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

        EXIMII DOCTORIS MAGISTRI NICOLAI DE ORBELLIS Ordinis Minorum SUP [=SUPER] SENTENTIAS COMPENDIUM SINGULARE, Elegantiora Doctoris Subtilis [ie. Duns Scotus] Dicta summatim complectens, quod nunc dudum multis viciatum erroribus: castigatissime recognitum noue extat.

      Francis Regnault, Paris 1520 - Fine woodcut elephant device of Francois Regnault on titlepage. Octavo near contemporary laced vellum with manuscript spine title (vellum crinkled and hinge starting to split at front of spine). Titlepage in red & black (early ownership neatly written on either side of Regnault's elephant device) Unpaginated but 374 leaves most neatly numbered in manuscript, collated complete. Colophon dated Paris 8th May 1521. *Nicolas de Orbellis' commentary on John Duns Scotus' work on Peter Lombard's Sententiae (referenced by Adams O251). 1 volume.

      [Bookseller: Abbey Antiquarian Books]
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        Platinae Hystoria De Vitis Potificum Periucundae: Diligenter Recognita

      Paris: Regnault & Idus 1520 - 2 Vols in 1. [1512]. 12o. CCCLXVII, [i], Index [4], [134] Fully bound in contemporary calf-skin leather. 5 raised bands. 6 compartments. Gilt title plate and decorative flourishes within compartments. Tight binding and solid boards. Minor shelf wear. Professionally repaired and treated with weather-resistant lacquer. Edges slightly worn. joints split. Rubbing to boards. Terminal page: Impressum ludini per Gilbertu de villiers: Impensis honestissimi viri domini Vincentii de pthonariis & costantini fradin. Anno domini Millesimo quingentesimo duodecimo. Die vero x. mensis Martii.) Woodcut on title page, as well as numerous woodcut letter blocks throughout. Seminary library bookplate inside front board. Small ink note in lower margin of title page. Early ink marginalia. Light toning. Minor damp stains, mostly in later portions. Scattered ink notes. Very good condition.Bartolomeo Platina, born at Piadena, near Cremona, was a Greek/Roman scholar, known for an array of published historical and philosophical works. He first enlisted as a soldier, and was then appointed tutor to the sons of the Marquis Ludovico II Gonzaga. In 1457, he went to Florence, and studied under the Greek scholar Argyropulos. In 1462 he proceeded to Rome, probably in the suite of Cardinal Francesco Gonzaga. After Pius II had reorganized the College of Abbreviators (1463), and increased the number to seventy, Platina, in May 1464, was elected a member. The two volume Vitæ Pontificum constitutes a comprehensive history of the lives of Romes Popes. A significant historical volume in excellent condition, this book would make a fine addition to the collection of any religious scholar. Please feel free to view our photographs of this beautiful volume. Ships daily. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
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        Institutiones Oratoriae

      [Colophon on fo. 204v:] Venice: Bonetus Locatellus for Octavianus Scotus, 17 July 14[93]. folio. 293 x 208 mm. [ff. 206]. complete with final blank. roman types in 2 sizes. 41 lines of text surrounded by 61 lines of commentary. Scotus' printer's device at end. some text diagrams. several large woodcut initials. other smaller initial spaces with guide letters. A fine, fresh copy, bound in 17th century sprinkled calf, gilt back (front joint cracking, corners bumped, signature e bound out of order after f). A VERY HANDSOME COPY OF THIS CELEBRATED TREATISE ON EDUCATION, WHICH IS ALSO AN IMPORTANT EARLY DOCUMENT OF LITERARY CRITICISM. "QUINTILIAN TAKES HIS FUTURE ORATOR AT BIRTH AND SHOWS HOW THIS GOODNESS AND CHARACTER AND SKILL IN SPEAKING MAY BE BEST PRODUCED. NO DETAIL TRAINING IN INFANCY, BOYHOOD OR YOUTH IS TOO PETTY FOR HIS ATTENTION. THE PARTS OF THE WORK WHICH RELATE TO GENERAL EDUCATION ARE OF THE GREATEST INTEREST AND IMPORTANCE. QUINTILIAN POSTULATES THE WIDEST CULTURE; THERE IS NO FORM OF KNOWLEDGE FROM WHICH SOMETHING MAY NOT BE EXTRACTED FOR HIS PURPOSE; AND HE IS FULLY ALIVE TO THE IMPORTANCE OF METHOD IN EDUCATION.HE DEVELOPS ALL TECHNICALITIES OF RHETORIC WITH A FULNESS TO WHICH WE FIND NO PARALLEL IN ANCIENT LITERATURE.[HIS] LITERARY SYMPATHIES ARE EXTRAORDINARILY WIDE.ANCIENT LITERARY CRITICISM PERHAPS TOUCHED ITS HIGHEST POINT IN THE HANDS OF QUINTILIAN." (ENCYCL. BRITANNICA, 11TH EDN.) THIS IS PROBABLY THE FIRST EDITION TO CONTAIN THE EXTENSIVE COMMENTARY OF RAFAELLO REGIO (RAPHAEL REGIUS) [D. 1520] OF BERGAMO WHO TAUGHT AT PADUA (AN EARLIER MILAN 1491 EDITION CITED BY HAIN-COPINGER WITH NO COLLATION APPEARS TO BE A GHOST). REGIO ALSO PUBLISHED COMMMENTARIES ON OVID AND OTHER CLASSICAL AUTHORS. BMC V 441. BRUNET IV 1024. GOFF Q-29. HAIN-COPINGER 13652. IGI 8264. OATES 1971. PROCTOR 5045.. 1st Edition. Hardcover. Very Good.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Q. Horatii Flacci Odarum libri quator: epodi Carmen saeculare Porphyrio: anto. Manci. Ascensio interpretibus. Eiusdem ars poetica. Sermonum libri duo. Epistolarum totidem. Joanne Britan. Brixi. Interprete.

      Gulielmum de Fontaneto de Monteferrato, Venice 1520 - Folio. ff. [6], CCXXXIIII. Title in red and black inside ornamental wood cut border. Printed in Roman type. Text contains 12 woodcuts and numerous decorative initials of various styles and sizes. Horace's verse is surrounded by commentary. Rebound in modern speckled calf. Leaves rinsed in distilled water (no chemicals used); mild spotting and staining remain - including areas in the first two signatures of transparent gray smudging (perhaps a printing / manufacturing error). Several marginal tears are neatly sealed; title page is a bit faded in areas; bottom inside corner of t.p. carefully repaired with contemporary paper; marginalia on leaf XCVIII written in a miniscule old hand; occasional lines of verse underlined. Outer edges of text-block left untrimmed after last re-sewing. Quintus Horatius Flaccus (65-8 bce) is considered one of the greatest Roman poets. This collection of his works includes the "Odes," the "Epodes," the "Carmen Saeculare," the "Ars Poetica," the "Epistles" and the "Satires" (Sermonum). Commentaries are included by the 3rd century c.e. Pomponius Porphyrio and by the 15th/16th century humanists Antonio Mancinelli, Giovanni Britannico and Josse Badius (Ascensius). [Adams H-866; Schweiger II, p. 392; BM-STC Italy, p.333; Edit16 CNCE 22688 (lists several copies); Panzer VIII, p.463; OCLC lists 1 copy]. [Attributes: Hard Cover]

      [Bookseller: Robert McDowell Antiquarian Books]
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        Opus insigne beati patris Cyrilli patriarche Alexandrini in evangelium Ioannis: a Georgio Trapezontio traductu, & secunda emissione exacte recognitum. - Thesaurus ... XIV libros ... de consubstantialitate filii ... contra haereticos ... - Commentarii in Leviticum XVI libris digesti

      Paris, Hopyl 1520 -1521. 30 cm. In 1 Band. 263, (1 weiß); (4), 86; 62, (2) Blatt mit 3 Holzschnitt-Titeln, 2 ganzseitigen Metallschnitten und zahlreichen Initialen. Holzdeckelband der Zeit mit 2 Messingschließen und blindgeprägtem Schweinsldr.-Rücken, zeitgenössischer handschriftlicher Titel auf dem Vorderdeckel - Index Aurel. 149.148ff. - Panzer, Annales VII, 1140, 1231f. - BM STC French 1470 127 (Thesaurus) - Brunet II, 462 (vgl.) - In Teil 2 und 3 auf dem jeweils letzten Blatt verso wiederholte Metallschnitte (Merlo 1140). Diese zeigen in Renaissance-Architektur die Heilige Ursuala mit Jungfrauen und Spruchband "Ima permutat. Brevis hora summis", darüber Anbetung der heiligen drei Könige, darunter Martyrium der Makkabäer. Oben links das Kölner Wappen, rechts Wappen mit Monogramm "PW". Der zweite Metallschnitt in etwas schwächerem Abdruck. Merlo zufolge befinden sich diese Metallschnitte in Büchern, die für den Kölner Buchhändler Birckmann in Paris gedruckt wurden. Im Anfang und Schluß Wurmlöcher, Schließhaken entfernt, der hintere Holzdeckel passend erneuert, im Innendeckel Besitzeintrag "Andreas Baumann(?) ... 1567", auf Titel Stempel und zeitgen. Eintragung, vereinzelt Stockflecken und Feuchtigkeitsränder am Schnitt, im Anfang und Schluß Blattränder stellenweise fingerfleckig. - Sprache / Language: Lateinisch / Latin -

      [Bookseller: Wenner Antiquariat]
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        Devises Des armes des Chevaliers de la Table Ronde qui estoient du temps du très renomé et vertueux Arthus roy de la Grant Bretaigne Avec la descriptio de leurs armoiries.

