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Displayed below are some selected recent viaLibri matches for books published in 1521

        Apologiae Erasmi Roterdami omnes, adversus eos qui illum locis aliquot, in suis libris, non satis circunspecte sunt calumniati: in Jacobum Lopim Stunicam apologia I. In quendam de loco qui est apud Paulum ad Corinth. I. cap. XV [.] apolog. II : in Jacobum Fabrum Stapulensem apol. III : in Jacobi Latomi dialogum apologia IV : in quendam pro declamatione matrimonii apol. V : De "In principio erat sermo" apol. VI : in Eduardum Leum apol. VII.

      - Basilae Apud Io. Frobenuim [Bâle, Johannes Frobenius], 1521-1522. In-folio (277 x 191 mm), plein veau moucheté, dos à nerfs orné de compartiments encadrés, filets d'encadrement sur les plats, tranches rouges (rel. début XVIIIe), [102], [-3], 367 p. Très rare première édition collective, publiée du vivant d’Erasme, rassemblant ses sept apologies dont la célèbre 'Apologie contre Jacques Latomus' et les pièces de la polémique qui l’avaient précédée. La page de titre est ornée d’un bel encadrement sur bois attribué à Ambrosius Holbein, qui paraît dans ce volume pour la première fois et qui sera repris par la suite sur diverses productions (cf. Ambroise Firmin-Didot, 'Essai typographique et bibliographique sur l'histoire de la gravure sur Bois', col. 80). Les titres intermédiaires de deux autres apologies sont également encadrés. Lettrines historiées, bandeaux et ornements typographiques. Date : "Mense februario 1522" au titre et grande marque de Frobenius au colophon à la date: "mense octobri 1521". (Adams, E.488. Allen, I, 41. Allen, IV, 311-2. Knaake, II, 216B. Mynors, 52. Panzer, VI, 230, 419. Vander Hagen, I, p. 9. VD16 E 2034). Intéressant exemplaire portant des marques de la censure avec des passages biffés (mais demeurant visibles) ou recouverts de caches de papier et la mention manuscrite au colophon: "Esta expurgado. Como los antecedentes". Traces de restaurations à la reliure. Très bon exemplaire, très frais, très bien conservé. [Attributes: Hard Cover]

      [Bookseller: Librairie HATCHUEL]
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        Decisiones Rote Nove ac Antique, Cu[m] Additionibus & Casibus

      1521. Notable Decisions of the Rota Romana with Regulations of the Apostolic Chancery Bosqueto, Barnardus [d. 1371], Commentary. Fastolus, Thomas [fl. 1338-1361], Commentary. Molendino, Johannes de, Commentary. Decisiones Rote Nove ac Antique: Cu[m] Additionibus & Casibus: Ubiisq[ue] et Regulis Cancellarie Apostolice: Nuper Diligentilima Recognite & A Mendis Expurgate. [Lyons: Per Jacobum Myt Chalcographum, 1521]. [x], 116, 90, [10], 91-165 ff. Main text in parallel columns. Quarto (7-3/4" x 5-1/2"). Contemporary paneled calf with elaborate tooling, raised bands to spine, fragments of thong ties. Light rubbing and some worm holes to boards, chipping to spine ends, joints starting at ends, corners worn, hinges cracked, considerable worming to pastedowns and endleaves, minor worming to lower margin of title page and following few leaves and final three leaves of text (fols. 163-165). Title page, featuring a woodcut vignette of a lawyer, a judge and a member of the Apostolic Chancery printed in red and black within a woodcut architectural border, woodcut decorated initials. Moderate toning to text, faint dampspotting in places, faint dampstaining to margins of title page and some other leaves, spark burns and early pen marks in a few places. * Later edition. A collection of four sets of decisions by the Rota Romana and two sets of regulations for the Apostolic Chancery, which regulated practice and procedure. The decisions cover the period 1376 to 1381. The Chancery regulae are those of Sixtus IV, promulgated in 1482, and Innocent VIII, promulgated in 1491. This 1521 imprint is based on the 1496 Venice edition printed by the de Gregoriis for Fontana. This work went through several editions, but all are scarce. OCLC locates 10 copies of the 1521 Lyons edition, 2 in North America (University of Kansas, UNC-Chapel Hill). Universal Short-Title Catalogue 155536.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Beclagung eines Leyens genant Hanns Schwalb uber vil mi

      N

      [Bookseller: Antiquariat ABATON oHG]
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        De rebus nuper in Italia gestis [in the running heads: "De bello Mediolanensi"] libro octo .(Colophon: Antwerp, Maarten de Keyser), 1533. With: (2) SERVILIUS, Johannes (Jan KNAAP). Geldrogallica conjuratio in totius Belgicae clarissimam civitatem Antverpiam, duce Martino Rosheymio, .Augsburg, Heinrich Steiner, 1544. 2 works in 1 volume. Small 8vo (15 x 10 cm). Contemporary vellum wrappers, with 2 fragments of the March and April calendar leaf (in red and black) of a manuscript Missale romanum (ca. 1475/1500?) used as end leaves.

      - Ad 1: Adams C583; Machiels 96; Nijhoff-Kronenberg 518; ad 2: Machiels S 310; VD16, K1366. Contemporary accounts of two political and military power struggles, written in Latin and bound together at an early date. Ad 1: First edition of an important contemporary account of what the running heads and the titles of some later editions call the Milanese Wars (in English more often known as the Italian Wars) of 1521 to 1530, written by Galeazzo Capella (1487-1537).Ad 2: Second edition of an exciting contemporary account of the rebellious war by Maarten van Rossum in Brabant and Guelders in 1542, generally successful in spite of his failed surprise attempt to capture Antwerp, first published at Antwerp in 1542. The present account remains an important source for Van Rossum's exploits, for the author gathered much of his information from eye-witnesses to the events he relates and was sometimes even an eye-witness himself.With a contemporary owner's inscription at the foot of the first title-page ("Liber Theodori Am.smydt ab Apeld.[?]"), another erased in the space below the third line of the title, and a later owner's name "Fletcher" at the head of each title-page, probably the Scottish politician Andrew Fletcher of Saltoun (1655-1716). First title-page somewhat dirty, faint water stains in the foot of the last quire, but otherwise in good condition. From the surviving tranchefiles the book appears to have been only slightly trimmed, leaving margins of 13 to 20 mm around the text block. Binding slightly soiled, wrinkled and with a small tear. Two contemporary accounts of political struggles in Italy and the Low Countries.

      [Bookseller: ASHER Rare Books]
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        Itinerarium ab Hispania usque ad urbem Romanâ in quo multa varia ac scitu dignissima côtinent.

      (à la fin:) Impressum Romae in Campo Florae per Marcellum Silber al's Franck, 1521. - in-4. 20ff. Plein vélin ancien. Edition Originale. Première description imprimée d'un itinéraire en Espagne, contenant la relation détaillée du voyage entrepris par l'auteur de Tolède à Rome où il partit enseigner le grec. Après avoir embarqué à Cartagena pour se rendre à Ibiza puis débarquer à Barcelone, l'auteur raconte son voyage et énumère les localités traversées, avec pour chacune une courte notice: Rosas, Peralada, Le Boulou, Perpignan, Château-Roussillon, Salses, Narbonne, le fleuve de l'Aude, Béziers, le fleuve de l'Orb, Montpellier, Lunel, Arles, Salon, la plaine de la Crau, Aix-en-Provence, Fréjus, Antibes, Nice, le fleuve du Var, La Turbie, Monaco, Villefranche-sur-mer, Menton, Vintimille, le fleuve de la Roya, San Remo, Albenga, le fleuve de la Merula, Finale Ligure, Noli, Savone, Gênes, Sarzana, Lucques, Florence, Siena, Bolsena, Montefiascone, Viterbo, le Monte Cimino, Ronciglione et finalement Rome. Le théologien Diego López de Zuñiga (mort à Naples en 1531) fut l'un des principaux controversistes espagnols d'Erasme, contre lequel il publia divers ouvrages, la plupart imprimés à Rome. Ce précieux volume qui constitue le premier voyage en Espagne imprimé, n'a été précédé que par des manuscrits publiés postérieurement (cf. Foulché-Delbosc). Il est d'une grande rareté et nous n'avons pu en localiser qu'une poignée d'exemplaires à travers le monde. Rousseurs et quelques taches, bon état. Foulché-Delbosc, Bibliographie des Voyages en Espagne et en Portugal, 19. [Attributes: First Edition]

      [Bookseller: Librería Comellas]
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        Opera in chyrurgia. Additur chyrurgia Mariani sancti Barolitani.

      Lyons: In edibus Jacobi Myt, 1521. Hardcover. 8vo - over 7¾ - 9¾" tall. 8vo (195 x 135 mm), 2 parts in one volume, both titles with ornamental woodcut borders and the first printed in red and black, double-column text with woodcut initials, three unnumbered index leaves at end of first work (with printer's woodcut device after colophon), the second work lacking final leaf of text, supplied in old (16th century) neat facsimile manuscript, verso blank and three leaves of index, some spotting and browning, foremargins of first few leaves a little chipped with trivial loss to one side-note on a2v, modern half morocco over marbled boards, a little rubbed, faint ink stamps. ---Adams V762 - Wellcome I, 6614 (ed. 1531) - Heirs of Hipp. 154 (ed. 1525). - not in Norman or G.-M., no copy in JbdAPr u. ABPC. -Though reprinted numerous times, copies of early editions of Vigo's surgery are uncommon. Vigo's "Chirurgia" consists of nine books ranging from a consideration of anatomy necessary for a surgeon, to sections on abscesses, wounds, ulcers, benign and malignant tumors, fractures and dislocations, pharmaceuticals, ointments and plasters, as well as sections on dentistry, exercise, diet, syphilis, among others. De Vigo introduces a novel approach for treating mandible dislocations and describes a trephine he invented, as well as a number of new instruments. Examination of his surgical piece demonstrates that he had a broad spectrum of knowledge in surgery based in part on the ancient Greek and Arabic medical literature but mainly on his personal experience. Giovanni de Vigo contributed significantly to the revival of medicine in the sixteenth century, and he can be considered as a bridge between Greek medicine of antiquity, Arabic medicine, and the Renaissance. (Surgical history). The second part was written by Mariano Santo, a student of Vigo who achieved great fame through his introduction of the "Marian operation" of lithotomy. Very Good.

      [Bookseller: Milestones of Science Books]
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        OPUS MERLINI COCAII Poete Mantuani Macaronicorum , totu(m) in prisitam formam per me Magistrum Acquarium Lodolam optime redactu(m) , in hisfranotatis titulis divisum¿

      Paganinus Alexander, (Brescia) 1521 - OPUS MERLINI COCAII Poete Mantuani Macaronicorm, totu(m) in pristinam formam per me Magristrum Acquarium Lodolam optime redactu(m), in his infra notatis titulis divisum. ¿(A la fin) Tusculani, Apud Lacum Benacensem, Alexander Paganinus, 1521, die V januari. Petit in-8. 272 feuillets chiffrés. 16mo veau doré aux plats et au dos. Première édition illustrée complète (la Ière, sans images, était paru en 1517), d'un des textes les plus originaux de la littérature Italienne du seizième siècle. Elle est ornée de bois gravés à pleine page, évoquant les aventures de l'auteur. Teofilo Folengo (1491-1544), moine défroqué et poète, mendiant et chanteur des rues, est le créateur, avec cet ouvrage qui est la chronique transposée de ses aventuers, du genre macaronique, récit qui mélange le latin de cuisine et le patois toscan, des gros mots italiens et des tournures populaires. Son titre, qui peut se traduire comme des "macaroni" presentés au public par le cuisinier Merlin, a donné son nom à ce genre litéraire. Folengo aurait eu une influence sur Rabelais. Il contient le cahier à part de 8ff. "qui manque souvent" (Graesse), imprimé probablement après. Cf. Brunet II, 1317. Olschki, Choix, 4550. Sander, Le livre italien à figures, 2832.¿ Adams F687 Merlin Cocaii and Acquarius Lodola are the author's pseudonyms. Cf. Encyclopedia universel illustrada Europeo-Americana, vol. 24, p. 251. Kort afgesneden, met marginaal tekstverlies. Eerste pagina¿s marginaal gevlekt. Goede afdrukken van de houtsneden. Postincunabel. [Attributes: Hard Cover]

      [Bookseller: AMZ Books Belgium]
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        M. FABII QUINTILIANI ORATORIARUM INSTITUTIONUM LIB. XII: una cum Declamationibus eiusdem argutissimis, ad horrendæ uetustatis exemplar repositis : diligenterq[ue] impressis....

