue opere, notando che la Madonna assomiglia a quella della Sacra Famiglia del de' Barberi, Hind 5, e il Bambino a Hind 3. Inoltre, riscontriamo che il tratteggio del piedistallo col trono, e al muretto alle spalle del gruppo figurativo richiama quello dei gradini e del muretto dell'Adorazione dei Magi, Hind 1. Lo stile di questo anonimo incisiore appare maturo ed accurato nei dettagli. Il drappeggio della veste della Vergine, e del telo alle sue spalle, l'espressione dolce dei volti, rimanda senza alcun dubbio alla scuola italiana, e più in particolare, alla scuola di Marcantonio Raimondi. Il timbro di possesso al verso, di Luciana Simonetti (Lugt 3616), che possedeva un'importante collezione di stampe del '500 italiano, è un'ulteriore conferma della nostra analisi." Engraving, 1520 circa, without date and signature. After Jacopo de' Barbari. A very good impression, printed on contemporary laid paper with watermark of "unicorn", trimmed close to platemark, occasional foxing, generally in very good condition. A very rare work, unknown to the repertoires and not present in the main collections. In the British Museum collections we've found a copy, signed with monogram 'NWM' of the German printmaker Nikolaus Wilborn, engraver after the Little Masters and Jacopo de' Barberi. His print, museum number 1845,0825.363, supporting the suggestion that the model is a work by Jacopo de 'Barberi. According with curator's comment of the British Museum, the Virgin resembles that in Hind 5, the Child that in Hind 3. In addition, the crosshatching of the pedestal with the throne, and to the wall behind the group of the Virgin and Child is very similar to that one of The Adoration of the Magi, Hind 1. The engraving style appears mature and accurately detailed. The elegance of the figures, the drapery of the garments undoubtedly refer to the Italian school, in particular to the school of Marcantonio Raimondi. The collector's mark of Luciana Simonetti (Lugt 3616), on the back, who was an important collector of Sixteenth century Italian engravings supports our consideration. Non descritta. 135 192

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        Secreto.. in dialogi di latino in vulgar e in lingua toscha tradocto nouamente cum exactissima diligentia stampato e correcto. In fine: Impresso in Venetia, per Nicolo Zopino e Vincentio compagno, adi IX de Marzo,1520

      Zoppino Nicolo, 1520. in - 8, ff. 80 n.n. (A - K8), legatura del XIX secolo in mezza pelle, titolo in oro al dorso. Al di sotto del titolo impresso in caratteri gotici in rosso e nero grande silografia firmata in basso a destra "z.a." (mm 100x80) raffigurante 5 poeti in atto di dialogare tra loro; al recto dell'ultimo foglio impresa editoriale raffigurante S. Nicola in cattedra; iniziali vegetali, testatine e finalini n.t. Le iniziali alla silografia del frontespizio farebbero pensare ad un'attribuzione del legno al celebre tipografo e stampatore veneziano Zuan Andrea, "Giouanniandrea Vavassore ditto Vadagnino", che incise anche i legni della "Biblia Pauperum" del 1510. Seconda edizione (la prima era apparsa nel 1517) della volgarizzazione del "Secretum", apparso per la prima volta in latino a Strasburgo nel 1473. Protagonisti di questo dialogo in tre libri sono Petrarca e Sant'Agostino al cospetto di una donna, la Verità, che per tutto il tempo rimane in silenzio. Buon esemplare di opera non comune (lievi tracce di polvere al titolo, il primo foglio e i ff. 6 - 8 hanno l'angolo inferiore bianco anticamente restaurato).

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        Consilia D. Joannis de Amicis de ciuitate Venafri iureconsulti ac aduocati celeberrimi. (In fine:) s.l. (Rimini), in officina Ariminensi Hieronymi Soncini calcographi, 1520 tertio nonas Iunias, (Rimini, Soncino, 1520)

      Soncino, 1520. in - 4, ff. 18 n.n., leg. coeva d'amatore in mezza pelle verdone, tit. oro al dorso, car. gotico su 2 colonne di 43 - 44 linee. Al titolo ricca bordura a fogliame, formata da 4 legni su fondo nero inquadrante una vignetta silogr. con l'autore in atto di scrivere; l'incisione è tratta da Benci, Pronostico, Bologna 1504. Al verso del tit. due dediche di Vincenzo de Paride concittadino dell'autore al Marchese di Pescara, ed a Enrico Pandono d'Aragona, Conte di Venafro, interessante in quanto si dice che l'opera venne edita ''inscio e reluctante auctore''. Prima edizione dell'opera dell'illustre giureconsulto De Amicis, nato nel 1463 a Venafro, piccolo centro molisano, e primo libro stampato con certezza a Rimini, ad opera del grande tipografo Girolamo (Gerschom) Soncino, durante la sua forzata attività di tipografo ambulante per sfuggire alle persecuzioni papali. Il comune di Rimini aveva accordato nel 1511 un privilegio di stampa a Nicolò Brenta e Pietro Cafa, ma finora non si conoscono esempi della loro produzione. Estremamente raro; censito in sole cinque biblioteche italiane, tra le quali non figurano né Roma né Firenze né Rimini. Giovanni de Amicis nel 1522 fu chiamato ad insegnare diritto civile nella facoltà di Giurisprudenza di Napoli. Ebbe la cittadinanza onoraria insieme ai nipoti Ercole de Amicis e Vincenzo de Paride. È considerato il primo storiografo venafrano per avere illustrato nella sua opera, a proposito di una vertenza giudiziaria tra San Pietro Infine e Venafro, le origini e le prerogative della sua città. Ottimo esempl.