      On les vend a Paris en la rue Sainct Jaques a lenseigne de Lelephant devàt les Mathurins. [Regnault, ca. 1510-1520]. 1510 - 1 vol. petit in-32° (113 x 86 mm.) de [98] ff., foliotés de a1-n2, caractères gothiques. 179 blasons gravés en bois, dont 162 en couleurs. Plein vélin d’époque, dos lisse à deux nerfs. Conservé dans une boîte de bois postérieure ornée de deux blasons (Parchmin déformé, graffitis anciens à l'encre brune sur les gardes, quelques traces de mouillures et diverses taches et salissures dans le corps d'ouvrage). Première édition séparée de l’Armorial des Chevaliers de la Table ronde, d’une insigne rareté, illustrée de 179 blasons gravés, dont 162 en coloris d’époque. A la fin du Moyen-âge, la légende arthurienne connait une vogue considérable. Le cycle des romans de la Table ronde est lu, copié, traduit, adapté dans toute l'Europe et les héros de ces romans, comme beaucoup de héros légendaires, se trouvent dotés très tôt d'armoiries. En France, dès le 15ème siècle, quelques manuscrits diffusent cette héraldique légendaire. Ce petit volume s'ouvre sur une préface traitant des origines de l’héraldique. Suivent 179 blasons dont le premier est celui du roi de France (blason qui disparaît dans les éditions suivantes), un par page avec, pour chacun, la description du blason et les qualités du chevalier concerné. A la fin sont recueillis huit blasons de chevaliers inconnus. Paru pour la première fois en tête d'une édition de Gyron le Courtoys imprimé par Vérard vers 1501 (Pastoureau, "Armorial des chevaliers de la Table ronde", 1983, p.37 - Brunet II, 1840), les bibliographes décrivent quatre éditions séparées de ce texte. La présente édition, la première et la seule en caractère gothique, est imprimée par François Regnault, célèbre libraire parisien, qui exerça entre 1501 et 1540. Brunet en cite quatre exemplaires, dont un seul en couleurs : celui de la bibliothèque Duquesnoy. Par la suite, furent imprimées une édition datée de 1559 (Brunet, Supplément I, 386) ; une autre pour Antoine Houic (Catalogue du British Museum) ; et enfin, une édition lyonnaise de 1590 (Brunet II, 661 ; Harvard, 167). Provenance : "Laporte de Pierre, anno 1506, Durobin" (Inscription manuscrite à l'encre brune sur la page de titre). Précieux exemplaire avec les blasons enluminés, en couleurs d'époque. 1 vol. 32mo. 179 engraved coats of arms, 162 in contemporary colours, [98] ll. printed in gothic types. Contemporary vellum, wood box. Utmost rare copy of this first separate edition of the Knights of the Round Table's Armorial. After the preface, each blazon is printed on one page, with its description and the Knight's qualities. The first coat of arms is the King's one, which disappears in the following editions, in-fine: 8 blazons of anonymous knights. Fine copy. Brunet, II, 17009.

      [Bookseller: Librairie Ancienne Les Trois Islets]
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        Grande miniature sur vélin : dédicace de cathédrale, Paris vers 1520

      - Livre ancien Condition : Très importante peinture sur vélin (22,5 x 22,5 cm) illustrant le « T » majuscule du Terribilis est locus, introït de la messe de la dédicace d’une église ou cathédrale. Cette lettre, qui ornait un graduel monumental dont on peut reconstituer les dimensions (environ 75 x 55 cm), représente la dédicace du lieu saint, l’évêque pose le saint chrême sur l’une des croix de consécration, alors que les chantres entonnent sur deux missels le propre chant que cette initiale illustre. Cette scène se retrouve dans trois manuscrits parisiens : un manuscrit dit pontifical de Poitiers détruit en 1871, le graduel de Saint-Dié (folio 338 ; actuellement détenu par la médiathèque de la ville de Saint-Dié), et dans l’antiphonaire de Philippe de Villiers de l’Isle Adam qui se trouve dans le trésor de la cathédrale Saint-Jean de La Valette dans l’île de Malte. Cette oeuvre majestueuse a été composée et enluminée à Paris vers 1520 dans l’atelier d’Etienne Collault et est de la même main que celle ornant l’antiphonaire de Villiers de l’Isle Adam. Provenance : cette enluminure provient de la collection de dessins anciens et modernes d’Anatole France, dispersée à l’Hôtel Drouot les 20 et 22 avril 1932, n°56. Encadrement XVIIe en bois sculpté. Réf. : revue L’art de l’enluminure, sept./oct. 2008, « Le graduel de Saint-Sié », p. 61.

      [Bookseller: L'Oeil de Mercure]
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        VIRTUTI ET ÆTERNITATI CONSECRATUM. AVRE. Æ / lUCLETISS.Q PETRI CARÆ COMITIS / EQTIFQFPLEDIDI/NECNÕ LURECONFULTI GRAUIFS.AC ORATORIS CLARIFS. ORATIONES. IN QUIBUS QUICPID DEMONSTRATIUO IN GENERE VL PIAM REPERIRI POTEST/ CUM RECONDITA ERUDITONE HABES LECTOR

      Turin: P.P. [Petrus Paulus] Porrus Chalcographus Imprimebat Kal. [kalendarium] Nouem. M.D.XX., 1520 Printed September, 1520. 118 numbered leaves [236 pages]. Woodcut design borders on the title and first leaf of dedication. Woodcut initials throughout. Only three listed on OCLC. Bound in contemporary full leather with blind stamp designs to the front and rear covers. Three raised bands. End papers appear replaced long ago. Interior and exterior hinges are sound. The text is quite very good. The leather covers are well worn. . Hardcover.

      [Bookseller: Robert Gavora, Fine and Rare Books]
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        Kriegsbuch, . . . Frankfurt am Main, heirs of Sigmund Feyerabend, 1596. 3 volumes bound as 1. Folio. With each of the 3 title-pages with a different large woodcut, 22 folding engraved plates, woodcut author's portrait, 334 woodcuts (including repeats) by Jost Amman in text, colophon with Feyerabend's woodcut device. Contemporary blind-tooled and panel-stamped pigskin over bevelled wooden boards, the front with portrait of the Holy Roman Emperor Charles V; back board with portrait of Johann Friedrich I, Elector of Saxony, 2 brass clasps.

      Bury & Breman (3rd vol.); Jähns, pp. 550-558; Jordan 1341; Sloos, Warfare 01003; VD 16, F 3125-3127; for Fronsperger: NDB V, pp. 662-663. Attractive copy of the third and best edition of Fronsperger's famous Kriegsbuch, one of the most important military works of the 16th century, beautifully illustrated with hundreds of woodcuts by Jost Amman and 22 engraved folding plates. Leonhardt Fronsperger (1520?-1575) served in the Imperial army and rose through several administrative posts in the military and the military courts. He began publishing practical military handbooks in 1555. Title-page with two owner's entries struck through, and another not struck through at the foot of the page. Some browning throughout and with an occasional marginal defect, but otherwise in very good condition and with generous margins. The binding with some small wormholes, spots and scuff marks, but also good and with the panel stamps and tooling well preserved. A classic and comprehensive military manual, with hundreds of illustrations.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Basilii Magni Caesariensium in Cappadocia Antistitis sanctissimi Opera plane divina, variis e locis sedulo collecta & accuratione ac impensis I. Badii Ascensii recognita & coimpressa, quorum Index proxima pandetur charta.

      (Paris), Jodocus Badius, 1520.. Folio. (10),178 leaves. H.calf. 30 cm (Ref: Hoffman p. 412; Renouard II,145/6; Moreau 1511-1520: 2246; not in Brunet, or Ebert) (Details: 19th century binding. Back gilt, and with a red morocco letterpiece; marbled leather-lookalike paper on covers; marbled endpapers; title with woodcut borders with allegorical scenes & fable animals; in the heart of the title a large woodcut printer's device depicting the 'prelum Ascensianum'; the date, 1520 is repeated in the impressum on the last page) (Condition: Cover worn at extremities; front joint starting to crack; old ownership entry on title; right & left lower corner of title skillfully restored; occasional old ink marginalia; margins, or part of the margins of ca. 8 leaves have been repaired skillfully. Two small, not irritating wormholes in the preliminary leaves; the last page is skillfully mounted; the 2 leaves with the 'epistola nuncupatoria' by J. Argyropulus, have erroneously been bound by the binder immediately between leaf II & III) (Note: Jodocus Badius, 1462-1535, was an influential scholar and a pioneer of the printing industry. He teached Latin & Greek in Lyon. His Parisian firm became famous for its Erasmus and Bude editions. This is the second Latin translation of Basilius, 'opera et studio Jacobi Fabri Stapulensis'. The first one dates from Rome 1515. The editor Jacobus Faber Stapulensis (Jacques Lefevre d'Etaples) is best known for his translation of the New Testament into French, which became the basis of all subsequent Bible translations into French. Only a few other works of Basilius had been published before 1520; the translators mentioned are Johannes Argyropulus, Georgius Trapezuntius, Raffaele Maffei & Rufinus Aquileiensis; the book contains also a translation of the 'Monodia Gregorii Nazianzeni in Magnum Basilium') (Provenance: Written below the engraving on the title: ex libris Missionariorum a Sto Spiritu. Ownership entry of one 'De la Bournee' in lower margin) (Collation: A10 (A9 & A10 erroneously bound after A2); A-X8 Y6 Z4 (Z4 verso blank). (Photographs on request)..