      Sanctam Coloniam: Eucharij Ceruicorni & Heronis Fuch, 1521. Quarto. pp: (xii) index, CLIX leaves [312 pages including colophon]. Illustrated title-page with rubricated lettering, decorated initials in text. Mounted to the pastedown is a large, engraved armorial plate dated 1719. Bound in old calf, spine in seven compartments with gilt-tooled decorations; title label gone, small chips from spine ends. 12.25" x 8" ["The Education of an Orator."] Text in Latin. Provenance: Small, engraved book label of Georgius Kloss, M.D., with the motto "Francofurti ad Moenum." Very Good....

      [Bookseller: R & A Petrilla]
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        Preclarissima Diui Aurelii Augustini Sermonu[m] opera : summa nuper diligentia reuisa atq[ue] recognita: tum plerisq[ue] locis eme[n]data: que illo ordine in hoc co[n]tinentur volumine. Ad fratres Eremo co[m]mora[n]tes. Sermo[n]es. lxxvi. De Verbis domini. Sermones. lxiiij. De Verbis Apostoli. Sermones. xxxv. ; Jn epistolam Canonicam beati Joannis primam Tractatus decem . ; Additus Jndex p[rae]terea: siue Emporiu[m] notabiliu[m] sententiaru[m] totius operis: no[n] minori labore recognitu[m]: [.] cetera omnia: tam facilis [.] apertus: vt res inue[n]ti desyderabilis: lectori magis occurrere [.] inuestigari videbit[ur]. Que omnia p[er] obscura [et] subdititijs numeris in alijs in quire[n]t: [et] nostros, alijs confere[n]ti, patebunt .

      Hagenau, Heinrich Gran für Johannes Rynman Oktober 1521 - Folio (32,3 x 23 cm). [50], CCCCLXI, [4], [1] weißes Bl. Titel in Rot und Schwarz gedruckt. Mit breiter Holzschnitt-Titeleinfassung und ungezählten Holzschnitt-Initialen. Zeitgenössisches blindgeprägtes Schweinsleder über Holzdeckeln, Reste von handschriftl. Titel und Titelschild auf dem Vorderdeckel. Spuren von zwei Schliessen (fehlen). Einband etwas berieben und wurmstichig. Rücken mit Resten von Papierüberzug. Titelblatt leicht angeschmutzt, sonst kaum fleckig. Anfangs im Rand stark, sonst nur gering wurmstichig. Einige alte Marginalien, Längsschnitt an den Blattweisern beschriftet. VD16 A 4236. Benzing, Gran 202. Burg, Hagenau 77. Ritter, Repertoire bibliogr. Nr. 108. Index Aureliensis 110.157. Nicht im BM STC. Die schöne Titeleinfassung in der Art der Holbein-Schule zeigt ein Renaissance-Portal mit Putten und dem Wappen von Gran. Mit Beiträgen von Sebastian Brant. Aurelius Augustinus, Bischof im nordafrikanischen Hippo, zählt zu den vier großen Kirchenvätern, seine theologischen und philosophischen Schriften haben großen, bis heute anhaltenden Einfluss auf die katholische und evangelische Theologie. Ausgeschiedene Dublette der Münchener Hof- und Staatsbibliothek mit entsprechendem Vermerk auf dem vorderen Spiegel (Duplum Bibliothecae regiae Monacensis). Der attraktive Einband stammt wohl aus Augsburg (Werkstatt EBDB w004531), die Hauptrolle (stehender Putto mit Speer EBDB r003896) hat eine ähnliche Rolle der Münchner Hofbuchbinder Schinnagl zum Vorbild (EBDB r002893). Als weitere Motive finden sich eine Vasenrolle (EBDB r003899) und ein Einzelstempel (EBDB s033795), der hier sowohl einzeln, als auch in geschickter Aneinandereihung rollengleich verwendet wurde.

      [Bookseller: Antiquariat Peter Fritzen]
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        An den Bock zu Leyptzck Doctor Martinus Luther

      - [Melchior Lotter], Wittenberg 1521, Pet. in-4 (13x17cm), 4f., relié. - Edizione originale. Bound in piena pergamena tempo flessibile. indietro muto. - [FRENCH VERSION FOLLOWS] Edition originale. Titre au sein d'un encadrement gravé Renaissance, avec une vignette représentant un bouc, An den bock signifiant au bouc de Leipzig. Impression en gothiques rondes. Reliure en plein velin souple d'époque. Dos muet. C'est durant sa retraite au château de la Wartburg où il résidera durant un an pour se protéger de ses ennemis, près d'Eisenach, que Luther écrit ce petit livre parmi de nombreux autres essentiels pour l'avenir de la Réforme. alors qu'il vient d'être trouve excommunié par le pape Léon X en 1521, et mis au ban de l'Empire par Charles Quint, car il y a peu de temps que Luther s'est radicalisé en rompant avec l'Eglise, le pape, et même l'empereur. En 1519 a eu lieu la fameuse Disputatio de Leipzig, qui opposait Jan Eick et Jerôme Emser et Martin Luther, et qui signe la naissance du luthérianisme, Luther ne reconnaissant pas au pape, ni aux serviteurs de l'Eglise, d'autorité infaillible en matière de foi et de dogme. Depuis cette date, la guerre est déclarée entre Leipzig, fief du pape et Wittemberg, lieu du pouvoir de la Réforme. Dans ce court écrit et sans doute pour la première fois, Luther adresse une lettre au bouc de Leipzig, c'est à dire à Jerôme Emser (Hyeronimus Emser dont l'emblême est un bouc) qui était autrefois proche de la Réforme mais qui s'est opposé à Luther à la controverse théologique de Leipzig. Luther règle donc ses comptes avec son ancien comparse qu'il appelait même avant la rupture Noster Emser, d'autant qu'à travers de nombreux écrits dès 1521, Emser se fit le défenseur de la doctrine catholique et de l'autorité de l'église. Ce dernier avait en effet attaqué Luther un peu plus tôt dans un écrit à l'adresse de l'archevêque de Prague. Cette lettre permet à Luther d'affirmer sa détermination et de réitérer ce qu'il a exprimé lors de la Disputatio de Leipzig. Il s'y montre particulièrement vindicatif et injurieux, déclarant qu'il ne le laissera pas souiller les Saintes Ecritures de son museau de bouc. D'autres livres animeront les échanges entre Emser et Luther. Les oeuvres de Luther regroupant près de 600 publications, il est assez difficile de retrouver la trace de cet écrit qui reflète le début de l'indépendance de Martin Luther et la construction du protestantisme.  

      [Bookseller: Librairie Le Feu Follet]
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        Opera. Tomus primus continens Opuscula moralia [et] Tomus Secundus, In quo epistolae et quaestiones naturales.

      2 Bde. kl.-8. 11 Bll., 555 740 S. Mit 1 gest. Frontisp. Ant. Lucianus/Venet. u. je 1 wdh. Titelvign. Pgmt.-Bde. d. Zt. mit goldgeprägt. Rückensch. u. farb. Bemalungen auf allen Deckeln. vgl. Dictionnaire de géographie ancienne et moderne p. 238 Thieme-B. XXXIV, 157 Müller, Die Künstler aller Zeiten u. Völker III, 748 Singer IV, 488 - Einbandmalerei im Stil der italienischen Spätrenaissance. Auf dem Vorderdeckel von Band 1 ein Mädchenportrait, auf Bd. 2 eine in blau gewandete Person,die einen Kopf in ihren Armen hält. Über ihr ein segnender Engel mit Lilie. Auf den Hinterdeckeln jew. 3 Wappendarstellungen (Weißer Löwe auf rotem Grund, Libertas u. a.). Mit schwarzer Linie eingefasst, Rankenverzierungen. Handschriftl. Besitzverm. "Thomas de Luca Cadubrii" auf beiden Innendeckeln.- Cadubrium (heute: Pieve di Cadore), eine venetian. Stadt an der Piave war auch die Heimatstadt des großen Tizian und seines entfernt Verwandten Cesare Vecellio (1521-1601), der ein Schüler von Tizians Bruders Francesco Vecellio und später von Tizian selbst war. Er schuf mehrere Einbandmalereien und fore-edge-paintings. Der Aufenthaltsort des Vorbesitzers "Cadrubium" läßt vermuten, daß es sich bei dem vorl. Werk um eine Nachahmung von Cesare Vecellios Einbandmalereien handelt. Die als Programm initiierten Wappendarstellungen auf den Hinterdeckeln gleichen italien. Stadt- bzw. Patrizerwappen.

      [Bookseller: Antiquariat Burgverlag]
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        Loci Praecipui Theologici

      Pergament Gut Text Lateinisch. Blindgeprägter Holzeinband mit Pergamentbezug, blindgeprägt, solide trotz Abriebsspuren. Schließe fehlen! Eintragung von sehr alter Hand im inneren Buchdeckel, Portrait von Melanchton auf Titelblatt, 749 paginierte Seiten, sauber, klare Typographie, sehr umfangreicher Index. Insgesamt sehr ordentlich. +++" Die Loci communes rerum theologicarum (dt. etwa: Allgemeine Grundbegriffe der Theologie) sind eine Schrift von Philipp Melanchthon aus dem Jahr 1521. Sie stellen die erste Dogmatik der evangelischen Kirche dar. Sie wurden in den Jahren 1535, 1543 und 1559 neu überarbeitet, wobei sich auch der Titel der Schrift teilweise änderte (spätere Versionen heißen: Loci praecipui theologici, zu deutsch etwa: Die wesentlichen Grundbegriffe der Theologie). Die Loci prägten die lutherische Bekenntnisentwicklung."(aus Wikipedia). +++ 11 x 18 cm, 0,7 kg. +++ Stichwörter:Theologie Alte Drucke Kirchengeschichte

      [Bookseller: Antiquariat Clement]
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        Album a photographies de la Terre Sainte arrangées par Boulos Méo Jérusalem.[Jerusalum, Boulos Méo, ca. 1890?]. Oblong album (34 x 46.5 cm) with 48 large albumen photographic prints (ca. 22.5 x 28 cm), signed and captioned in the negative (in French), mounted on both sides of the album's leaves. Some with hand-written captions in pencil (in French) on the mount. Original publisher's grained goatskin(?) spine and sheepskin board edges, each board with a 5 mm thick bevelled and carved panel of olive(?) wood mounted on it, with a mozaic inlaid floral border in black, red, green and beige around the carved border, that on the front with a carved Jerusalem cross in the centre, that on the back with the title "Jerusalem" stencilled in black textu

      - Cf. Encyclopedia of nineteenth-century photography, p. 1521; Erdem, Views of Egypt by Georgios and Constantinos Zangaki (thesis, Toronto 2006). A rare and large album with 48 photographs by the renowned Zangaki brothers, whose background and history remain in the shadows. They were probably from the Greek island Milos and worked as commercial photographers in Egypt from ca. 1870. The brothers were quite prolific, producing at least 1500 photographs, mostly for Western tourists, drawn to Egypt and the Middle East in increasing numbers since the opening of the Suez Canal in 1869. The photographs in the present album were most likely taken during an excursion to the Holy Land in ca. 1880. The album features landscapes and city views, including famous sights such as Jaffa Gate (Bab el-Khalil), Tower of David, the Armenian monastery, Church of the Holy Sepulchre, Church of the Flagellation, Al-Aqsa Mosque, Mosque of Omar, Gethsemane, Mount Olive and the Wailing Wall.The photographs with some loss of contrast, otherwise in good condition. The tissue guards and the album's leaves spotted. The binding in very good condition, with the head and foot of the spine slightly damaged and the edges and corners scuffed, and the wood with a few cracks. A fine album of photographs of Palestine.