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        Lo schiavo Androclo portato al cospetto dell'imperatore

      1520. Bulino, 1520 - 1522 circa, siglato in basso a sinistra con le iniziali A.V., e a destra con una tavoletta. Probabile derivazione di un disegno di Raffaello, andato perduto. Esemplare nel secondo stato, con l'aggiunta del monogramma di Agostino. Bellissima prova, stampata con inusuale inchiostro bruno su carta vergata coeva con filigrana non leggibile, rifilata al rame, in ottimo stato di conservazione. L'incisione raffigurerebbe, come già proposto da Mariette, l'episodio leggendario, narrato da Aulo Gellio nelle sue Notti Attiche, V.14, dello schiavo Androclo condotto al cospetto dell'imperatore Adriano, dopo essere stato risparmiato da un leone durante i giochi al Circo Massimo, con grande stupore della folla. La fiera infatti, secondo il racconto fornito dallo stesso schiavo, aveva riconosciuto in Androclo l'uomo che, anni prima, in Africa l'aveva salvata, estraendo dalla propria zampa una dolorosa spina, all'interno di una caverna dove lo schiavo si era rifugiato, fuggendo dal suo padrone, il governatore della Provincia d'Africa, a causa delle continue percosse subite. L'imperatore, dopo la sua testimonianza, libera sia lo schiavo che il leone. L'opera è generalmente attribuita ad Agostino Veneziano, a cui sarebbe facilmente riconducibile il monogramma A. V., benché Oberhuber si è espresso per un'attribuzione a Marcantonio Raimondi, dopo aver suggerito una collaborazione tra i due. In realtà, già Mariette e Bartsch avevano notato come in questo foglio lo stile di Agostino fosse molto vicino a quello del Raimondi. Tuttavia, il sistema di linee utilizzato, le figure non distaccate l'una dall'altra, sì da creare un effetto di schiacciamento più evidente nelle teste, la raffinatezza e la cura dei dettagli di questo foglio si avvicinano molto ad altre due opere del Veneziano: Ifigenia e Isacco benedice Giacobbe, quest'ultima datata 1522. Pertanto, la datazione di questa incisione sarebbe riconducibile ai primi anni del secondo decennio del XVI secolo. Al British Museum si conserva uno stato anteriore dell'opera, priva del monogramma. Mariette e Bartsch ritenevano che l'incisione traducesse un disegno preparatorio di Raffaello, mentre Passavant pensava al Penni. Il disegno preparatorio è stato scoperto da Oberhuber al Metropolitan Museum di New York, e non esclude che possa trattarsi proprio della mano di Agostino. Engraving, 1520 - 22 ca, signed with monogram AV on a rock in the lower right and with the blank tablet in the lower right. Believed after a drawing by Raphael. Example of the second state, with the tablet of Raimondi at lower right. Magnificient impression, printed with inusual brown ink on contemporary laid paper with unidentified watermark, trimmed to the platemark, in good condition. The work depicts the slave Androcles being freed by the Emperor Hadrian, after being saved by a lion during the games in the Circus Maximus. The emperor, surprised at this, summoned the slave to him, who told him the whole story: the fair recognized in Androcles the man who, years ago, in Africa had saved her, pulling out a painful thorn from its paw, in a cave where the slave was refugee, fleeing from his master. The emperor, surprised at this story, pardoned the slave and freed both. The engraving is generally attributed to Agostino Veneziano, due to monogram AV, though Oberhuber has proposed an attribution to Marcantonio Raimondi, after suggesting a collaboration between the two. Mariette and Bartsch alredy noted that in this paper the style of Augustine was very close to that of Raimondi. However, the system of lines used, the figures are not detached from each other, so as to create a crushing effect more evident in the heads, the refinement and the elgance in this paper are very close to two other works byVenetiano : Iphigenia and Isaac blesses Jacob, the latter dated 1522. Therefore, the dating of this rengraving can be traced back to the early years of the second decade of the sixteenth century. In the British Museum is preserved an earlier state of the work, without the monogram. Mariette and Bartsch believed the engraving after a lost design by Raphael. At the Metropolitan Museum of Art in New York (inv. 80. 3.190), Oberhurer has found the preparatory drawing, which he believes could be attributed to Augustine himself. A good example of this rare print. Bartsch, XIV.160.196; Le Blanc, III.78.176; Passavant, VI.54.36; Oberhuber, vol. 26, p. 193; Roma e lo stile classico di Raffaello, p. 295 n. 210; Raphael Invenit, p. 235 n. 1; Witcombe, p. 36. Dimensioni 267x402. 267 402

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        Plutarchi Cheronei et Aemilii Probi Illustrium virorum vitae cum illo indice diligenter recognitae

      - Paris, Aera debent jodoco Badio Ascensio 1520 (Josse Bade). In-Folio plein vélin d'époque. Dos à nerfs orné de fleurons en noir. Titre manuscrit. Fleurons dans les angles des plats. 1 feuillet blanc, page de titre illustrée à la marque de l'imprimeur Bade. 21 feuillets non chiffrés pour la table alphabétique suivie de 393 feuillets ornés de lettrines décorées. À la fin du dernier feuillet. CCCXCIII : Finis in chalcographia ascensiana idibus julii 1520. Habes, lector studiose, quas in fronte polliciti sumus illustrium virorum vitas triplici discrimine : partim (quae plurimae sunt) e Plutarcho traductas, partim ex aliis sed plutarchicis addi solitas, partim ab Aemilio Probo concinnatas, cujus eum librum qui Romanos imperatores cum graecis. conferendos explicat desideramus. Quelques annotations anciennes manuscrites, une mouillure pâle en marge extérieure des dix derniers feuillets, sans atteinte au texte. Exemplaire complet et bien relié. [Attributes: Hard Cover]

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