      [Bookseller: Antiquariaat Fragmenta Selecta V.O.F.]
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        Malleus Maleficarum Maleficas et earum haeresim ut phramea potentissima conterens

      Paris/Jehan Petit, 1520.. Ledereinband. Latin title: "Malleus Maleficarum Maleficas et earum haeresim ut phramea potentissima conterens", English title: "The Hammer of Witches which destroyeth witches and their heresy as with a two-edged sword", binder annotated 'Malleus Maleficarum 1535', title page with woodcut printers mark of Jehan Petit, Paris, 16th century,. Age 1520-1521 Condition: Well worn, browning, some notations including page numbers, some worm holes particularly to back fly. Measurements: 13,5cmx9cmx3,5cm Collation: 604 pages plus one blank leave, complete Extremely rare edition of the highly sought after Malleus Maleficarum. Currently the only edition from the 16th century for sale. Do not miss this opportunity to own one of the most sought after books and the second most read book after the bible! About the malleus maleficarum: The Malleus Maleficarum[2] (commonly rendered into English as "Hammer of [the] Witches";[3] Der Hexenhammer in German) is a treatise on the prosecution of witches, written in 1486 by Heinrich Kramer, a German Catholic clergyman. The book was first published in Speyer, Germany, in 1487.[4] James Sprenger is also often attributed as an author, but some scholars now believe that he became associated with the Malleus Maleficarum largely as a result of Kramer's wish to lend his book as much official authority as possible.[5] The main purpose of the Malleus was to systematically refute arguments claiming that witchcraft does not exist, to discredit those who expressed skepticism about its reality, to claim that those who practised witchcraft were more often women than men, and to educatemagistrates on the procedures that could find them out and convict them.[6] Background[edit] Magic, sorcery and witchcraft had long been condemned by the Church, whose attitude towards witchcraft was elaborated on in the canon Episcopi written in about 900 AD. It stated that witchcraft and magic did not really exist, and that those who believed in such things "had been seduced by the Devil in dreams and visions into old pagan errors".[7] Until about 1400 it was rare for anyone to be accused of witchcraft, but heresies had become a major problem within the Church by the 13th century,[8] and by the 15th century belief in witches was widely accepted in European society. Those convicted of witchcraft typically suffered penalties no more harsh than public penances such as a day in the stocks,[9] but their persecution became more brutal following the publication of the Malleus Maleficarum, as witchcraft became increasingly accepted as a real and dangerous phenomenon.[10] In 1484 Heinrich Kramer had made one of the first attempts at prosecuting alleged witches in the Tyrol region. It was not a success: he was expelled from the city of Innsbruck and dismissed by the local bishop as a "senile old man". Kramer was opposed by the local clergy partly because of his eccentric behavior (as the Bishop of Innsbruck's verdict indicates), and partly because he didn't hold any official position as an Inquisitor despite his efforts to make himself into one. According to Diarmaid MacCulloch, writing the book was Kramer's act of self-justification and revenge.[9] Some scholars have suggested that following the failed efforts in Tyrol, Kramer and James Sprenger (also known as Jacob or Jakob Sprenger) requested and received a papal bullSummis desiderantes affectibus in 1484. It allegedly gave full papal approval for the Inquisition to prosecute what was deemed to be witchcraft in general and for Kramer and Sprenger specifically.[11] Malleus Maleficarum was written in 1486 and the papal bull was included as part of the preface.[11] Publication[edit] The Malleus Maleficarum was published by Kramer (Latinised as "Institoris")[12] and Sprenger in 1487. Scholars have debated how much Sprenger contributed to the work. Some say his role was minor,[13] and that the book was written almost entirely by Kramer, who used the name of Sprenger for its prestige only,[12] while others say there is little evidence for this claim.[14] The preface also includes an approbation from the University of Cologne's Faculty of Theology. The authenticity of the Cologne endorsement was first questioned by Joseph Hansen but has not been universally questioned; Christopher S. Mackay rejects Hansen's theory as a misunderstanding.[15] Nevertheless, it is well established by sources outside the "Malleus" that the university's theology faculty as a whole condemned the book for unethical procedures and for contradicting Catholic theology on a number of important points. Hence the Malleus' claims about an endorsement from the same faculty is at best a misleading approval granted by only a small percentage of the faculty, and at worst a complete forgery. Scholarly opinion is divided on the latter point, but there is general agreement that even if it were genuine it was misrepresented by Kramer, as was the copy of "Summis desiderantes" whose inclusion implies a Papal endorsement of the "Malleus" although "Summis desiderantes" had been issued before the "Malleus" was written.[16][17][18][19] The Malleus Maleficarum drew on earlier sources such as Johannes Nider's treatiseFormicarius, written 1435/37.[20] The book became the handbook for secular courts throughout Renaissance Europe, but was not used by the Inquisition, which even cautioned against relying on the work.[21] Between 1487 and 1520 the work was published thirteen times. It was again published between 1574 and 1669 a total of sixteen times. Regardless of the authenticity of the endorsements appearing at the beginning of the book, their presence contributed to the popularity of the work.

      [Bookseller: Versandantiquariat Liber Antiqua]
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        Tabula III Asiae

      Straßburg ca. 1520. Karte zeigt den Kaukasus mit dem Kaspischen und dem Schwarzen Meer, Rückseite eine Ansicht von Land und Leute mit Beschreibung und ornamentale Verziehrungen, altkoloriert, Holzstich, 30 x 42. Zustand: Perfekt, dem Alter entsprechend

      [Bookseller: Antique Sommer & Sapunaru KG]
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        Tabula Moderna Norbegie Et Gottie.

      1520 - Strasbourg: Johannes Schott, 1520. Woodcut, printed area 320 x 590mm. This scarce woodcut map of Scandinavia appeared in the supplemental section of modern maps in the 'Geographiæ Opus Novissima.', and is a copy of the Ulm map of 1482. Cities marked include 'Asto' (Oslo), 'Begensis' (Bergen), 'Nodrosia' (Nidaros) and 'Stauargerensis' (Stavanger). This map was first printed in 1513: this example dates from 1520, with all but one of the lines of letterpress text in the borders removed. GINSBERG: Printed Maps of Scandinavia & the Arctic, 5.

      [Bookseller: Altea Antique Maps]
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        MORALE REDUCTORIUM

      Lugduni, Impressum in officina libraria Jacobi Marechal, 1520.super tota[m] Biblia[m] fratris Petri Berthorij Pictavie[n]sis ordinis divi Benedicti divinaru[m] litteraru[m] studiosissimi, quattuor [et] triginta libris consummatu[m], singulisq[ue] ([cu]m materie exigentia[m]) capitibus aptissime distinctu[m], ubi notabiliorum historiaru[m] ac figuraru[m] veteris [et] novi testamentoru[m], premissa compendiosa textus summa, tropologica seu allegorica atq[ue] no[n]nunque [quamquam?] anagogica subnectit[ur] explanatio, adiectis Biblie [con]corda[n]tijs ... 1520, date taken from colophon. Large 8vo, approximately 250 x 175 mm, 10 x 7 inches, Latin text, title page printed red and black, architectural border with portrait of Bercheur at the top and 14 portraits of scholars reading or writing at the sides and along the bottom, plus the printer's pictorial device below the text, numerous pictorial and decorated initials large and small, black letter printed in two columns, leaves: (12), CCXVIII (misprinted CCVIII), leaves LI to LIIII bound out of order, collated and guaranteed complete, bound in later vellum, no label or lettering, all edges red, marbled endpapers. Vellum lightly marked, spine very slightly darkened, upper cover slightly bowed, original front endpaper slightly creased and slightly torn, repaired, remains of small label to lower margin of title page, small ink number in fore - edge margin of title page, some pale damp staining to lower margin of first 32 leaves, the same to upper margin of first 12 leaves, both recurring occasionally, name of Bible book in faint tiny hand in upper outer corner of rectos, small area of worming to fore - edge margin of 7 leaves, 1 with small piece missing, nowhere near text, 10 of the last leaves in the volume have pale water staining all over the page, showing worst on the final leaf which also has an old repair to a hole in the lower margin. Binding tight and firm. A good copy of a post incunabula printing. Pierre Bercheur (ca. 1290 - 1362), a French Benedictine scholar was a translator, encyclopaedist, and the author of several works, including the Ovidius Moralizatus (Ovide Moralise) (1340), a work of mythography. The Gesta Romanorum, a Latin collection of anecdotes and tales, is sometimes attributed to him. In the 1340s, Bercheur became a student at the University of Paris and met Petrarch there again, having first met him in Avignon in the 1320s. The Italian poet was on an embassy to the French court. Bercheur translated into French Petrarch's reassembly (in Latin) of Livy's history of Rome. He was an eloquent preacher and a voluminous homiletical writer. His most important work is the Repertorium morale, for the use of preachers, a kind of Biblico - moral dictionary, in which the principal words of Scripture are arranged alphabetically and moral reflections attached thereto. His Reductorium morale to the Sacred Scriptures in thirty - four books, embraced all the books of the Bible and was first printed at Strasburg in 1474. See: Catalogue of Books Printed on the Continent of Europe, 1501 - 1600 In Cambridge Libraries, Volume 1, page 118, this edition not listed; Brunet, Volume I, 819. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
 14.   Check availability:     maremagnum.com     Link/Print  


        Compilatio Leupoldi ducatus austrie filij de astrorum scientia. Decem continentis tractatus

      Venice: Melchiorre Sessa and Pietro de Ravani, 1520. Venice: Melchiorre Sessa and Pietro de Ravani, 1520. Second Edition. Morocco. Near fine. Second Edition. Morocco. 4to in 8s (219 × 160 mm), ff. 94; engraved woodcut and device to title-page, head- and tail-pieces, numerous engraved illustrations and diagrams; a few leaves slightly creased and some marginal repairs; occasional light finger-soiling, else generally clean and crisp; marbled endpapers; near fine in modern citron morocco, gilt inner dentelles. Second edition of a medieval summary of astrology including early work on meteorology.Sometimes, mistakenly, identified with Leopold VI (1176-1230), known as Leopold the Glorious, Duke of Austria from 1198 and of Styria from 1194, in reality the author (or authors) of this work seemingly flourished some time in the second half of the thirteenth century. In the incipit the author identifies himself only as 'Leupoldus ducatis Austrie filius', which means no more than 'Leopold, a son of the duchy of Austria', not that he is the son of the Duke. The work is in part based on the writings of the Persian astrologer, astronomer and philosopher, Abu Ma'shar al-Balkh (787-886 CE), known in the west as Albumasar, Albusar, or Albuxar, reputedly the greatest astrologer of the Abbasid court in Baghdad. Indeed it is from another of Ratdolt's works, Abu Mash'ar's Liber de magnis coniunctionibus, published in the same year as the Compilatio (1489), (and again by Melchiorre Sessa in Venice in 1515) that whole sections of the present work seem to derive.The Compilatio is organised into ten treatises: the first dealing with the geometrical orbits and motions of spheres; the next applying these principles to the movements of the planets; and then progressively into the arcana of astrological influence. Nevertheless, among these treatises is one, De mutatione aeris, which provides information about the signs used by the peasants of the thirteenth century to predict the weather; this is also the treatise which shows the greatest degree of originality being the result of a synthesis of a large number of earlier works. It was the treatise by which Leopold was best known by the scholastics. In addition to astrology, the work also summarises current astronomolical knowledge, outlining both the work of Albumasar, but also European authorities such as Johannes de Sacrobosco, Albert the Great and Gerard of Cremona, discussing such 'observations' as the precession of the sphere of fixed stars, its retrograde motion of around one degree per century, and the distances calculated between the Earth and the other heavenly bodies.The editio princeps was published by Erhard Ratdolt at Augsburg in 1489. This second edition, by Melchiorre Sessa and Pietro de Ravani, follows Ratdolt's edition very closely.See Pierre Duhem, Le systéme du monde, III, pp. 312-317.Adams L516, CLC, 278 (for editio princeps); William Lilly cites this second edition in the bibliography of his Christian Astrology (1647), sig. 5N4r; COPAC records copies held in UK institutions at Cambridge, Oxford, York Minster and the V&A.