      [Bookseller: ASHER Rare Books]
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        Opus aureum super quatuor evangelia nuperrime revisum.

      Venedig, Octavianus Scotus, 1521. - Folio, circa 31 x 23 cm. 14, 317 num. Bll., mit Titelholzschnitt und Druckermarke am Schluss Blindgeprägtes Leder d. Zt. (oder etwas später) auf Holzdeckeln mit Schließen, Deckel mittig mit figürlichen Medaillons "CNCE 33121; nicht bei Adams. Schöner Druck des bedeutenden Evangelien-Kommentar von dem Dominikaner-Theologen und Philosophen Thomas von Aquin (1225-1274). Die Druckermarke der Offizin von Ottaviano Scoto zeigt ein Doppelkreuz über einem Kreis mit dem Monogramm "OSM" für den aus Mailand stammenden Scotus: "Octavianus Scotus Modoeciensis". Besonders hübsch ist der an den Anfang des Textes gesetzte berühmte Holzschnitt (8,5 x 15 cm), der den lehrenden Thomas von Aquin als Magister cum discipulis in einem mächtigen Pultsessel zeigt, vor ihm der gestürzte Averroës, der spanisch-arabische Philosoph und Arzt, der von der Autorität der antiken Philosophen wie Aristoteles durch Thomas entthront wird (vgl. dazu etwa die berühmte Darstellung des Benozzo Gozzoli, "Triumph des Hl. Thomas von Aquin über Averroes" von 1468/84). - Der Vorderdeckel mit einer ovalen Platte mit der Umschrift ?FRM? (=fratrum) MINORUM CAPUCINORUM?, nach Stil und buchbinderischer Arbeit wohl aus seiner süddeutschen Kapuzinerbibliothek. - Titel etwas angestaubt und mit kleinem entferntem Besitzvermerk, sonst nur stellenweise wenig fleckig, einige kleine, nicht störende Wurmgänge. Einband mit kleinen Schabspuren, aber mit intakten Schliessen und sehr dekorativ. " [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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        Polyhistor literarius philosophicus et practicus... Opus posthumum. Accurate revisum, emendatum, ex Autoris Annotationibus...suppletum... Morhofii vitam et scripta... illustratum a Johanne Mollero... Accedunt Indices Necessarii. Editio secunda. 2 Bände und Index in 1 Bd.

      Gr.-8vo. Mit einem gestochenen Porträt Morhofs. 3 Bl., 1072 S., 600 S., 104 Bl. (Indices). Pgt. d. Zeit m. Rückentitel. Vgl. v. Faber du Faur 1521 u. 1522. - "Eines der hervorragendsten Werke des deutschen Barocks..." (HdB, Barocklit. 623). - Einband angeschmutzt mit kleineren Flecken, Vorsätze beschädigt, sonst sehr gut erhalten.

      [Bookseller: Antiquariat Düwal Berlin]
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        Eyn Clag und Bitt der Deutsche Nation an den almechtigen gott umb erloszug ausz dem gefencknis des Antichrist.

      Wittenberg: J. Rhau-Grunenberg, 1521. Small 4to (203 x 146 mm). 4 unnumb. lvs. Modern calf. Gilt-lettered spine. With a full page woodcut illustration. Good copy. Binding sl. rubbed. Some minimal staining. Rare post-incunable pamphlet with a fine full page engraving by Lucas Cranach the Elder. For a full description and more images please visit www.zaalbooks.nl .

      [Bookseller: Zaal Books]
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        Ludolphi Carthusiensis qui autor fuit vite Christi in psalterium expositio. In qua subiecte reperiuntur materie. Psalmi penitentiales et confessionales elegantes et deuoti domini Francisci Petrarche Poete Laureati... Additur in margine ad folias Hieronymi translationem diui Augustini accuratissima de hebreo in latinum translatio. Jacobus Symler Burlacensis ad lectorem.

      Impressum heredum Octauani Scoti ciuis Modoetiensis, Venezia, 1521. [16] 144 c. 4°(29 cm) piena pergamena floscia coeva. Caratteri gotici su due colonne due grandi capilettera nelle prime cc. moltissime iniziali ornate prevalentemente su fondo scuro. Alla c. 143 i Salmi Confessionali del Petrarca. In fine note biografiche sull'A. colophon registro e marca tipografica dello Scoto. Bibl.: Adams n. 1676 p. 675; British Museum p. 98; Catalogue of the Petrarch Collection 1521; Graesse IV/292. UsatoBuono Anno pubblicazione: 1521. Buono ordinari segni d'uso e del tempo fioretto in carta con traccia di sigillo e annotazioni d'epoca al frontespizio manca la carta non numerata che precede l'opera contenente le ultime due pagine dell'indice. ...

      [Bookseller: Studio Bibliografico Adige]
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        Libri de Generatione, et interitu; Meteoron...; de Mundo...; de Animalibus... Quae omnia Petrus Alcyonius de graeco in latinum a se conversa nunc primum ex impressione repraesentanda curavit

      Bernardinus Vitales, 1521. Edizione originale di questa traduzione. In folio, c.nn. 164. Minime riparazioni al margine inferiore della prima carta. Piccoli fori di tarlo alle prime e ultime carte. Per il resto, esemplare eccellente con ampi margini. Legatura settecentesca in pergamena rigida.

      [Bookseller: Studio Bibliografico Marisa Meroni]
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        Ein Underschyd zu erkennen den almechtigen got, und wie die newen göter uff sind kom(m)en kürtzlich begriffen.

      - O.O. u. Dr. (Augsburg, M. Ramminger), 1521. 4to. 30 Bl. Mit großem Titelholzschnitt. Moderner Pappband mit montiertem Titelschild. Häufig, meist unter dem Titel "Vom alten und neuen Gott, Glauben und Lehre" gedruckte reformatorische Flugschrift. Das VD 16 verzeichnet zwischen 1521 und 1532 nicht weniger als 10 hochdeutsche, 4 plattdeutsche und 1 lateinische Ausgabe. Im ersten Teil ein historischer Überblick über die Entartung der katholischen Kirche, einhergehend mit dem Machtkampf zwischen Papsttum und Kaisertum, in dessen Verlauf die Päpste sich selbst zum neuen Abgott gemacht haben. Der zweite Teil entwickelt daraus 18 Prüfsteine zur Unterscheidung zwischen wahrem und falschem Glauben. Die Gedankenführung ist auffallend selbständig. "Übrigens ist nicht zu übersehen, dass (der Verfasser) nicht gerade zu Gunsten Luthers sprach, ja ihn vielmehr einem Pharisäer gleichstellte" (Wiedemann, Gesch. d. Reformation . in Niederösterreich I, 20 f). Die Schrift "ragt hoch über das Niveau der Durchschnittsflugschriften hinaus" (Kück in Neudrucke dt. Lit. Bd 142/43, S. 88). Das VD 16 gibt keine Auflösung des Pseudonyms Judas Nazarei. Nach Weller sei ein Karmelitermönch namens Paul Elias der wahre Verfasser (Repertorium typogr. 1907). A. Mayer hält die Schrift für einen Druck der Wiener Offizin von H. Singriener. Sie "ist von Joachim Vadian (vgl. Pressel, J. Vadian, Elberfeld 1861) und eine der wenigen auf uns gekommenen Reformationsschriften, wie sie damals in Wien gedruckt wurden. Sie ist interessant und wichtig, machte auch, weil sie zugunsten der Reformation deutsch und voll Begeisterung geschrieben war, viel Aufsehen" (Wiens Buchdrucker-Geschichte I, 45,64). - Panzer, Annalen II, 1134; VD 16 N 306. - Ränder durchgehend etwas gebräunt u. fingerfleckig, Titel stärker. [Attributes: Hard Cover]

      [Bookseller: Buch & Consult Ulrich Keip]
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        Metamorphosis cum luculentissimis Raphaelis Regii enarrationibus, quibus cum alia quaedam ascripta sunt, quae in exemplaribus antea impressis non inueniuntur, tum eorum apologia quae fuerant a quibusdam repraehensa. Venice, Georgio Rusconi, 1521.

      1521. Folio. (10), 172 ff. Title page printed in red and black. With woodcut title border, a full-page wind map, 55 woodcuts and numerous initials. Early 19th.-c. marbled half calf with giltstamped title to spine. Attractively illustrated edition of the Metamorphoses. The woodcuts (monogrammed "L" and "M") are new designs but are based on the series published in Tacuino's editions of Ovid during the second decade of the 16th century. - The first 20 ff. show a weak waterstain at the upper right corner; t. p. and first 3 ff. are somewhat brownstained; the remainder of the book is largely clean and spotless. Essling I, 233. ICCU Edit 16, CNCE 47169. Not in Adams or BM-STC Italian. Not in Schweiger.

      [Bookseller: Antiquariat Inlibris]
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        Pianta del Palazzo Peretti alla Terme Diocleziane, restaurato, nelle pitture, per ordini di Sua Eccellenza il Sig. Principe Don Camillo Massimo. Dall?Artisto Cav. Prof. Annibale Angelini; 1871 e 1872