      [Bookseller: Abel Rare Books Ltd.]
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        Super libros posteriorum Aristotelis... profundissima commentaria: cum duplici textus translatione: antiqua scillicet : Ioannis Argyropili bicantij: nunc primum addita. Venedig, Giunta 1520. Fol. 147 num.Bll., 6 Bll., mit Holzschn.-Druckermarke, einigen geometr. Figuren u. 2 figürl. Initialen, alter Prgt.-Manuskriptbd.

      . . Nicht in Adams.- Aristoteles Kommentar des um 1245 in Rom geborenen Aegidius Romanus (gest. 1316 in Avignon). Er war von 1267 bis 1272 Schüler des Thomas v. Aquin in Paris, wurde 1285 Magister der Theologie u. ab 1295 Erzbischof v. Bourges. Seine Lehre war 1287 zur Ordensdoktrin der Augustiner erhoben worden (sog. ägidianische Schule).- Tls. gering gebräunt od. braunfleckig, zu Beginn leichter Wasserrand, tls. kl. Wurmgang im w. Rand, wenige hs. Anmerkungen od. Unterstreichungen, Ebd. berieben, Rücken mit kl. Fehlstellen u. Wurmlöcher.

      [Bookseller: Antiquariat Johannes Müller]
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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.

      Wien, Johannes Singrenius (Singriener) für Lucas Alantse, 1520.. 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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        Haly de iuditiis. Preclarissimus in juditiis astrorum Albohazen Haly filius Abenragel. Noviter impressus et fideliter emendatus etc.

      (Venice, Lucantonio de Giunta), 2. I. 1520.. Folio (213 x 287 mm). 107 ff. (lacking final blank). Printed in double column. Title with large woodcut, woodcut diagram, decorative initials and printer's device to foot of final f. Modern blind-tooled calf with gilt spine.. A rare and early edition of this elaborate system of astrology, edited by Bartholomäus Alten. Abul Hasan Ali ibn abi Rijal (Albohazen Hall), probably born in Cordoba, flourished in Tunis from c. 1020 to 1040. He wrote an elaborate system of astrology, the "Distinguished Book on Horoscopes from the Constellations". He enjoyed a great reputation and was celebrated as "Ptolemaeus Alter" and as "summus astrologus". The work was translated from Arabic into Castilian by Judah ben Moses, upon demand of King Alfonso X of Spain, and - in 1485 - from the Castilian into Latin, by Aegidius de Tebaldis and Petrus de Regio. - 1601 ownership to title page. Repairs to lower corner of title (just touching minor part of border) and A2 (loss of a few letters). Lower corner water-stained. Lower corners a little frayed, repair to inner margin of last few ff., some spotting. Not in auction records of the past three decades; only three complete copies in institutional libraries outside Italy (BSB Munich, Württ. Landesbibliothek Stuttgart, UB Erlangen-Nuremberg); the copy in the Bibliotheque interuniversitaire de medecine Paris is incomplete (a mere 98 ff.). - Edit 16, CNCE 814. OCLC 311395050. Not in Adams. Not in BM-STC Italian.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Epistola adversus constitutionem de cleri coelibatu, plane referens apostolicum spiritum.

      Wittenberg, [M. Lotter, 1520].. 4 unn. Bll. Marmorierter Pappband. 4to.. Erste Ausgabe. - Flugschrift zur Zölibatsfrage mit einer anonymen Vorrede Luthers, vom VD 16 dem Augsburger Bischof zugeschrieben, was von der älteren Forschung allerdings nicht gestützt wird: "Die Epistola, die von den Reformatoren in so schamloser Weise ausgenutzt wurde, um ihre Angriffe gegen den Cölibat zu decken, ist längst als ein zwischen 1074 und 1078 entstandenes Machwerk eines unbekannten Gegners der gregorianischen Reform erwiesen" (Wetzer/Welte). - Titel mit hs. bibliograph. Verweis der Zeit. Durchgehend einige Wurmlöcher. - VD 16, U 10. Benzing 818a. Vgl. Claus, Luther, 818 b (Wiener Nachdruck).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Q. Horatii Flacci Odarum libri quator: epodi Carmen saeculare Porphyrio: anto. Manci. Ascensio interpretibus. Eiusdem ars poetica. Sermonum libri duo. Epistolarum totidem. Joanne Britan. Brixi. Interprete...

      Venice Gulielmum de Fontaneto de Monteferrato 1520. Folio. ff. [6], CCXXXIIII. Title in red and black inside ornamental wood cut border. Printed in Roman type. Text contains 12 woodcuts and numerous decorative initials of various styles and sizes. Horace's verse is surrounded by commentary. Rebound in modern speckled calf. Leaves rinsed in distilled water (no chemicals used); mild spotting and staining remain - including areas in the first two signatures of transparent gray smudging (perhaps a printing / manufacturing error). Several marginal tears are neatly sealed; title page is a bit faded in areas; bottom inside corner of t.p. carefully repaired with contemporary paper; marginalia on leaf XCVIII written in a miniscule old hand; occasional lines of verse underlined. Outer edges of text-block left untrimmed after last re-sewing. Quintus Horatius Flaccus (65-8 bce) is considered one of the greatest Roman poets. This collection of his works includes the "Odes," the "Epodes," the "Carmen Saeculare," the "Ars Poetica," the "Epistles" and the "Satires" (Sermonum). Commentaries are included by the 3rd century c.e. Pomponius Porphyrio and by the 15th/16th century humanists Antonio Mancinelli, Giovanni Britannico and Josse Badius (Ascensius). [Adams H-866; Schweiger II, p. 392; BM-STC Italy, p.333; Edit16 CNCE 22688 (lists several copies); Panzer VIII, p.463; OCLC lists 1 copy]. Hardcover.

      [Bookseller: Robert McDowell Antiquarian Books]
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        Flacci Odarum Libri Quatuor: Epodi Carmen Saeculare Porphyrio: Anto. Manci Ascensio Interpretibus [...] quae hisce Commentariji in sunt.

      Venedig: G. de Fontaneto 1520.. Halbledereinband, um 1750 Kl.-Folio, 6 Bll., 234 num. Bll., Titelblatt m. Holzschnittbordüre u. 12 Textholzschnitten.,. STC 333. Adams H 866. Schweiger II, 392. Essling 1168. Graesse III, 349. - Die Ausgabe enthält nicht nur die Oden, sondern enthält Horazens Gesamtwerk; die Texte sind umgeben von den Kommentaren von Pomponius Porphyrius, Antonius Mancinelli, Josse Badius und Johannes Britannicus. Die Holzschnitte stammen aus der in Venedig bei Donino Pincio aus Mantua 1505 erschienenen Ausgabe (Essling 1165). Titel mit tlw. getilgtem Besitzeintrag von alter Hand, Riß und kleinem Ausriß vorne (kein Bildverlust), einzelne Bl. angerändert oder mit tls. hinterlegtem Riß, wenige hs. Marginalien, anfangs und gegen Ende stark wasserfleckig, tlw. stärker gebräunt und fleckig. - (Rücken an Kopf und Schwanz etw. läd., einzelne Wurmlöcher, beschabt und bestoßen). Title with partly erased ownership entry by contemporary hand, tear and small tear-out (not affecting illustration), some leaves restored or with backed tear, a few ms. marginalia, at the beginning and towards the end heavily waterstained, partly stronger browned and soiled. - Half calf around 1800 (spine a little damaged at top and bottom, isolated wormholes, scratched and scuffed).

      [Bookseller: Antiquariat Gallus GmbH]
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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.

      Venedig, Alessandro Bindoni, 20. XI. 1520.. (8), 127 Bll. (ohne das l. w. Bl.). Halbpergamentband unter Verwendung einer Antiphonarhandschrift. 8vo.. Zweite Ausgabe; die Erstausgabe erschien im Vorjahr bei 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). Der Mediziner und Philosoph Guglielmo da Varignana (1270-1339) war Bruder des Bologneser Stadphysikus Bartolomeo da Varignana, der dort die erste gerichtsmedizinische Sektion vornahm. - Durchgehend schwach wasserrandig; etwas knapp beschnitten. Mehrere Anstreichungen von Marginalien von zeitgenöss. Hand. - Edit 16, CNCE 34074. Wellcome 6495. Durling 2198. Hirsch/Hübotter V, 708. Ferguson (Bibliogr. Notes, Index) 317. Nicht in BM-STC Italian, Adams oder Waller.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Biblia Hebraica de Alcala Codex Alfonso de Zamora. Erstausgabe 1996. Vollständiges Testimonio-Faksimile der Pergament-Handschrift G-II-8 in der Real Biblioteca de San Lorenzo de El Escorial.