      Very good antiquarian condition. Oblong folio (350 x 450 mm). With 32 watercolors of high quality by Annibale Angelini delineated from the original frescos. Original red pebbled cloth (shaken), upper cover with the crowned monograph of Prince Camillo IX (Vittorio Emanuele) Massimo. In excellent unrestored state. An important discovery. This album of watercolors is the only surviving record of the once spectacular frescos and interiors of the elegant garden Casino Felice of the Villa Peretti Montalto alle Terme (later known as the Villa Massimo), built for Sixtus V by famed Roman architect Domenico Fontana. After centuries of neglect, the Villa, its two palaces, and its lush gardens were destroyed in the 1880s in order to make way for the central railroad station in Rome, the Roma Termini. The long-lost frescos of the Casino Felice are of the greatest interest to scholars of Renaissance Italian art: among the artists were C. Nebbia, F. Rosselli, D. Cresti (called il Passignano), G.P. Severo, L. Mainardi and G. Stella. All iconographic depictions of the these frescos survive only in the present album of watercolors. Situated on the highest point in Rome (on the Esquiline Hill overlooking the Diocletian Baths), the Villa Peretti Montalto was the palatial home of Cardinal Montalto Felice Peretti (b. 1521) who became Pope Sixtus V in 1585. Construction of the Villa and gardens continued unabatedly until the Pope died in 1590. The 160-acre Villa became the largest and most luxurious ever built within the Aurelian walls. The Pope?s ambitions knew no bounds. In order to provide fresh water for the palace and its vast gardens, fish ponds, fountains, fruit trees, and cypresses, Sixtus commissioned Fontana?s brother Giovanni to engineer and build an aqueduct fifteen miles long (!) which came to be known as the Acqua Felice. Despite the tragic destruction of the Villa, and the complete lack of documentation of its art and architecture, the present manuscript allows us, for the first time since the 19th-century, to study and partially reconstruct the pictorial decoration of the interiors of the Casino Felice. The existence of the present manuscript was discovered by Patrizia Tosini in the archives of the Massimo family, but the manuscript itself was presumed lost (Tosini, 2015). The Villa Peretti Montalto had two palaces. The Casino Felice, the favored residence of Sixtus and the subject of the present manuscript, was built first (1578-1581), while Peretti was still a Cardinal. Then, as Pope, he authorized his sister Camilla Peretti to build the Palazzo alle Terme (1586-1588). The Casino Felice was situated on an elevated place in the gardens, and consisted of three floors. Although it was the smaller of the two palaces, it was more secluded, and Sixtus preferred to stay there according to Fontana. The present manuscript was created by Annibale Angelini in 1871-1872 for the then owner of the Villa Peretti Montalto, Prince Camillo IX (Vittorio Emanuele) Massimo (1803-1874). Angelini (1810-1884) was Prof. de Geometria, Propet. et Ottica nell'Accad. di S. Luca (Perugia). It was his intent to ?restore? the Casino Felice, but as we can see from his watercolors in the present album, this would have taken years. Angelini?s patron, Vittorio Emanuele Massimo, died the following year and the project was abandoned. By 1888 the Casino Felice was completely destroyed. Vittorio Emanuele had long been interested in the history of his beloved Villa; in 1836 he published the single most important monograph on its history, the Notizie istoriche della villa Massimo alle Terme Diocleziane. The text describes the layout of the Casino Felice in some detail, and a floor-plan of the 1st floor was given (plate V, p. 137), but no illustrations of the frescos or interior decorations have ever been published. Based on solely on Massimo?s descriptive text, a theoretical reconstruction of the interiors of the Casino Felice was proposed by Sigrid Epp and Rita Torchetti, who in addition offer a possible layout of the second floor. Moreover, the names and locations of some of the Renaissance frescos are also proposed. The present manuscript largely confirms their theories, although they had no idea what the frescos actually looked like. After the death of Sixtus V, the Villa Peretti Montalto passed to the Pope?s great-nephew Cardinal Alessandro Peretti Montalto. When the main branch of the Peretti family became extinct, the Villa passed to the Savelli family. In 1696 the Villa was sold by auction to the newly appointed Cardinal Gio. Francesco Negroni (1629-1713), treasurer to Innocent X. But the Negroni family lived in Genoa, and basically neglected the property. It was purchased by Giuseppe Staderini, a merchant, in 1784, who immediately cut down all the trees, and in 1786 sold all the sculpture (including the famed Bernini sculpture of Neptune and Triton, now in the V&A). The now dilapidated Villa was bought in 1789 by Prince Camillo VII Francesco Massimo (1730-1801). His son Vittorio Emanuele, Marquis Camillo VIII (1770-1840) was the author of the aforementioned ?Notizie istoriche della villa Massimo? (1836). The property was inherited by his son, Vittorio Emanuele (who commissioned the present manuscript), and thence to Massimiliano Massimo, a Jesuit, who sold the entire property to the Church. As a form of compensation, the Palazzo Massimo alle Terme was built as a Jesuit school near the site under the direction of architect Camillo Pistrucci. Construction of the Palazzo took four years (1883-1887); this fine building now houses a section of the Museo Nazionale Romano, the Istituto Massimiliano Massimo being relocated to the EUR district in Rome in 1960. While the frescos in the Casino Felice were completely lost, a group of thirty-six fragments of frescos from the Palazzo Peretti (Salone Sistino) were saved. Prof. Tosini (2015) has undertaken extensive research about the surviving pieces, which include fourteen landscape views (now in the Istituto Massimiliano Massimo), twenty female allegories of the Virtues, and two coats of arms of the Peretti Montalto family. Just prior to the destruction of the Palazzo Peretti, these fragmentary frescos were detached, remounted on canvas, and dispersed. Three locations of the surviving Palazzo Peretti fragments are known, all in Rome: the Istitutio Massimiliano Massimo, the Palazzo Ricci Paracciani, Collezione Milton Gendel, and a Private Collection. In the archives of the Istituto Massimiliano Massimo, Prof. Patrizia Tosini made an amazing discovery of an album of photographs of the frescos of the Palazzo Peretti (but not the Casino Felice). This photograph album, assembled in 1888 just prior to the Villa?s destruction, is the subject of her new monograph (see below). In the same archive she also discovered the 1870 contract between Annibale Angelini and Camillo Vittorio Massimo to create the present manuscript. Prof. Tosini transcribes Angelini?s detailed description of the Casino Felice in full. However, without the present album of watercolors the frescos would have forever remained ?invisible.? COLLATION: Numbered sequentially 2-34, including blank leaf ?2,? complete. 2. Blank 3. Floor plan of the Piano Terreno / title: Pianta del Palazzo Peretti alla Terme Diocleziane, restaurato, nelle pitture, per ordini di Sua Eccellenza il Sig. Principe Don Camillo Massimo. Dall?Artisto Cav. Prof. Annibale Angelini; 1871 e 1872. 4-6. Piano Terrano: Portico del Palazzo (Epp & Torchetti: A) 7-11. Piano Terrano: Scala (Epp & Torchetti: B) 12. Primo Piano: Vestibolo (Epp & Torchetti: C) 13. Primo Piano: Il sogno di Innocenzo III (Epp & Torchetti: C.d) 14. Primo Piano: Il Cardinale Montalto ritratto nel suo studio (Epp & Torchetti: C.e) 15. Primo Piano: Galleria del Mose (Epp & Torchetti: A) 16. Primo Piano: Mose salvato dale acque (Epp & Torchetti: A.1) 17. Primo Piano: Roveto ardente (Epp & Torchetti: A.2) 18. Primo Piano: Miracolo della verga tramutata in serpente (Epp & Torchetti: A.3) 19. Primo Piano: Mose e il Faraone (Epp & Torchetti: A.4) 20. Primo Piano: Sortilegi dei maghi egizi (Epp & Torchetti: A.5) 21. Primo Piano: Mose muta le acque in sangue (Epp & Torchetti: A.6) 22-23. Primo Piano: Camera di Constantino (Epp & Torchetti: D) 24-25. Primo Piano: Camera di David (Epp & Torchetti: E) 26. Primo Piano: Camera di Elia (Epp & Torchetti: G) 27. Primo Piano: Camera dell? Ascensione (Epp & Torchetti: H) 28. Secondo Piano: Galleria (Epp & Torchetti: A) 29-30. Secondo Piano: Camera de quadri dei ruderi Romani (Epp & Torchetti: D) 31. Secondo Piano: Camera di Abramo (Epp & Torchetti: G) 32. Secondo Piano: Camera della Samaritana (Epp & Torchetti: H) 33. Secondo Piano: Gabinetto (loose sheet) (Epp & Torchetti: I) 34. Terzo Piano: Camera a Loggia (Epp & Torchetti: L). Loosely inserted: 1-2. two states of the engraved plate that was published in Massimo?s Notizie (opposite p. 58) 3. Floor plan of the Piano Terrano of the Casino Felice (ink and wash) 4. unidentified architectural drawing (watercolor). PROVENANCE: Camillo IX (Vittorio Eugenio) Massimo (1803-1873), by descent to his daughter Maria Francesca Bourbon del Monte (Massimo) (1846-1893) and her husband Ranieri Bourbon del Monte, 3rd Prince of San Faustino (1843-1892) -- by descent to their son, Carlo Bourbon del Monte, 4th Prince of San Faustino (1868-1917) -- by descent to his son, Ranieri Bourbon del Monte, 5th Prince of San Faustino (1900-1977) -- by descent to his wife, the American Lydia Bodrero (1902-2009) -- by descent to her son, Montino Bourbon del Monte, 6th Prince of San Faustino, Marchese del Monte Santa Maria, of Santa Barbara, CA (b. 1942). LITERATURE: Domenico Fontana, Della trasportatione dell'obelisco vaticano, 1590, ff. 37-8. Camillo Vittorio Massimo, Notizie istoriche della villa Massimo alle Terme Diocleziane con un?appendice di documenti (Rome, 1836). Patrizia Tosini, Immagini ritrovate: Decorazione a Villa Peretti Montalto tra Cinque e Seicento (Rome, 2015), especially pp. 127-131 for the text of Angelini?s description of the Casino Felice. Sigrid Epp & Rita Torchetti, ?Villa Montalto: Casino Felice? in: Roma di Sisto V: le arti e la cultura (Rome, 1993), pp. 152-155. CATALOGUER?S NOTE: We are grateful for the scholarly generosity of Prof. Patrizia Tosini (Università di Cassino e del Lazio Meridionale) in the preparation of this description. Prof. Tosini hails the discovery of the present manuscript and is presently working on a detailed study of it. She enthusiastically welcomes all inquiries, and may be reached directly at tosini.pat@gmail.com

      [Bookseller: Michael Laird Rare Books LLC]
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        Brustbild Kurfürst Moritz von Sachsen. Bleistift.

       Bezeichnet \"Churfürst Moritz\". Auf Zeichenpapier. 13,8 x 10,3 cm. Blattfüllendes, voll ausgeführtes Portrait des sächsischen Kurfürsten Moritz (1521–1553). - F. A. Frenzel war Geschichtsmaler und Lithograph in Dresden. Nach seiner Ausbildung an der Dredner Akademie, war er zunächst als freischaffender Maler tätig und wurde später Garderoben-Inspektor am kgl. Hoftheater. Es sind nur noch wenige Werke aus seiner Hand bekannt. - Winzige Fleckchen, wohl Atelierspuren. An den oberen Ecken Montierungsreste nach recto leicht durchschlagend. Versand D: 5,00 EUR Churfürst Moritz, Kurfürst Moritz von Sachsen, Porträt, Historische Portraits, Dresden, Heiliges Römisches Reich.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        De Disciplina Scholarium Ab Ascencio Compediose [The Discipline of the Scholars]