      Madrid. Testimonio-Faksimile-Verlag.,. Kommentarband: Emilia Fernandez Tejero, T.O. Monasterio, J.de Azcarraga Servert. Auf 980 Ex. lim. Aufl.,mit Zertifikat. Kommentarband spanisch. 772 Seiten. Verziert in Farbe und Gold mit Filigranleisten und labyrinthischen Ornamenten. Text in punktierter spanischer Quadratschrift in 2 Kolumnen. Originalformat Groß-Oktav (27,5 x 20 cm.) lederbezogene Holzdeckel mit Silberprägung im Stil Mudejar.. In Alcala de Henares bei Madrid entsteht diese bedeutende hebräische Bibel mit der ersten kritischen Ausgabe des Vulgata-Textes. (Al-Qal'ah, Al-Kalage: 'die Stadt' nannten die Araber das um 1000 zerstörte römische Complutum). Kardinal Francisco Ximenez de Cisnero, der spätere Erzbischof von Toledo und Primas Spaniens, gründet die Universität von Alcala, die jetzige Complutense, und veranlasst auf seine Kosten die Polyglotte (vielsprachige) Bibel in 6 Bänden (1520). Er gewinnt den besten Hebraisten der Zeit, Alfonso de Zamora mit seiner umfassenden Kenntnis der biblischen Sprachen für den 6. Band, dem Wörterbuch für Hebräisch, Chaldäisch und Latein. Dafür bearbeitet Alfonso die "Biblia Hebraica" in der Lorentina und versieht sie mit Anmerkungen. Der Codex ist der wichtigste der sieben, die für die Complutenser Polyglotte benutzt wurden. Escorial, Biblioteca del Monasterio, G.II.8 Coleccion Scriptorium, 9. 2 vols, 772, 128 pp. This 15th-c. Hebrew Bible, created in Madrid, is exquisitely ornamented with filigree and calligraphic vignettes and labyrinthic designs. It is known that the rabbi Alfonso of mora worked on this codex in the University of Alcala de Henares, and it is believed that part of the MS was taken to Flanders by Aries Montano. It comprises the complete Judeo-Palestinian canon, with the exception of Genesis 38, 24-42 and 16, where folios were lost; apart from a few differences it agrees with the "textus receptus". The book of Psalms is divided into four sections beginning with Ps. 1, 42, 73 & 107. The bible contains a number of fascinating codicological and textual irregularities: Zamora first wrote in the top margins all the folios, the Latin names of the books of the bible, and the corresponding chapter numbers; in the side margins, using the same signs as in the Madrid original, he inserted the chapter divisions which appear in the Polyglot Bible. The Hebrew Books of Samuel, Kings and Chronicles are changed to the Latin titles Kings I & II, Kings III & IV, and I & II of Paralipomena. At a latter date the same famous rabbi removed the titles and numbers in the margins, replacing the former by the original Hebrew names, and the latter by rabbinical alphabetical numbers. In some places only the erasures can be detected, while in other, the original annotations can still be observed. Commentary by Emilia Fermandez Tejero, Maria Josefa de Azcarraga, & Maria Teresa Ortega Monasterio. Limited edition of 980 copies, bound in leather with silver inlay in the Mudejar Gothic style, after the original. Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        Collectanea antiquitatun in urbe, atque agro moguntino repertarum.

      1520 - Collectanea antiquitatun in urbe, atque agro moguntino repertarum. Moguntiae, Ioannis Schoeffer, 1520. 293 x 205 mm, Pergamino moderno, lomo rotulado. hojas, incluida portada grabada [A6, B4-E4].    Magnífica impresión alemana post-incunable con la riqueza ornamental característica de las ediciones ilustradas alemanas del período gótico y pre-renacentista.   El autor fue un arqueólogo y numismático de Mainz, que reflejó en esta obra los hallazgos arqueológicos en dicha ciudad alemana, todos ellos ilustrados con bellas xilografías a toda página. Portada encuadrada en orla xilográfica compuesta por cuatro tacos. Ejemplar restaurado, con refuerzo y sello eliminado en la primera y última hoja Ref:  Brunet, III-391; Graesse, III-402.   Arqueologia, post-incunable

      [Bookseller: ArteyGrafía. com / Elena Gallego]
 24.   Check availability:     IberLibro     Link/Print  


        MORALE REDUCTORIUM,

      Lugduni, Impressum in officina libraria Jacobi Marechal, 1520.. super tota[m] Biblia[m] fratris Petri Berthorij Pictavie[n]sis ordinis divi Benedicti divinaru[m] litteraru[m] studiosissimi, quattuor [et] triginta libris consummatu[m], singulisq[ue] ([cu]m materie exigentia[m]) capitibus aptissime distinctu[m], ubi notabiliorum historiaru[m] ac figuraru[m] veteris [et] novi testamentoru[m], premissa compendiosa textus summa, tropologica seu allegorica atq[ue] no[n]nunque [quamquam?] anagogica subnectit[ur] explanatio, adiectis Biblie [con]corda[n]tijs ... 1520, date taken from colophon. Large 8vo, approximately 250 x 175 mm, 10 x 7 inches, Latin text, title page printed red and black, architectural border with portrait of Bercheur at the top and 14 portraits of scholars reading or writing at the sides and along the bottom, plus the printer&#39;s pictorial device below the text, numerous pictorial and decorated initials large and small, black letter printed in two columns, leaves: (12), CCXVIII (misprinted CCVIII), leaves LI to LIIII bound out of order, collated and guaranteed complete, bound in later vellum, no label or lettering, all edges red, marbled endpapers. Vellum lightly marked, spine very slightly darkened, upper cover slightly bowed, original front endpaper slightly creased and slightly torn, repaired, remains of small label to lower margin of title page, small ink number in fore-edge margin of title page, some pale damp staining to lower margin of first 32 leaves, the same to upper margin of first 12 leaves, both recurring occasionally, name of Bible book in faint tiny hand in upper outer corner of rectos, small area of worming to fore-edge margin of 7 leaves, 1 with small piece missing, nowhere near text, 10 of the last leaves in the volume have pale water staining all over the page, showing worst on the final leaf which also has an old repair to a hole in the lower margin. Binding tight and firm. A good copy of a post incunabula printing. Pierre Bercheur (ca. 1290-1362), a French Benedictine scholar was a translator, encyclopaedist, and the author of several works, including the Ovidius Moralizatus (Ovide Moralise) (1340), a work of mythography. The Gesta Romanorum, a Latin collection of anecdotes and tales, is sometimes attributed to him. In the 1340s, Bercheur became a student at the University of Paris and met Petrarch there again, having first met him in Avignon in the 1320s. The Italian poet was on an embassy to the French court. Bercheur translated into French Petrarch&#39;s reassembly (in Latin) of Livy&#39;s history of Rome. He was an eloquent preacher and a voluminous homiletical writer. His most important work is the Repertorium morale, for the use of preachers, a kind of Biblico-moral dictionary, in which the principal words of Scripture are arranged alphabetically and moral reflections attached thereto. His Reductorium morale to the Sacred Scriptures in thirty-four books, embraced all the books of the Bible and was first printed at Strasburg in 1474. See: Catalogue of Books Printed on the Continent of Europe, 1501-1600 In Cambridge Libraries, Volume 1, page 118, this edition not listed; Brunet, Volume I, 819. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        AN. LUCANI BELLORUM CIVILIUM SCRIPTORIS ACCURATISSIMI PHARSALIA: ANTEA TEMPORUM INIURIA DIFFICILIS: AC MENDOSA. Novissime autem a viro docto expolita: & emendata: Scribentibus Ioanne Sulpitio: & Omnibono Vicentino... Additis insuper de novo Grecis: que ubique deerant... Una cum figuris...

      in aedibus Guilielmi de Fontaneto Montisferrati XVIII Februarii 1520 In-4 p. (mm. 304x202), legat. in mz. pelle coeva (restaur.) con piatti in legno (manca il fermaglio in pelle), dorso a cordoni, 4 cc.nn., CCVI cc.num., incluso il frontesp. stampato in rosso e nero entro bella cornice ornamentale tratteggiata; testo inquadrato dal commento (in carattere tondo), ornato da pregevoli grandi capilettera per lo più su fondo nero, e con 10 bellissime vignette nel t., tutto xilografato. Cfr. Essling,854: ?Bois de l?édition 4 juin 1511 avec les différences suivantes: Livre III, Combat devant Dyrrachium / Livre VII, Soldates assaillis par des serpents? - Sander,II,4021 - Adams,L-1566 - Choix de Olschki,IV,4757. ?La "Farsalia", poema epico di Marco Anneo Lucano (Cordova 39 d.C. - Roma 65 d.C.) in dieci libri, è rimasto incompiuto. L?argomento dei primi 8 libri è la guerra tra Cesare e Pompeo, negli ultimi due v?è il racconto delle imprese d?Africa e d?Egitto.. Più che di Cesare, che egli dipinge uomo settario, avido di guerre e stragi, Lucano è fervido ammiratore di Pompeo che eleva a simbolo della libertà repubblicana. Nei suoi ottomila versi la "Farsalia" riesce opera a vero carattere storico.. e vi attinsero anche storici posteriori, tanto più che le decadi di Livio corrispondenti a questa guerra civile sono oggi perdute?. Così Diz. Opere Bompiani,III, p. 301. Ultima c. restaur. per strappi e picc. manc. (non di testo); con uniformi arross. più o meno lievi e fiorit. ma complessivam. un discreto esemplare.

      [Bookseller: Libreria Antiquaria Malavasi]
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        TEXT FROM THE GOSPEL LESSONS

      France, Tours or Paris, ca, 1520. Hardcover. 114 x 64 mm (4 1/2 x 2 1/2"). Single column, 21 lines of text, written in a very fine, tiny, upright humanistic hand. Attractively matted. Rubrics in red, two paragraph marks in black or gold against a gold or white background, two line fillers in black and gold (one in the shape of a knotted rope), a two-line initial in gold on a gray ground with wispy gold decoration, text on both sides within a knotted ropework border in gold and red with convoluted tassels at the bottom; one side of the leaf WITH AN EXTRAORDINARILY FINE, SMALL MINIATURE SHOWING MARK seated with a scroll on his knees, the youthful apostle, dressed in blue and maroon, deep in thought, his elbow resting on his knee, his attribute, the lion, looking on with an especially charming expression of sympathy, the scene in an interior with a window at the top left above a leafy molding, the whole within a plain gold frame (the miniature measuring approximately 21 x 18 mm.). IN EXTRAORDINARILY FINE CONDITION. In this miniature, the painter has been remarkably successful in giving both the Evangelist and his emblematic companion clear expressions of emotion. The depiction of architectural detail like the window molding here is typical of the elegant little touches in these very small miniatures that could only have been executed convincingly by an artist with the highest degree of skill. This splendid item was produced by the celebrated atelier known as the 1520s Hours Workshop. These leaves represent the finest illumination being done during the final and glorious period of French manuscript production, and, frankly, some of the finest illumination ever done. Given its name by Myra Orth as a reflection of the studio&#39;s principal type of output and period of operation (though work continued into the 1530s), the 1520s Hours Workshop created, in Wieck&#39;s words, "illuminations of the most refined delicacy" ("Painted Prayers," p. 73). In Lilian M. C. Randall&#39;s catalogue of French manuscripts in the Walters Art Gallery, a book from the 1520s Hours Workshop (Walters MS 449) is described as "a fine example of the superb level of craftsmanship attained in French manuscript production during the last quarter century of its full-fledged existence" (II, 532). Kay Sutton, describing a manuscript from the workshop (sold as lot 23 at Christie&#39;s on 29 November 2000), says that the atelier&#39;s manuscripts "are among the highest achievements of French Renaissance painting." And Christopher de Hamel, in discussing what is probably the studio&#39;s chef d&#39;oeuvre (sold at Sotheby&#39;s as lot 39 on 21 April 1998), says that the painting done by the 1520s artists manifested the "utmost professionalism. It was executed with a microscopic detail and virtuosity of technique probably without parallel even in the long tradition of illumination." Orth in her seminal dissertation on the workshop identifies four closely related painters as being responsible for the devotional manuscripts known to have been produced by the atelier, almost all of them tiny Books of Hours of jewel-like quality done for wealthy patrons. The four artists are all eponymous: the Master of the Rosenwald Hours, the Master of Jean de Mauléon, the Master of the Getty Epistles, and the Doheny Master, who is responsible for our leaf and who, says de Hamel, "may have been the master of the whole enterprise." Although unmistakably French, the workshop&#39;s production represented a synthesis of great moment. "The 1520s Books of Hours are the ultimate statements of the reception of Italianate and classical culture into the French court and into books as inherently gothic and northern as Books of Hours, and they illustrate graphically the rediscoveries of antiquity and the natural world which define the Renaissance." (de Hamel) The workshop has traditionally been located in Tours (which had the status at the time of being France&#39;s second capital city), but recent scholarship, particularly by Orth, suggests that its home may have been in Paris. Four leaves from our Doheny Master manuscript were first described (as being from a lost Book of Hours) by Orth in "An Exhibition of European Drawings and Manuscripts, 1480-1880," and then cited by her in "The J. Paul Getty Museum Journal," Volume 16, both published in 1988. Shortly afterward, the manuscript, described as an imperfect Hours, appeared as item #39 in Sam Fogg&#39;s Catalogue 14.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Marci Hieronymi Vidae Cremonensis, Albae Episcopi, Opera

      575 pages. Duodecimo (5" x 3 1/2") bound in original vellum. (Bibliotheca Van der Linde-Niemeijeriana: 4564)Marco Girolamo Vida was an Italian Humanist. He came to Rome under Julius II; as a priest and canon regular, he presented, in the rather lax Court, the greatest example of severity of morals. The Humanists were called upon to produce a great Christian epic. Vida undertook it, and in order that he might work at it Leo X gave him the priory of St. Sylvester at Frascati. The work, the Christias, was not finished until after the death of Leo X. The subject goes beyond the life of Christ and is in reality the establishment of Christianity, for Vida accords much space at the end of his poem to the spread of the Gospel. There is no mythological element in the six cantos; hence the unity of tone is more perfect than in Sannazaro's De partu Virginis. Vida was also the author of short poems, such as De Bombyce, De ludo scaccorum (on chess), and of a second serious and extensive work, De arte poetica, written before 1520 (published in 1527). This didactic poem is interesting as an expression of the ideas of Humanism concerning poetry and because of its great influence. Vida dealt only with the ancients and their imitators, wholly neglecting writers in the vernacular. The general conception of his Ars poetica is inspired by Qunitillian. The writer takes the future poet almost at the cradle, and describes the education and care which he should receive. He instructs him in invention, composition, and especially style, emphasizing particularly the harmony of the verse and defining imitative harmony, examples of which, taken from Virgil, have passed into classical teaching. While Boileau exaggerates the difficulties of poetry and multiplies the duties of the poet, Vida undertakes to cultivate a taste for poetry and to remove the obstacles from the poet's path. In consequence of his plan Vida treats only of poetry in general. To him the model and prince of poets was Virgil, while he depreciates Homer, criticizing his prolixity, repetition, and low style. He was the source of arguments later made use of in France by the partisans of the moderns; Vida was the first to assert that the word "ass" used by Homer did not belong to the noble style. He carried prejudice so far as to congratulate the Latin language for being ignorant of compound words so frequent in Greek. Vida's own style is elegant, clear, harmonious, and ordinarily simple. He was warm in admiration, especially in his eulogies of Virgil, but he is verbose, and if by chance he imitates Horace he dilutes him. The poem is now of interest only as a manifestation of Classicism in modern literature.Vida's poem Scacchia Ludus [Chess Game], contained herein (pages 520-542), first published in 1527 is among the earliest and most influential works related to the game of chess. This compelling didactic poem centers on a game played between Apollo and Mercury on Mount Olympus. Because of its high artistry, it is said the poem made a tremendous impression on anyone who read it including the renowned Dutch humanist of the Renaissance, Desiderius Erasmus. Scacchia Ludus [aka Scaccia Ludus] did much to spread the game's popularity, and in the process directly inspired many other popular works on the game including Jan Kochanowski's poem Chess (c. 1565), in which the game is described as a battle between two armies; and William Jones' Caissa, or the game of chess (1772), a poem which popularized the pseudo-ancient Greek dryad Caïssa as the "goddess of chess". Another lasting effect Vida's poem had on the game of chess was the introduction of a tower as the Rook. Originally, the queen had a somewhat limited role in chess. At the end of the fifteenth century however, the rules changed, and the queen was granted the power of unlimited moves in all directions that had previously belonged to the bishop. (The king only retained his power to move one square at a time.) In an influential and wildly popular Virgilian-style epic, the Scacchia ludus, Vida celebrates the transformation of the game and the power of the queen. He refers to his martial queens both as 'virgo' and 'Amazon', invoking a tradition that views chess as a battle of the Amazons. The language of this influential poem is thus suggestive not just in comprehending the significance of the sisters playing chess, but in understanding the symbolism of the pieces themselvesCondition:Ties lacking edge wear with back upper edge chipped, rubbed, previous owner's name in neat old pen to title else about very good.

      [Bookseller: The Book Collector]
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        LIBRO DEL PEREGRINO. Diligentemente in lingua Toscha correcto. Et novamente stampato. & historiato.

      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 silografata (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 silografata, che raffigura il Pellegrino che parla ?a Violate, a Theodoro e a Hacate?. Alla 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 Antiquaria Malavasi]
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        OPERE DEL DIVINO POETA DANTHE CON SUOI COMENTI RECORRECTI ET CON OGNE DILIGENTIA NOVAMENTE IN LITTERA CURSIVA IMPRESSE.

      Bernardino Stagnino da Trino de Monferra 1520 In fine: Impressa in Venetia per Miser Bernardino Stagnino da Trino de Monferra, del M.D.CCCCC.XX (1520) A di XXVIII Marzo. In 8vo; pp. 440 erroneamente numerate 441. Pergamana coeva. Lievi restauri al frontespizio ed alle ultime carte con perdita di qualche lettera di testo. De Batines I, pp. 78/79; Mambelli 27; Sander n.2325; Essling 529. 5 immagini allegate.

      [Bookseller: Studio Bibliografico Casella]
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        EARLY 16TH CENTURY MONASTIC MANUSCRIPT, On Vellum, Psalter and Hymnal with Calendar, Spanish]

      [Spain, Circa 1520. 211 manuscript leaves on vellum in black, blue and red ink, with large initials in red and blue, some with scrollwork in a finer pen, occasional use of yellow as well, some initials being quite large, 118 of the leaves being music and with other musical notations throughout. folio (385 x 270mm), bound in full tan calf over heavy wooden boards to correct period style, the blind tooled paneling suggests the original 16th century Spanish binding, the thick boards each with 4 bronze bosses likely reused from an earlier binding. 6ff Calendar, 7-84ff, 1-99ff, [28ff unnumbered pp]. A fine and handsome book, beautifully preserved. A FINE LARGE MANUSCRIPT FOLIO FROM THE EARLY PART OF THE 1500&#39;S

      [Bookseller: Buddenbrooks, Inc.]
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        Historie Fiorentine