      Printed by Jean Marion for Simon Vincent. Hardcover. B01M1MOD8A In sixteenth century Latin script. Post-incunable 1521 edition, printed by Jean Marion for Simon Vincent (Lyon, France), 7 x 9 5/8 inches tall hardbound, early nineteenth century paper-covered boards, refreshed endpapers, illustrated with eight engravings depicting the life of Boethius and numerous historiated initials, 28 ff. (56 pages). A complete work unto itself, usually bound with the same publisher's 1521 edition of the renowned Consolation of Philosophy. Moderate to heavy soiling, rubbing and edgewear to covers, with bumping and fraying to tips and a bit of chipping along spine. Pencil notation to front pastedown. Nineteenth century prior owner name and address blind embossed stamp to top margin of refreshed front free endpaper. Mild to moderate staining and foxing, mostly marginal, to most pages, with a few apparently contemporaneous marginal notations, some truncated a bit when the copy was trimmed in a prior rebind, and a few passages underlined. Each leaf numbered by prior owner in the upper tip of the recto side of each leaf, 1 through 28. Signatures: A-C8, D4. A couple of pages with slight fore edge tears or chipping, and a number of pages with old paper repairs - especially the last pages, with the Sulpizio da Veroli poem and final page with engraved printer's device (which is also quite stained outside the printer's device). Otherwise, a good, complete copy of this rare early edition of the important pedagogical treatise De Disciplina Scholarium, an influential medieval handbook on the care and training of scholars, spuriously ascribed to Roman philosopher Boethius (circa 480 - 524 AD) throughout the Middle Ages, now often attributed to Thomas of Cantimpre (1201 - 1272), a Dominican friar, preacher and theologian. In this edition, the De Disciplina Scholarium is accompanied by commentary/glosses by printing pioneer, renowned grammarian and pedagogue Josse Badius (1462 - 1535), and is followed by Carmen Juvenile, a three-page Latin didactic poem, concerning the proper hygiene and table manners suited to the young student, written by Italian Renaissance humanist and rhetorician Giovanni Sulpizio da Veroli (fl. circa 1470 - 1490). ~N~ In a 1937 article on this work, The Authorship of De Disciplina Scholarium, scholar Arpad Steiner commented: 'That immensely popular little treatise of the thirteenth century, De Disciplina Scholarium, which, flaunting the name of Boethius, had its vogue until the seventeenth century, has mystified or intrigued its readers until our day. Originally a quizzical account of conditions, teachers, and students at the University of Paris between 1230 and 1240, it came to be regarded as a fount of pedagogical wisdom, and ranking with St. Jerome, St. Augustine, and St. Bernard, it was one of Vincent of Beauvais's chief authorities in his De Eruditione Filiorum Nobilium. No wonder that it was copied over and over again, and that scores of its manuscripts are found in European libraries. In the late fifteenth century, however, and still more in the sixteenth, the critical spirit of humanism rose in indignation against the forgery, and Josse Badius Ascensius, Jacob Wimpheling, Johannes Murmellius, and Heinrich Bebel exposed the anachronisms, barbarisms, and 'ignorance' of its perpetrator.' De Disciplina Scholarium appears to 'have been less a classroom text than a guide for teachers about the intellectual and moral formation of young students and the professional formation of prospective teachers' (R. Copeland, Pedagogy, Intellectuals, and Dissent in the Later Middle Ages, p.116). An entertaining passage from the work (later quoted by Vincent of Beauvais) satirizes students who wander about town idly engaging in gluttony and whoring, delighting in their personal adornment, and attending lectures 'as a last resort and rarely.' Anicius Manlius Severinus Boethius (circa 480 - 524/525 AD), was a scholar and philosopher born in Rome to an ancient and prominent family which included emperors and many consuls. His father, Flavius Manlius Boethius, was consul in 487 after Odoacer deposed the last Western Roman Emperor. Boethius entered public life at a young age, was a senator by the age of 25 and became a leading counselor to Ostrogothic king Theoderic, who ruled Italy from 493 to 526. In 523, at the height of his influence, Boethius was accused by fellow-senators of plotting against the king, imprisoned in Pavia and executed in 524. While jailed, Boethius composed his most famous work, De Consolatione Philosophiae, in which he sought through philosophy to come to terms with the vicissitudes of fortune and the apparent triumph of evil. Written in Latin prose interspersed with more lyrical passages in verse, it takes the form of a dialogue between Boethius and philosophy, personified as a woman. It became one of the most popular and influential works of the Middle Ages. Several manuscripts survived and these were widely edited, translated and printed throughout the late 15th century and later in Europe. . Fair. 1521. First Edition.

      [Bookseller: Flamingo Books]
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        [Libellus Isagogicus - Al-madkhal]. Preclarum su[m]mi in astroru[m] scientia principis Alchabitii opus ad scrutanda stellaru[m] [...]. Venice, Petrus Liechtenstein, 1521.

      1521. 4to. 64 ff. With several diagrams and woodcut initials in the text and the printer's full-page woodcut device on the final page, printed in red and black. Modern limp vellum with ties. "Early edition of Alchabitius' 'Introduction to the Mystery of Judgments from the Stars', with the 'modern' version by Antonius de Fantis. Sessa issued the same work at the same time, but Liechtenstein's edition is superior and especially esteemed for the fine woodcut in black and red (printer's mark) at the end" (Weil). Translated by Joannes Hispalensis (in 1144), with the commentary of Joannes de Saxonia. "Although al-Qabisi's education was primarily in geometry and astronomy, his principal surviving treatise, 'Al-madkhal ila sina'at ahkam al-nujum' ('Introduction into the Art of Astrology') in five sections [...], is on astrology. The book, as the title indicates, is an introductory exposition of some of the fundamental principles of genethlialogy; its present usefulness lies primarily in its quotations from the Sassanian Andarzghar literature and from al-Kindi, the Indians, Ptolemy, Dorotheus of Sidon, Masha'allah, Hermes Trismegistus, and Valens. Although completely lacking in originality, it was highly valued as a textbook [... The] Latin version was commented on by Joannes de Saxonia at Paris in 1331" (DSB). - Title slightly smudged; occasional waterstaining. From the library of Curt Wallin with his armorial bookplate on the pastedown. Rare; a single copy in auction records since 1975. Edit 16, CNCE 834. Adams A 24. BM-STC 1. BM I, 307. IA 102.864. Essling 301. Sander 223. Houzeau/Lancaster I, 3848. DSB XI, 226. Weil, Cat. VI, 29. OCLC 46413115. Cf. M. H. Fikri, Treasures from The Arab Scientific Legacy in Europe (Qatar 2009), nos. 9f.

      [Bookseller: Antiquariat Inlibris]
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        Brevarium Cartusiense. Paris, Th. Kerver, [1521?].

      1521. 8vo. (8), CCCXLV (instead of 352) ff. With title woodcut and one woodcut in the text, printed in red and black throughout. Contemp. blindstamped calf over wooden boards (spine rebacked, with ms. label). A single central clasp. Rare Carthusian Breviary; probably a hitherto unknown variant printing, the collation of which agrees with that stated by Bohatta. The woodcut shows four procession scenes ("Laudate dominum in sanctis eius"). - Top spine-end damaged; slight browning, with occasional worming. Wants the final 7 ff. From the Ritter Waldauf Library in Hall with their engr. bookplate, stamp, and ms. ownership dated 1596. The Imperial Protonotary Florian Waldauf (also: Baldauf; c. 1450-1510; in 1495 countersignatory to the preliminary contract of the Habsburg-Spanish double wedding) and his wife Barbara founded a chapel, a collection of relics, and a ministry for the Hall parish church. As steward of the Waldauf endowment, the City of Hall was responsible for the donations "das alle jar etliche puecher nach anzaigen des predigers zum predigambt gekauft und in der heiligen capellen liberei an ketten gehangen und versorgt werden"; furthermore, the library was directed to acquire books from the estates of religious figures. Contrary to the Waldauf decree, the library was hardly enlarged by systematic purchases, but mainly through the incidental acquisition of books and endowments, primarily from clergymen, monasteries, and schools. The most famous previous owner was Johannes Eck. "After 400 years of existence and only occasional growth, interest in the survival of the Ritter-Waldauf-Bibliothek seemed to dwindle away. In addition, endowment possibilies dropped off completely during the First World War. During the Second World War an unknown number of valuable manuscripts and prints were handed out to private individuals in Hall, in order to secure them from impoundment by the National Socialists. After the War, however, not one of these books was returned" (cf. Hdb. der hist. Buchbestände in Dtl.). Cf. Panzer VIII, 74, 1277 (dated "MDXXI die XII. Aprilis"). Moreau 38. Bohatta 1321.

      [Bookseller: Antiquariat Inlibris]
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        Opera Pomponii Laeti Varia. Quorum catalogum in sequenti reperies pagella.

      Mainz, Johannes Schoeffer, 1521. Moguntiae, An M D. XXI. 1521 1 vol. in-8° (151 x 95 mm.) de : lxxxix, [19] ff. Titre gravé, nombreuses lettrines historiées. Reliure ottomane ornée d'un médaillon doré, plats du 16ème siècle préservés dans une reliure plus ancienne. Rare édition de ces pièces de l'humaniste italien Giulio Pomponio Leto (lat. Julius Pomponius Laetus) (1428-1497). Joliment imprimé avec un beau titre gravé et de nombreuses lettrines historiées, l'ouvrage est conservé dans une très belle reliure. Les plats sont un maroquin 16ème siècle ottoman. La reliure est décrite au catalogue Burlington comme : "Turkish binding of the 16th century... with sunk panels; elegant arabesque design on a stippled gold ground" (reliure turque du 16ème siècle, technique de cuir repoussé, médaillon central et coins dorés, avec d'élégantes arabesques). Elle fut exposée (n°58 du catalogue, planche 14) au Burlington Fine Arts Club Exhibition of Bookbindings, en 1891. Provenance : "Sum fran: Sirelli Tironii" (main ancienne) ; William Milton (1838), ex-libris manuscrit sur la page de titre ; W.H. Corfield, ex-libris gravé, et coupure de papier fixée sur le contreplat : provenant du catalogue Burlington, l'identifiant comme le prêteur. 1 vol. 8vo. Engraved title, numerous engraved initials. Ottoman binding with a golden medallion, boards of the 16th century. Rare edition of some pieces by the Italian humanist Giulio Pomponio Leto (Julius Pomponius Laetus, in Latin) (1428-1497). Nicely printed with a beautiful engraved title, the book is finely bound. The binding is described in Burlington catalog as: "Turkish binding of the 16th century... with sunk panels; elegant arabesque design on a stippled gold ground". Fine copy. Adams, P1833.

      [Bookseller: Les Trois Islets]
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        Super prima ( - secunda) .ff. novi: cum apostillis ante positis et cu(m) summarijs Hieronymi de Marliano Mediolane(n)sis: ante leges et paragraphos annotatis.

      impensis nobilium mercatorum Lugdunensium, 1521. Due parti in un volume in folio (cm. 39), cc. 92; 112. Splendidi frontespizi figurati ed in rosso e nero a ciascuna delle due parti ed eleganti capolettera istoriati. Legatura coeva in piena pergamena rigida con dorso a nervi. Qualche foro di tarlo al dorso ed all'inizio del primo volume. Esemplare complessivamente in ottimo stato di conservazione, elegantemente impresso su carta forte. Rade glosse ms. coeve.

      [Bookseller: Studio Bibliografico Benacense]
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        Cristo nella tomba

      1521. Bulino 1521, datato e monogrammato in lastra in basso a sinistra. Della serie Passione di Cristo. Esemplare nel primo stato di tre. Bellissima prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame, in ottimo stato di conservazione. Bibliografia: Hollstein 54. Dimensioni 75x116. Engraving, 1521, dated and signed with monogram on lower left plate. From the series The Passion of Christ. Example in the first state of three. Beautiful work, printed on contemporary laid paper without watermark, trimmed to platemark, in excellent condition. Hollstein 54. Dimensioni 75x116.

      [Bookseller: Libreria Antiquarius]
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        Ihesus. The floure of the commaundements of god.