      Florence: Bernardo Di Giunta. 1st Edition. Hardcover. Very Good. FIRST FLORENCE EDITION, possibly the first edition overall, of an essential Renaissance text. SCARCE. Niccolo Machiavelli did not write that which we call history today. For him, history and historiography were one and the same, and the Florentine Historie is the best example of that. In 1520, Machiavelli was commissioned by Giulio de&#39; Medici to write an account of the history of Florence. The book he produced "is the first example in Italian literature of a national biography, the first attempt in any literature to trace the vicissitudes of a people&#39;s life in their logical sequence, deducing each successive phase from passions or necessities inherent in preceding circumstance, reasoning upon them from general principles, and inferring corollaries for the conduct of the future." (Britannica). It is all the more unusual because Machiavelli followed the humanist style "of inventing speeches. Even though he was not present and could not have been present, he puts appropriate speeches into the mouths of actual historical figures as if they were characters in a play of his... Fact, in their [the humanists] view, needs to be filled out with opinion, and it is the duty of the historian, in the absence of scribes and witnesses, to infer human intention and to make it explicit in speeches, adding sense to actions in order to arrive at truth." (Harvey Claflin Mansfield, Machiavelli&#39;s Virtue). The reason behind Machiavelli&#39;s historiography as history is that he believed that histories should not just tell an account of what happened and when, but should be beneficial to the people of which they speak. Today, our historians are meant to distance themselves from their subjects; to Machiavelli, an intimate relation to the country about which he wrote was a necessity. The Florentine Historie, therefore, was not solely a commissioned work, but a tribute to "Machiavelli&#39;s desire to write a history that would inspire all lovers of the common good of man in whatever age or nation." The speeches he fabricated, the emotions behind the mere events he wrote about "are developed beyond dramatic requirements into expositions of social and political truths suggested by Florentine events. Incidentally, these orations enabled Machiavelli to deal with the problem of the Medici." (Allan Gilbret, Machiavelli). While Florentine Historie would not be considered an honest historical account today, the history that was presented to the Cardinal, by then Pope Clement VII, is perhaps truer than mere factual history. Because "his historical context includes both the facts of his time, which would have influenced his writing of history, and the historiography characteristic of his time, together with the conception of history underlying those historiographic methods," he created a far more complete image of Florence than could ever be garnered from an impersonal examination of the city&#39;s archives (Mansfield). ON THIS EDITION: After Machiavelli&#39;s death in 1527 there was a rush to publish his remaining works, and a fierce competition began between the Roman printer Blado and the Florentine printer Guinta to be the first to press. Although Giunta had been given the approval of Machiavelli&#39;s heirs and rushed to honor his fellow Florentine with elegant editions of his works, both Blado&#39;s and Giunta&#39;s editions of The Florentine History appeared almost simultaneously. It is now presumed that Blado&#39;s Roman edition, dated 25 March 1532, preceded Giunta&#39;s by two days. Some copies of the Giunta edition are dated 27 March 1532 in the colophon, while others such as the present copy are dated 16 March 1532. It is possible that Giunta printed an incorrect 16 March date to convince the public that his edition was indeed first. Florence: Bernardo di Giunta, 1532. Quarto, contemporary full blind-ruled decorative calf rebacked. Without the four errata leaves, as usual. Two early signatures to title page. Small hole to title page (not affecting text), occasional light soiling to margins. A beautiful, clean, wide-margined copy of an exceptionally rare and important edition.

      [Bookseller: The Manhattan Rare Book Company]
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        Ioannes Camertis in Polyistoria enarrationes. Additus eiusdem Camertis index

       First edition of the Solinus of American interest, with Camers? commentary. 1520. Wien. Singriener. In folio (305 mm x 205 mm): 8 ff. + 338 + 1 ff. + 15 ff. Contemporary or near contemporary handsome, heavily tooled blindstamped calf, rebacked and restored, missing clasps. A fine, wide margined, clean and crisp copy, upper margin lightly dampstained.First edition. Solinus? Polyhistoria was first published in Venice in 1473; however, this is the first edition with Camers revisions, and the first of American interest, all the previous ones contained no references to the New World. The work is sometimes found with Appianus? cordiform World map, made after Waldseemuller?s (1507), the second map to name ?America?, not present in this copy as is almost always the case. The work is elegantly printed, with Camers? commentary surrounding the Solinus text in double columns; title page with ornamental woodcut borders, colophon with booksellers device and last folio with Singrenius? device.Adams, S, 1391. Sabin, 86390. 

      [Bookseller: Hs Rare Books]
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        IVLII SOLINI POLYHISTOR. CUM INDICE SUMMATIM OMNIA COMPLECTENTE. [bound with:] Mela, Pomponius: POMPONII MELAE GEOGRAPHIAE, LIBRI TRES

      Vienna: Johann Singriener for Lukas Alantse, [1520].. [8],151,[32]pp.; [56] leaves. Contemporary green-stained vellum. Some light wear and soiling, ties lacking. Minor foxing and soiling. Very good, in unsophisticated original condition. A contemporary sammelband containing a pair of works by two important early geographers. Solinus (ca. 250 A.D.) was a Roman geographer of some repute. His POLYHISTOR... was first published by Nicholas Jenson in Venice in 1473. Mela was the earliest Roman geographer, writing around 43 A.D. Both works have extensive indexes. Only four copies of either title are located by VD16 online. An interesting and handsome volume combining the two most important geographical sources of the ancient world. VD16 S6965, M2312.

      [Bookseller: William Reese Company - Americana]
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        TEXT FROM THE SUFFRAGES

      France, Tours or Paris, ca, 1520. 114 x 64 mm (4 1/2 x 2 1/2"). Single column, 21 lines of text, written in a very fine tiny upright humanistic hand. Attractively matted. Rubrics in red, four paragraph marks in black or gold against a gold or black background, four line fillers in black and gold or gold and red (one in the shape of a knotted rope, another a pruned branch), two two-line initials in black on a gold ground with red filigree embellishment or gold on a black ground with wispy gray decoration, text on both sides within a knotted ropework border in gold and black with convoluted tassels at the bottom. RECTO WITH AN EXTRAORDINARILY FINE SMALL MINIATURE OF JOHN THE BAPTIST in his brown camel hair shirt with a maroon mantle, holding a book and pointing his finger prophetically at his symbol, the Lamb of God (a small white sheep with a nimbus), resting on top of the book; these figures set against a beautifully detailed forested backdrop, and the whole within a simple gold frame (the miniature measuring approximately 21 x 20 mm.). THE VERSO WITH A LOVELY SMALL MINIATURE OF SAINT JOHN in a simple white shirt and maroon mantle, the Evangelist raising his right hand in a tranquil salute, his left hand grasping a gleaming chalice from which emerges a vicious rampant green reptilian bird, the scene set against a rich black background, the whole within a simple gold frame (the miniature measuring approximately 22 x 19 mm.). IN EXTRAORDINARILY FINE CONDITION. This is an especially appealing leaf in that it contains two superb, delicately realized miniatures. Particularly impressive is the depiction of the background of the John the Baptist scene, where the artist has used three different greens to make his trees three-dimensional and consequently to give the scene a genuine sense of depth. At least as remarkable is the painter&#39;s ability to individuate the hairs on John&#39;s shirt, face, and head. The hideous green creature in John the Evangelist&#39;s chalice is a variation of the more usual image depicted of several dark snakes wriggling over the brim. The artist&#39;s delicacy and subtleness can be seen again here: the painter has used tiny slivers of a lighter shade of green along the top of the dragon&#39;s body to indicate reflected light from above, and this technique not only keeps the green from being lost against its black background, but also pulls our eye immediately toward the one focus of discordance in the miniature.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        EXIMII DOCTORIS MAGISTRI NICOLAI DE ORBELLIS Ordinis Minorum SUP [=SUPER] SENTENTIAS COMPENDIUM SINGULARE, Elegantiora Doctoris Subtilis [ie. Duns Scotus] Dicta summatim complectens, quod nunc dudum multis viciatum erroribus: castigatissime recognitum noue extat

      Paris: Francis Regnault, 1520. Hardcover. Very Good. Fine woodcut elephant device of Francois Regnault on titlepage. Octavo near contemporary laced vellum with manuscript spine title (vellum crinkled and hinge starting to split at front of spine). Titlepage in red & black (early ownership neatly written on either side of Regnault&#39;s elephant device) Unpaginated but 374 leaves most neatly numbered in manuscript, collated complete. Colophon dated Paris 8th May 1521. *Nicolas de Orbellis&#39; commentary on John Duns Scotus&#39; work on Peter Lombard&#39;s Sententiae (referenced by Adams O251).

      [Bookseller: Abbey Antiquarian Books]
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        MORALE REDUCTORIUM,

      super tota[m] Biblia[m] fratris Petri Berthorij Pictavie[n]sis ordinis divi Benedicti divinaru[m] litteraru[m] studiosissimi, quattuor [et] triginta libris consummatu[m], singulisq[ue] ([cu]m materie exigentia[m]) capitibus aptissime distinctu[m], ubi notabiliorum historiaru[m] ac figuraru[m] veteris [et] novi testamentoru[m], premissa compendiosa textus summa, tropologica seu allegorica atq[ue] no[n]nunque [quamquam?] anagogica subnectit[ur] explanatio, adiectis Biblie [con]corda[n]tijs ... 1520, Date taken from colophon. Large 8vo, approximately 250 x 175 mm, 10 x 7 inches, Latin text, title page printed red and black, architectural border with portrait of Bercheur at the top and 14 portraits of scholars reading or writing at the sides and along the bottom, plus the printer's pictorial device below the text, numerous pictorial and decorated initials large and small, black letter printed in two columns, leaves (12), CCXVIII (misprinted CCVIII), leaves LI to LIIII bound out of order, collated and guaranteed complete, bound in later vellum, no label or lettering, all edges red, marbled endpapers. Vellum lightly marked, spine very slightly darkened, upper cover slightly bowed, original front endpaper slightly creased and slightly torn, repaired, remains of small label to lower margin of title page, small ink number in fore-edge margin of title page, some pale damp staining to lower margin of first 32 leaves, the same to upper margin of first 12 leaves, both recurring occasionally, name of Bible book in faint tiny hand in upper outer corner of rectos, small area of worming to fore-edge margin of 7 leaves, 1 with small piece missing, nowhere near text, 10 of the last leaves in the volume have pale water staining all over the page, showing worst on the final leaf which also has an old repair to a hole in the lower margin. Binding tight and firm. A good copy of a post incunabula printing. Pierre Bercheur (ca. 1290-1362), a French Benedictine scholar was a translator, encyclopaedist, and the author of several works, including the Ovidius Moralizatus (Ovide Moralise) (1340), a work of mythography. The Gesta Romanorum, a Latin collection of anecdotes and tales, is sometimes attributed to him. In the 1340s, Bercheur became a student at the University of Paris and met Petrarch there again, having first met him in Avignon in the 1320s. The Italian poet was on an embassy to the French court. Bercheur translated into French Petrarch's reassembly (in Latin) of Livy's history of Rome. He was an eloquent preacher and a voluminous homiletical writer. His most important work is the Repertorium morale, for the use of preachers, a kind of Biblico-moral dictionary, in which the principal words of Scripture are arranged alphabetically and moral reflections attached thereto. His Reductorium morale to the Sacred Scriptures in thirty-four books, embraced all the books of the Bible and was first printed at Strasburg in 1474. See: Catalogue of Books Printed on the Continent of Europe, 1501-1600 In Cambridge Libraries, Volume 1, page 118, this edition not listed; Brunet, Volume I, 819. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        Esopo con la vita sua historiate vulgare & latino