      Wynkyn de Worde, 1521. A WONDERFUL COPY Folio. Ff (xxiv) 264 (misnumbered 260). Black letter, double column; woodcut initials in various styles (grotesque, naturalistic, etc.) decorative typographical tailpieces. Title within border of woodcuts, depicting Moses (Hodnett 491) and Aaron with followers (Hodnett 492) at the sides, the Pope enthroned with a bishop, friar, king, and laity supplicant before him, beneath (Hodnett 535), a church to the side. On the verso, a most expressive full-page cut of the Crucifixion (Hodnett 465), a fine large cut of the Trinity (Hodnett 451), another smaller with different imagery on folio xiv (Hodnett 362); Christ teaching the 12 Apostles the Lord's Prayer, church and decorative border at side on fol. xxxvi (Hodnett 477). Lovely half-page cut on fol. cxxvii of the Saints in glory before God and the Virgin in architectural setting (Hodnett 538), tracery panels at sides; Caxton's device with de Worde's name inserted on verso of last leaf (McKerrow 46a), on verso covered wagon in landscape 'Chertsey' on the tilt, a curious coat of arms (Chertsey's) above, surrounded by naturalistic panel borders, upper and lower bearing Caxton's monogram (McKerrow 49 & 50).Lower fore edge of t-p a bit frayed, four small clasp holes at outer and corresponding rust marks to that of next, a few small round wormholes to three or four ll., minor age yellowing in places. A very good, clean, well-margined copy in stunning contemp. London calf over oak bds., covers with blank outer border ruled to corners, surrounding double frame roll divided into compartments, containing a column between two half-moon faces, two columns with S-shaped leaves on either side, others conventional foliage & c. (Oldham Shrewsbury 5) enclosing central panel, reversed brass clasps (straps renewed), six raised bands, ruled spine. Alfred Ehrman's, and other bookplates to front pastedown and fly, his monogram and case number on rear paste down, Broxbourne Lib. label beneath. A magnificent copy preserved in _ morocco folding case. One of the final flowerings of the faith and culture of medieval Europe in Tudor England, translated from a French original by Andrew Chertsey (fl. 1502-27). Little is known of Chertsey's life over than he supplied Wynkyn de Worde with a number of English translations of French devotional treatises and works of practical spiritual guidance. Chertsey added his own charming verse prologue to the present work - itself in prose (more largely) and verse - in which he declares his aim to have been one of common spiritual benefit rather than financial gain. The text is split into two parts, the first 126 numbered ll. comprise a very detailed practical commentary on the Ten Commandments, the Seven Deadly Sins, and the Cardinal Virtues; this is addressed to the ordinary reader, and provides a great deal of information on the state of both religious and lay society (as well as beliefs) of the time. The remainder of the work, apart from the very comprehensive opening table, constitutes the "Exemplayre" in which Chertsey gives hundred of examples of divine judgment, wrath, and mercy taken from the Legends of the Saints, the Lives of the Fathers, the Hony of Bees, the Promptuary, and contemporary events of everyday life. They vividly evoke the medieval world in which demons stalked the earth to battle with angels for human souls.However, there is no affectation of piety about Chertsey's English which is expressive, robust, and often colourful. It is much more modern than Chaucer's but certainly not yet Shakespeare's, rather occupying a lovely and much less well-known middle ground between the two. The text is well served too by the handsome and lively gothic illustrations and the binding is one of the most handsome, best quality and best preserved earlier Tudor bindings we have seen. STC 23877. Ames II 186. Lowndes I 505. Wharton, History of English Poetry III 363-4. Hodnett p. 27. Not in Pforzheimer.

      [Bookseller: Sokol Books Limited]
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        C. Suetonii Tranquilli XII Caesares...

      Venetiis. Aldus et Andrea Soceri. 1521. 1 vol. in-8, plein maroquin rouge XIXème, filet doré d'encadrement et marque des Alde au centre des plats, dos à nerfs, tranches dorées (reliure attribuée à Roger PAYNE).[60] ff. ; 320 ff. ; [1] p.Édition "assez rare" nous dit Renouard, et qui "ne se rencontre le plus souvent que très mal conditionnée, parce qu'elle fut longtemps le manuel de quiconque voulait étudier l'Histoire Romaine". Seconde édition aldine, enrichie d'une préface d'Erasme.Exemplaire réglé, à grandes marges, parfaitement établi.Des Bibliothèques Syston Park, Charles V.D. Elst et François Ragazzoni avec leur ex-libris.Renouard I, 157.

      [Bookseller: Librairie Pierre Prévost]
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        Metamorphosis cum luculentissimis Raphaelis Regii enarrationibus, quibus cum alia quaedam ascripta sunt, quae in exemplaribus antea impressis non inueniuntur, tum eorum apologia quae fuerant a quibusdam repraehensa...

      per Georgium Rusconem de Mediolano, 1521. Cm. 31, cc. (10) 172. Bel frontespizio decorato, una grande figura a piena pagina e molte affascinanti incisioni xilografiche nel testo. Legatura settecentesca in piena pergamena rigida (rimontata) con laccetti di chiusura parzialmente mutili. Uno strappetto quasi impercettibilmente richiuso al frontespizio e leggermente sciupata l'ultima carta, ma complessivamente esemplare genuino e marginoso, in ottimo stato di conservazione. Edizione non comune e munita di un apparato iconografico assai ricco.

      [Bookseller: Studio Bibliografico Benacense]
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        Repertorium totius summe auree beati Antonini.. Prima pars totius summe maioris et auree domini Antonini archipresulis.. Accurate recognita. Cum additionibus iuris pontificii et cesarei per Ioannem Thierri Lingonensem.. Cum concordantiis totius biblie..(Vol. II) - Secuda pars totius summe maioris beati Antonini

      Jehan Petit, 1521. in - 8 3 voll in 2 tomi Boffature e discromie alle coperte, perdita di pergamena ad una cuffia, bindelle recise, fori di tarlo e mancanze marginali ai contropiatti, scritte di antica mano su alcune carte. Malgrado alcuni grandi aloni, esemplari puliti e solidi L'opera completa è in 4 parti. Iniziali e frontespizi xilografati (quello del primo volume bicromatico) testo su due colonne carattere di stampa gotico.

      [Bookseller: Libreria Antiquaria Giulio Cesare]
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        Super prima ( - secunda) .ff. veteris: cu(m) copiosissimis additionibus Domini Francisci Curtij (et) alioru(m) excellentissimorum modernorum: interposita Repetitione .l. si de vi. de iudicijs: multisq(ue) legibus per ordinem redactis (et) cu(m) summarijs Hieronymi de Marliano Mediolane(n)sis: ante leges (et) paragraphos annotatis.

      impensis nobilium mercatorum Lugdunensium, 1521. Due parti in un volume in folio (cm. 39), cc. 191 (1); 144. Splendidi frontespizi figurati ed in rosso e nero a ciascuna delle due parti ed eleganti capolettera istoriati. Legatura coeva in piena pergamena rigida con dorso a nervi. Qualche forellino di tarlo al dorso ed all'inizio del primo volume (perlopiù marginale). Nel secondo volume bisogna invece segnalare una mancanza alla parte inferiore dell eultime 4 carte (con ampia perdita di testo). Peraltro esemplare in ottimo stato di conservazione, elegantemente impresso su carta forte.

      [Bookseller: Studio Bibliografico Benacense]
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        Metamorphosis cum luculentissimis Raphaelis Regii enarrationibus, quibus cum alia quaedam ascripta sunt, quae in exemplaribus antea impressis non inueniuntur, tum eorum apologia quae fuerant a quibusdam repraehensa.

      Venice, Georgio Rusconi, 1521. - Folio. (10), 172 ff. Title page printed in red and black. With woodcut title border, a full-page wind map, 55 woodcuts and numerous initials. Early 19th.-c. marbled half calf with giltstamped title to spine. Attractively illustrated edition of the Metamorphoses. The woodcuts (monogrammed "L" and "M") are new designs but are based on the series published in Tacuino's editions of Ovid during the second decade of the 16th century. - The first 20 ff. show a weak waterstain at the upper right corner; t. p. and first 3 ff. are somewhat brownstained; the remainder of the book is largely clean and spotless. Essling I, 233. ICCU Edit 16, CNCE 47169. Not in Adams or BM-STC Italian. Not in Schweiger.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Colloquio di Annibale e Scipione

      1521. Bulino, 1521 - 23 circa, da un soggetto attribuito a Giulio Romano. Esemplare nel primo stato di tre o secondo di quattro, con l'indirizzo di Antonio Salamanca e la data 1541. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana "Balestra nel cerchio con giglio" (Briquet 760, carta databile alla prima metà del XVI secolo), rifilata al rame, in ottimo stato di conservazione. L'incisione raffigura l'incontro tra Annibale e Scipione, prima della battaglia di Zama, durante la seconda Guerra Punica, svoltasi nel 202 a.C., secondo la narrazione fornita da Tito Livio (Storie, XXX 29 e 30. 1 - 2). Sulle due sponde del fiume, personificato da una divinità incoronata, in basso a sinistra, sono: sulla destra, Scipione, accompagnato da due portabandiera e due ragazzi; sulla sinistra, Annibale, con la sua armata, gli elefanti e la cavalleria. Il soggetto corrisponde alla dodicesima scena degli arazzi del ciclo Gesta di Scipione. La serie completa di arazzi legata alla figura di Scipione è formata da due serie distinte: 13 rappresentazioni delle Gesta di Scipione hanno per fonte letteraria Tito Livio, e i Trionfi di Scipione - di 9 scene - basata sulla descrizione dello storico Appiano. La serie fu commissionata da Francesco I di Francia nel luglio del 1532, all'imprenditore Marc Crétif, di Bruxelles. Completata nel 1535, la serie fu distrutta nel 1797 per ordine del direttore della Garde_Meuble, Vilette, perché aveva bisogno dell'oro degli arazzi per pagare i suoi dipendenti. I cartoni dei Trionfi furono realizzati da Giulio Romano, mentre quelli della Gesta erano tradizionalmente attribuiti a Giulio e al Penni. Vasari, in riferimento ad un'incisione anonima del Colloquio di Annibale e Scipione scrive che il disegno risale a Giulio. Al Louvre è conservato un disegno che corrisponde, in controparte e nelle linee generali, alla stampa. Un altro abbozzo della scena è conservato a Parigi, reca l'iscrizione "Julio Romano", ma Bacou l'attribuisce al Penni. Quasi tutti i repertori ascrivono l'invenzione di questa scena a Giulio Romano. La Massari ritiene che il disegno sarebbe stato realizzato intorno al 1521 - 23, prima della sua partenza per Mantova. La stampa è catalogata dal Bartsch tra le incisioni della scuola di Marcantonio, mentre erroneamente è assegnata dal D'Arco a Giorgio Ghisi. L'attribuzione al Dente, sostenuta in passato da Heinecken, Huber, Zanetti e Passavant, e confermata anche dalla Massari, sulle indubbie affinità stilistiche tra questo foglio e altre opere del ravennate, ci sembra assolutamente plausibile. Il primo stato della stampa, ipotizzato da Massari, non è conosciuto in nessun esemplare. Ex collezione Staatliche graphische Sammlung München(Lugt 1613). Eccezionale esemplare. "Engraving, around 1521 - 23, after a subject attributed to Giulio Romano. Example in the first state of three (or the second of four according Massari), with the address of Antonio Salamanca and the date 1541. Magnificent example, rich in shades, printed on contemporary laid paper with watermark ""crossbow in the circle with lily"" (760 Briquet, paper dating from the first half of the sixteenth century), trimmed to copper, in excellent condition. The engraving depicts the meeting between Hannibal and Scipio, before the battle of Zama, during the Second Punic War, which took place in 202 BC, according to Tito Livio. (Stories, XXX 29 and 30. 1 - 2). On both sides of the river, personified by a deity crowned, bottom left, on the right are Scipio, accompanied by two standard - bearer and two boys; on the left, Hannibal, with his army, elephants and cavalry. The subject corresponds to the twelfth scene of the tapestries cycle Gesta of Scipio. In July 1532, François I ordered a gigantic ensemble of twenty - three - panel tapestry depicting the heroic deeds and ultimate triumph of Scipio Africanus. The whole set was completed in April 1535, and comprised two cycles: following an introductory allegory, 12 illustrate the Deeds of Scipio, based on Tito Livio, and largely designed by Giovanni Francesco Penni; and 10 scenes of the Triumphs of Scipio, based on the description of the historian Appiano. ""Scipio the Great"", finely woven and particularly rich in gold threads, was widely admired and copied several times. During the Revolution, the panels were sold and dispersed. In 1797, François I's tapestry was burned along with other tapestries from the Royal Furniture Repository in order to recover the precious metals. The petits patrons, the original drawings, for 15 of the compositions, have survived. The 'petit patron' for this section of the tapestry is preserved in the Louvre, inv. no. 3719. There is a related sketch in the Bibliotheque Nationale, Paris, Réserve B5, attributed earlier to Giulio Romano (Heinecken, Huber, Zanetti e Passavant) but more recently to Giovanni Francesco Penni. On the basis of the differences between the Louvre drawing and the print, Stefania Massari in Rome 1993 supposes the direct model for the engraving was possibly a copy of this, today lost. The inventor of the composition had been debated, but Massari argues for Giulio Romano's authorship. It is documented that the plate was later in the possession of Carlo Losi, therefore Massari lists a hypothetical fourth state with his publisher's address. Massari lists also an hypothetical first state too, before the Salamanca's address. Ex collection Staatliche graphische Sammlung München(Lugt 1613). Magnificent example." Bartsch XV, 30.5; Heinecken, I.648; Huber, III, 102.3; Massari, Giulio Romano pinxit et delineavit, pp. 42 - 44, n. 38; Oberhuber, Roma e lo stile classico di Raffaello, pp. 208 - 209; Passavant, VI.72.63. Dimensioni 552x391. 552 391

      [Bookseller: Libreria Antiquarius]
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        Dictionarium (graece). (In fine:) Hagenoae, in aedibus Thomae Anshelmi Badensis, 1521

      Anshelm Thomas, 1521. in - folio, ff. (1 per il tit.), colonne 776, ff. (1 per il colophon e la grande impresa tipogr.), leg. del tempo in p. pelle screziata con tracce di filetto oro sui piatti, dorso a nervi abilmente rifatto con tit. e fregi oro. Terza edizione (la seconda è dei Giunta 1520) di questa classica opera che segue filologicamente la prima stampata nel 1514 da Aldo, del quale è riportata al verso del titolo la lettera - dedicatoria, in car. romano, al nobiluomo e letterato mantovano Gian Giacomo Bardellone, che gli aveva procurato il manoscritto. Il testo, completamente in carattere greco, impresso su due colonne numerate in basso con cifre arabe, è curato dal cretese Marco Musuro, che si servì del manoscritto del Bardellone, unico conservato (oggi nella Bibl. Marciana di Venzia). Di quest'edizione si hanno esemplari con la variante del titolo su undici linee e la dedica al verso in car. italico (cfr. Adams H - 508). L'opera di Esichio di Alessandria (vissuto probabilmente nel V sec. d.C.) è il più ampio dei lessici greci che l'antichità ci abbia tramandato ed è ''prezioso per le citazioni di antichi autori e per le numerose glosse dialettali'' (cfr. Encicl. Treccani XIV, p. 326). Bell'esempl. (con lievi ingialliture della carta qua e là ed ex - libris ms. sul tit.).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Historia Maioris Britanniae, tam Angli[a]e q[uam] Scoti[a]e per Ioanne[m] Maiorem, nomine quidem Scotum, professione autem theologum, e veterum monumentis concinnata

      venundatur Iodoco Badio Ascensio (Josse Badius), 1521. - venundatur Iodoco Badio Ascensio (Josse Badius), [Paris] [1521], In 4 (13,5cmx20cm), Fo. CXLVI. Sig: A10 a-p8 q-s6 t8., relié. - Prima edizione di un distintivo raro. Colophon: Ex officina Ascensiana annuncio Idus Aprilis MDXXI. Secondo titolo nella parte superiore delle pagine: Da GESTIS Scotorum. 10 righe per pagina; 146 pagine numerate. Inserito da Adams M228, che dà luogo a edizione parigina. Josse Bade ha esercitato l'attività di stampa dal 1462 a stampante adesivo 1535.Grande sul frontespizio, raffigurante una tipografia dove tre lavoratori operano una pressa a mano. Nella parte superiore della miniatura: Prelu [m] Asce [n] sianu [m] in fondo, una data: 1520. Sul retro del frontespizio, grandi armi di Jacques V, re di Ecosse.Pleine 18 pelle di pecora marrone. Restaurato da un dilettante indietro. Frontespizio restaurato e riempito da un professionista. Mancanza linea retta verso il basso, con le lettere "scensio" scritto dopo il nome dell'editore stampato; elemento per la schiena, alcune lettere scritte a mano. Prima con alcuni foglietti gialli piuttosto Britanniae salissures.Historia Maioris è il più grande del suo autore (1467-1550), che era essenzialmente tutta la sua esistenza un professore di logica e teologia a Parigi e Glasgow lavoro. Anche attestato è scritto in cattive latino, è caratterizzato da sincerità e fedeltà alla storia e una chiara indipendenza di spirito. E 'in questo libro che è stato prima collegato il personaggio di Robin Hood (Robin Hood) e Re Riccardo Cuor di Lione; nel vecchio Scotichronicon cronica, il re nomina Edward e Robin è associato con Simon de Montfort eroe della rivolta dei baroni contro Enrico III. Notiamo anche che il lavoro non è una storia narrativa, ma una cronaca. Quest'ultimo termina con la battaglia di Bosworth Field (22 agosto 1485) penultimo scontro della Guerra delle Due Rose, che segna la fine della dinastia plantagenêt.Ex libris XIX armi, con il motto Ut ProSim. Foley. - [FRENCH VERSION FOLLOWS] Edition originale d'une insigne rareté. Colophon: Ex officina Ascensiana ad Idus Aprilis MDXXI. Second titre au haut des pages : De gestis scotorum. 10 lignes par page ; 146 pages numérotés. Référencé par Adams M228, lequel donne Paris pour lieu d'édition. Josse Bade exerça des activités d'imprimerie de 1462 à 1535. Grande vignette de l'imprimeur sur la page de titre, figurant une imprimerie où trois ouvriers font fonctionner une presse à main. Au haut de la vignette : Prelu[m] Asce[n]sianu[m], au bas, une date :1520. Au verso de la page de titre, grandes armes de Jacques V, roi d'Ecosse. Reliure en pleine basane brune XVIIIe. Dos restauré par un amateur. Page de titre restaurée et comblée par un professionnel. Un manque en marge droite en bas, avec les lettres "scensio" manuscrites à la suite du nom de l'éditeur imprimé ; item pour le verso, quelques lettres manuscrites. Premiers feuillets assez jaunes avec quelques salissures. Historia maioris britanniae est l'oeuvre la plus importante de son auteur (1467-1550), lequel fut essentiellement tout au long de son existence un professeur de logique et de théologie à Paris et Glasgow. Bien qu'il soit attesté qu'elle est écrite dans un latin médiocre, elle se signale par la véracité et la loyauté à l'histoire et une nette indépendance d'esprit. C'est dans cet ouvrage que fut pour la première fois relié le personnage de Robin des bois (Robin Hood) et le roi Richard coeur de Lyon ; dans les plus anciennes chroniques, Scotichronicon, le roi se nomme Edward et Robin est associé à Simon de Montfort héros de la révolte des barons contre Henri III. On retiendra par ailleurs que l'oeuvre n'est pas une histoire narrative mais une chronique. Cette dernière s'achève avec la bataille de Bosworth Field (22 aout 1485) avant dernier affrontement de la guerre des Deux Roses, qui marque la fin de la dynastie plantagenêt. Ex-libris aux armes du XIXe, avec la devise Ut prosim. Foley.

      [Bookseller: Librairie Le Feu Follet]
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        De Urbibus (graece). (In fine:) Florentiae, haeredes Philippi Iuntae, 1521

      Giunta Filippo, 1521. in - folio, ff. 69, (1, con impresa tipogr.), leg. ottoc. m. perg., tass. in pelle con tit. oro al dorso. Testo su due colonne interamente in car. greco, grandi iniz. silogr., grande impresa tipogr. in fine. Seconda edizione (la prima era stata impressa da Aldo nel 1502), estremamente rara (Offmann: ''haec omnium fere rarssima editio''), di quest'opera, giunta a noi tramite una epitome fatta dal grammatico Ermolao; è una sorta di ''Dizionario geografico'' con i nomi dei luoghi, quelli degli abitanti, l'origine delle città, dei popoli e delle loro colonie, e riferisce proverbi, oracoli ed eventi strani e soprannaturali. Importante per il largo materiale ivi raccolto attraverso molte fonti, alcune sicuramente dirette, quali Tucidide e Strabone (ma curiosamente non Tolomeo), l'opera costituì una delle sorgenti primarie di notizie di geografia antica per gli umanisti del Rinascimento e riferimento lessicografico di estrema importanza. L'autore, grammatico del VI sec. d.C., appartiene a quella corrente di lessicografi che risale all'età ellenistica e continua poi in quella bizantina. Esempl. puro, a grandi margini, di opera veramente rara (solo 3 copie in NUC).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Dialogi novi, perquam festivi. Bulla, vel Bullicida. Monitor primus. Monitor secundus. Praedones.

      (Straßburg, Johann Schott, nach dem 13. 1. 1521).Mit Titelholzschnitt von Hans Baldung Grien (Hutten in Rüstung in ganzer Figur). 36 num. Bll, 1 unn. Bl. Pappband mit Inkunabelpapier - Bezug. 4°. VD 16, H 6311; Benzing 161; Böcking XXXVI, 1; Panzer IX, 456, 2; Schmidt, Schott, 60; Hohenemser 2756; Ritter, Rép. 1228; Neufforge 379; Oldenbourg, Baldung L 182. - Erste Ausgabe. - "Hutten arbeitete neben der Übersetzung seiner lateinischen Schriften ins Deutsche auch an neuen lateinischen Dialogen, wahrscheinlich schon seit Mitte November 1520. So erwähnte er die Arbeit an der `Bulla` bereits in seinem Brief an Luther vom 9. Dezember 1520. Am 13. Januar 1521 hatte er sie wohl alle fertiggestellt. Denn an diesem Tage widmete er sie seinem, bzw. Sickingens Nachbar Pfalzgraf Johann II. von Simmern - Sponheim. - Die Bulle oder der Bullentöter ist ein recht lebendiger Dialog, in dem es Hutten in der Hauptsache mit der Bulle Leo`s X. gegen Luther - die er als leere Blase (bulla) verhöhnt - zu tun hat. Der 1. und 2. Warner haben nur 2 Unterredner, im ersten unterhält sich Luther im zweiten Franz von Sickingen mit einem warnenden Bekannten. Die "Räuber" waren schon vor einem Jahr begonnen (vgl. Brief des Cochläus an W. Pirckheimer vom 8. Febr. 1520 in Op. I S. 521) und wurden erst zu Anfang 1521 vollendet, wie aus deutlichen Anspielungen auf den Wormser Reichstag zu entnehmen ist. Darin versucht Hutten im Gegensatz zu seiner seitherigen Auffassung eine Verbindung der Ritterschaft mit den Städten in Vorschlag zu bringen, um auf die Durchführung einer politischen und religiösen Reform im Reiche hinzuwirken" (Benzing). - Ohne das weiße Schlussblatt. Titel etwas fleckig und leicht angeschmutzt, sonst von einzelnen Fleckchen abgesehen sauber. Bücher la

      [Bookseller: Antiquariat Turszynski]
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        Opera Divi .