      [Colophon]: Milan: Bernardino de Castello, 1520., 1520. 2 Parts in 1. small 8vo. ff. [78]; [54]. first part lacking 2 leaves, K1 & K8, the latter blank; part II lacking 28 leaves (G1, G8, and quires H-K). Latin & Italian text. large woodcut of a master & his pupils on title to each part & 68 (of 84) smaller woodcuts in the text. full dark blue morocco by Zaehnsdorf, gilt inside dentelles (small hole in last 2 leaves with loss of several letters, marginal fraying & soiling to some leaves, dampstaining to last few leaves, other occasional stains, several small wormholes in centre gatherings but text legible). Rare. The woodcuts are quite different from those illustrating the Milan 1503 edition printed by Leonardus Pachel (see Mortimer 4). Sander notes that they were executed by several artists, those in the fables being particularly interesting and, but for the date given in the colophon, suggestive of a later, more mature style. Our copy, like that cited by Sander as being described by Leighton, has variant reading &#145;Impressum Mediolani&#133;&#146; in colophon to first part. There are no copies located in North American libraries by NUC. Sander 93. BM, STC Italian, p. 8. This edition not in Adams, Mortimer, or Rosenwald..

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Svenskt silversmide 1520-1850.

      - Del I. Renässans och barock. 1520-1700. Del II. Senbarock, Fredrik I:s stil och rokoko 1700-1780. Del III. Gustaviansk stil, empire och romantik. 1780-1850. Äldre guldsmedsteknik av Bengt Bengtsson. Nordisk Rotogravyr 1941-45. 4:o. Rikt illustrerad. 248,(146); 250,(248); 315,(3),(216) s. Original falsade pergamentband med övre guldsnitt. Röda och blå titeletiketter. (Nordiska Bokhandelns bokbinderi). 30 x 22 cm. I ett specialtillverkat skåp med intarsia i rutmönster på sidor och ovandelen. Höjd 66,5 cm. Bredd 39 cm. Djup 27 cm.[#2616]

      [Bookseller: Antiquaria Bok & Bildantikvariat AB]
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        La Madonna con il Bambino in fasce

      Bulino, 1520, datato e monogrammato in lastra in basso a sinistra. Esemplare nella prima variante di cinque descritta dal Meder. Magnifica prova, ricca di contrasti, impressa su carta vergata coeva priva di filigrana, irregolarmente rifilata alla linea marginale, lievi restauri nella parte sinistra perfettamente eseguiti, nel complesso in ottimo stato di conservazione. L?opera rappresenta in ordine cronologico l?ultima interpretazione del soggetto del maestro di Norimberga. Insieme alla Madonna allattante del 1519 (Meder 39) e alla Madonna col Bambino incoronata da un angelo (Meder 41) questo lavoro forma un gruppo affine che viene ricordato come ?nuove immagini di Maria? nel diario del viaggio ai Paesi Bassi di Dürer. Il Panofsky fa notare che questo la schematizzazione delle forme del corpo espressa da questo bulino ricorda il poliedro della Melancolia, e rappresenta la migliore espressione di valori plastici raggiunta dalla grafica del Dürer Engraving, 1520, dated and signed with monogram on lower left. Example in the first state of five, as described by Meder. Magnificent work, printed on contemporary laid paper without watermark, irregularly trimmed to the borderline, minor repairs on left part perfectly executed, otherwise in excellent condition. The work depicts the last representation the Nuremberg Master realized of this subject. Together with the Breast-feeding Madonna of 1519 (Meder 39) and the Madonna with Child crowned by an Angel (Meder 41), this work is part of a group that Dürer called "new images of Mary? in his journal of the trip to the Netherlands. Panofsky states that the schematization of the figures realized with the engraving technique recalls the Melancholia polyhedron, and represents the best example of plastic model Dürer has ever achieved in his graphic production Meder 40 a/e; Bartsch 38; Strauss 94; ; Fara pp. 80/81, 21. Dimensioni 96x142.

      [Bookseller: Libreria Antiquarius]
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        Opere... - (Colophon:)

      Venezia, Stagnino, 1520.In-4. Pergamena molle del '900, titolo sul dorso. Titolo in rosso e nero entro bella cornice ripetuta al principio del poema, una tav. f.t., 98 graziose illustrazioni n.t., e 2 marche tipografiche, il tutto inc. in legno. (12), 440, (mal num. 441) ff.; esemplare buono e fresco; margine superiore un po' corto e piccolo restauro ad un angolo degli ultimi 5 fogli. «Edizione in caratteri corsivi, rara e molto stimata... fu intitolata Opere probabilmente perché contenente il Credo, il Pater Nostro e l'Ave Maria parafrasati in versi italiani da Dante...» (De Batines I, 78). Essling 539. Sander 2325. Harvard, Mortimer I, 144, descrive l'edizione del 1512 di cui questa è un'esatta ristampa.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Venere ed Amore

      Bulino, circa 1520. Da un soggetto di Raffaello. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in buono stato di conservazione. La stampa è una ripetizione dell?opera di Marcantonio Raimondi (Bartsch 279), rispetto alla quale è in controparte. Il tema, senza alcuna variante, è affrontato anche da Marco Dente. La storia dell?arte è piena di artisti di scuola che replicavano le opere del Maestro; il Bartsch le denomina ?ripetizioni? mentre altri studiosi preferiscono chiamarle ?repliche?. Secondo Landau esistono ben 42 lavori di Marcantonio che sono interpretati anche da artisti della sua cerchia come Agostino Veneziano, Marco Dente ed altri che, non firmandosi, sono di difficile, e comunque dubbia, individuazione. Bellissimo e raro esemplare. Timbro di collezione al verso. Engraving, about 1520. After Raphael. Magnificent proof, printed on contemporary laid paper, trimmed with copper, in good condition. The print is a repetition of the work of Marcantonio Raimondi (Bartsch 279), with respect to which it is party. The theme, without any variant, is also addressed by Marco Dente. The history of art is full of artists of school that replicated the works of the Master; Bartsch calls the "reps" while other scholars prefer to call these "replicas". According to Landau there are no less than 42 works of Marcantonio which are understood by artists in his circle as Agostino Veneziano, Marco Dente and others, not signing his letters are difficult, and in any case doubtful identification. Beautiful and rare example. Collection mark on the reverse. Bartsch 279 B; Landau & Pershall, The Renaissance print 1470-1550, p.131. Dimensioni 133x170.

      [Bookseller: Libreria Yelets]
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        Madonna con Bambino sulla luna crescente

      Bulino 1520, datato emonogrammato in lastra in basso a sinistra. Buona prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. Bibliografia: Bartsch 17; Pauli 18. Dimensioni 58x83. Engraving, 1520, dated and signed with monogram on lower left plate. Good work, printed on contemporary laid paper, trimmed to platemark, in excellent condition.

      [Bookseller: Libreria Antiquarius]
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        La Crocifissione

      Xilografia, circa 1520, monogrammata in basso al centro. Magnifica prova, impressa su carta vergata coeva, completa della linea marginale, in ottimo stato di conservazione. Testo al verso. Bibliografia: Bartsch 30; Hollstein 27. Dimensioni 130x198. Woodcut, circa 1520, signed at lower left. A magnific impression, printed on contemporary paper, in very good conditions. Rare.Bartsch 30; Hollstein 27. Dimensioni 130x198.

      [Bookseller: Libreria Antiquarius]
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        Salomè con la testa di San Giovanni

      Bulino, monogrammato in lastra in basso al centro. Bellissima prova, impressa su carta vergata coeva, rifilata la rame, in ottimo stato di conservazione. Bibliografia: Bartsch 29; Hollstein 34. Dimensioni 76x48 Engraving, signed with monogram on lower centre plate. Excellent work, printed on contemporary laid paper, trimmed to platemark, in very good condition.

      [Bookseller: Libreria Antiquarius]
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        Ercole e Anteo.

      [Roma, c. 1520, ma tiratura della fine del XVI secolo], incisione calcografica a bulino, mm. 210x281. Rifilata alla scena incisa e applicata su cartoncino. In basso a sinistra monogramma AV [Antonio Veneziano]. Si tratta della versione del Veneziano di un disegno di Giulio Romano inciso negli stessi anni anche da Marcantonio Raimondi (Bartsch 346). Piccola abrasione all'angolo superiore destro. Bartsch 347.

      [Bookseller: Libreria Antiquaria Gozzini]
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        OPUSCULUM MULTARUMBO NARUM, RERUM REFERTUM UT SUNTDIVI AUGUSTINI MEDITATIONES & EIUSDE SOLILOQUIA & MANUALE

      BERNARDINUM DE LISONAEdito nel 1520, in Venetis, In 16¯, legatura in piena pergamena, capilettera.Opera suddivisa nei seguenti capitoli: Divi Augustini Meditationes&eiusde Soliloquia & Manuale, Bernardi Abbadis Epistola nò vulgaris eius fermo de passione dni, Petri Damiani Sermo, Anselmi Meditationes sunt, Carmina.N. fratris ordinis predicatoru in quibus suprascriptor opusculoru per optime comendantur, Pii.Pont. Max& carmina, Maphei vegii carmè laudesce Monice, Item qui totum concludit... Buon esemplare.

      [Bookseller: Libreria Internazionale Ulrico Hoepli]
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