      1521 - ab innumeris mendis repurgata, adiectis nonnullis libellis ex vetustissimis exemplaribus, quae hactenus non habebantur, ac semotis, quae falson videbantur inscripta, una cum annotatiunculis. Atque haec omnia nobis praestitit ingenati labore suo Erasmus Roterodamus, virivuandis optimis studiis natus. Basilea 1521. In Officina Frobeniana. (29,5 x 20 cm), k. [12], s. 515, k. [16], karta tyt. i znak drukarski (na ostatniej karcie) w drzeworycie oraz druga karta w bordiurze drzeworytn., inicjaÅ‚y, opr. sk. (XVII/XVIII w.). Title leaf and printing sign (on the last leaf) in woodcut and the second leaf in woodcut rim. Binding: leather (XVII/XVIII century). Signs of moisture and stains. Title leaf repaired (margins), old ownership writings, stamps. Gilded spine. In good condition. Dedication of Erasmus of Rotterdam for the Cardinal Lorenzo Pucci Italian (1458-1531). Cyprianus lived in the 3rd century AD, came from Africa and acted as bishop of Carthage. Rare. Åšlady zawilg. i zaplamieÅ„ (szczeg. w części poczÄ…tkowej oraz karta nr 237), karta tyt. naprawiana (marginesy), wpisy wÅ‚asn. z epoki., pieczÄ™cie. Grzbiet oprawy zÅ‚ocony. Stan dobry. Dedykacja Erazma z Rotterdamu dla kardynaÅ‚Ä… wÅ‚oskiego Lorenzo Pucci (1458-1531). Cyprianus żyÅ‚ w 3 wieku naszej ery, pochodziÅ‚ z Afryki i dziaÅ‚aÅ‚ jako biskup w Kartaginie. Podczas przeÅ›ladowaÅ„ ChrzeÅ›cijan przez cesarza Valeriana, zostaÅ‚ Å›ciÄ™ty w 258 roku. Do czasów Augustyna uchodziÅ‚ za jednego z najlepszych pisarzy Å‚aciÅ„skich. Oferowane dzieÅ‚o zawiera listy Cypriana, które powstaÅ‚y gÅ‚ównie podczas wygnania na pustyniÄ™ Curubis; traktaty m. in.: "De habitu virginum" (O stroju dziewic), "De unitate ecclesiae" (O jednoÅ›ci koÅ›cioÅ‚a), "De oratione Dominica" (komentarz do "Ojcze nasz", ceniony przez Augustyna), "De lapsis" (O upadÅ‚ych) - dotyczy ChrzeÅ›cijan, którzy podczas przeÅ›ladowania Decjusza odstÄ…pili od wiary; i wiele innych traktatów. Rzadkie. [Attributes: Hard Cover]

      [Bookseller: Antykwariat Wójtowicz]
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        In somnium Scipionis Libri duo: et septem eiusdem libri Saturnaliorum

      Eucharius Cervicornus, Cologne 1521 - Folio, title within an ornate woodcut border; fine woodcut map of the world and several woodcut diagrams, woodcut initials; an attractive copy in a nineteenth-century continental binding of half calf, flat spine gilt in compartments. An important early edition of Macrobius, the first to be edited by Arnoldus Vesaliensis (the classicist Arnold Haldrein of Wesel). This is a handsome edition, folio in size with an illustrated title-page and with many fine woodcuts and initials throughout, including another, yet further developed, version of the famous Macrobian world map. First 30 and last two leaves with a single small wormhole. [Attributes: Hard Cover]

      [Bookseller: Hordern House Rare Books]
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        Los doze triunphos de los doze apostoles: fechos por el cartuxano.

      Juan Varela, Sevilla 1521 - 62 folios, 2 hh.Ilustrado con 48 xilografías encabezando cada triunfo o signo del zodiaco de cada uno de los apóstoles.En pergamino de época.Salvo que esta falto de la portada xilográfica arquitectónica es muy buen ejemplar, con buenos y limpios márgenes y buena encuadernación.Libro excepcional. [Attributes: First Edition]

      [Bookseller: Librería Torres-Espinosa]
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        Dialogi novi, perquam festivi. Bulla, vel Bullicida. Monitor primus. Monitor secundus. Praedones.

      (Straßburg, Johann Schott, nach dem 13. 1. 1521). Mit Titelholzschnitt von Hans Baldung Grien (Hutten in Rüstung in ganzer Figur). 36 num. Bll, 1 unn. Bl. Pappband mit Inkunabelpapier-Bezug. 4°. VD 16, H 6311; Benzing 161; Böcking XXXVI, 1; Panzer IX, 456, 2; Schmidt, Schott, 60; Hohenemser 2756; Ritter, Rép. 1228; Neufforge 379; Oldenbourg, Baldung L 182. - Erste Ausgabe. - \"Hutten arbeitete neben der Übersetzung seiner lateinischen Schriften ins Deutsche auch an neuen lateinischen Dialogen, wahrscheinlich schon seit Mitte November 1520. So erwähnte er die Arbeit an der \'Bulla\' bereits in seinem Brief an Luther vom 9. Dezember 1520. Am 13. Januar 1521 hatte er sie wohl alle fertiggestellt. Denn an diesem Tage widmete er sie seinem, bzw. Sickingens Nachbar Pfalzgraf Johann II. von Simmern-Sponheim. - Die Bulle oder der Bullentöter ist ein recht lebendiger Dialog, in dem es Hutten in der Hauptsache mit der Bulle Leo\'s X. gegen Luther - die er als leere Blase (bulla) verhöhnt - zu tun hat. Der 1. und 2. Warner haben nur 2 Unterredner, im ersten unterhält sich Luther im zweiten Franz von Sickingen mit einem warnenden Bekannten. Die \"Räuber\" waren schon vor einem Jahr begonnen (vgl. Brief des Cochläus an W. Pirckheimer vom 8. Febr. 1520 in Op. I S. 521) und wurden erst zu Anfang 1521 vollendet, wie aus deutlichen Anspielungen auf den Wormser Reichstag zu entnehmen ist. Darin versucht Hutten im Gegensatz zu seiner seitherigen Auffassung eine Verbindung der Ritterschaft mit den Städten in Vorschlag zu bringen, um auf die Durchführung einer politischen und religiösen Reform im Reiche hinzuwirken\" (Benzing). - Ohne das weiße Schlussblatt. Titel etwas fleckig und leicht angeschmutzt, sonst von einzelnen Fleckchen abgesehen sauber. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Uwe Turszynski]
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        Opera. Hrsg. von Erasmus von Roterdam. [Mitgebunden:] ATHANASIUS, Hl., Patriarch von Alexandrien. Opera, studiosius quam antea fuerint Eiusdem Athanasii de variis quaestionibus liber. His interpretibus Christophoro Porsena. Ambrosio monacho. Angelo Politiano. Ioanne Capnione. Accessit praeterea operi, Erasmi Roterodami Paraclesis, ipsiusque Athanasii vita. Titel innerhalb breiter Holzschnitt-Bordüre von Ambrosius Holbein.

      Johannes Froben November 1521 (für Cyprianus); und Strassburg Johann Knobloch 1522 (für Athanasius)., Basel - Basel, Johannes Froben, November 1521, (für Cyprianus); und Strassburg, Johann Knobloch, 1522 (für Athanasius). Folio (33,5 x 22,5 cm). [12] Bll., 515 S., [16] Bll. (Index und Schlussblatt) für Cyprianus; 1 Titelbl., 5 Bl., 10 Bl. Index, CCCXIIII Bl. für Athanasius. Schweinslederband d. Zt. über Holzdeckeln, mit reicher Blindpägung (ohne die beiden Schliessen). Sammelband mit bedeutenden Ausgaben der Werke zweier Kirchenväter, schön gedruckt durch Johann Froben (1460-1527) respektive durch den aus dem aargauischen Zofingen stammenden Strassburger Drucker/Verleger Johann Knobloch (gest. 1528). Ad I) Die zweite von Erasmus von Rotterdam besorgte Gesamtausgabe der Schriften von Caecilius Cyprinaus aus Karthago. Die hier verwendete Holbeinsche Titeleinfassung (Koegler 12) ist nicht identisch mit der im Februar 1520 erschienen ersten Erasmus-Froben-Ausgabe. Verwendet wurde die mit „Verleumdung des Apelles" bezeichnete Bordüre des Ambrosius Holbein zuvor in der im Januar 1519 von Froben gedruckten Ausgabe der Sermones von Maximus Tyrius (Holbein Kat. 119 und Abb. S. 162). Sie zeigt am Kopf eine Darstellung der Herrmannschlacht; den Lastern in der Verleumdung des Apelles im unteren Teil stehen in den beiden Seitenbordüren die Tugenden gegenüber. Ob die aus vier Leisten gebildete Einfassung im nachfolgenden ersten Textblatt ebenfalls von Ambrosius Holbein stammt ist fraglich (vgl. dazu F. Hieronymus 259 und Knaake 264). Besondere Erwähnung verdienen die eindrucksvollen grösseren und kleineren Holzschnitt-Initialen verschiedener Alphabete. - Mit Marginalien in brauner Tinte von zeitgenössischer Humanistenhand auf Titel und zusammen mit Anmerkungen von anderer Hand im breiten Rand. - Titel mit zwei und nachfolgende zwei Bll. mit je 1 Bibliotheksstempel, zu Beginn bis S. 220 Wurmlöcher. 3 Bl. seitlich mit kl. Einrissen, ohne den Text zu tangieren. - VD 16, C 6509; Vander Haeghen II, 23; Panzer VI, 226, 391. Ad II) Nach den beiden von Jean Petit in Paris gedruckten Ausgabe ist dies die dritte lateinische Ausgabe der Schriften des hl. Athanasius, zusammengestellt aus zuvor einzeln erschienen Uebersetzungen von Christopherus Porsena, Ambrosius Monachus und Angelo Poliziano. Athansios (295-373) ist der berühmteste der Bischöfe Alexandrias und der bedeutendste Gegner des Areios. Die meisten seiner Schriften sind gegen die Arianer gerichtet, darunter auch die berühmte Disputatio contra Arrium und vor allem apologetischen und dogmantischen Inhalts. Auf der Rückseite von Bl. 2 bis Bl. 5 recto Erasmus von Rotterdams Paraclesis ad lectorem pium, erstmals 1516 in der Einleitung in das griechische Neue Testament veröffentlicht. - Zweite Hälfte des Werkes mit (gegen Schluss zunehmenden) Wurmlöchern. - VD 16, A 3799; Index Aureliensis 109.392; Benzing, Reuchlin, 133; Vander Haeghen II, 11; Schmid, Knobloch, 234. Schweinslederband d. Zt. über Holzdeckeln, mit reicher Blindpägung (ohne die beiden Schliessen). [Attributes: Hard Cover]

      [Bookseller: Biblion Antiquariat]
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        Meintzisch hoffgerichts Ordnung zu allen andern gerichten dienclich.

      Mainz: Johann Schöffer, 1521. 4:o. (46) pp. Title with large wood cut border. Bound with: Vndergerichts ordnung der Ertzstiffts Meyntz: in welcher gantz fleissig angezeygt, wie vnd welcher gestalt an allen vnd jeden obgemelts Ertzstiffts auch andern Vndergerichten in recht gehandelt, vnd procedirt werden soll vnd mag, Schultheyssen, Schöffen, Richtern, vn andern so an Gerichten zuhandeln haben, vast dienlich vn behilfflich, jetzt nemlich gemeynem nutz zu gut gemacht, geordent vnd auffgericht. M. D. XXXIIII. Mainz: Johann Schöffer, 1534. 4:o. XXXV leaves. (70) pp. Also one contemporary handwritten leaf bound in. The first work appears to have been washed and the title has a small repair to lower margin. Second work with large dampstain throughout at lower corner. Two works bound together in modern paper boards. Handwritten title on spine. Boards worn at cornertips and spine-ends. Old book sellers catalogue cutting describing this copy inserted on front pastedown. 29 x 20,5 cm.. VD16 M 262 and VD16 M 273. Am Schluss dar "Hoffgerichtsordnung" ein Blatt angeheftet, das auf der Vorderseite von gleichzeitiger Hand zur Hälfte beschrieben ist. Der Inhalt dieser Notiz bezieht sich auf die Mainzer Gerichtsordnung

      [Bookseller: Antiquaria]
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        Biechlein über das haylig buch den Psalter. (Übers. u. mit einer Vorrede an Kurfürst Friedrich den Weisen hrsg. von G. Spalatin).

      - (Am Ende:) Augsburg, S. Grimm u. M. Wirsung, 1521. 4to. 36 Bl. Mit breiter Holzschnitt-Titelbordüre. Moderner Pappband. Erste Ausgabe und zugleich erster Druck einer Schrift des H. Athanasios von Alexandrien in deutscher Übersetzung. Der Humanist Spalatin war der vertrauteste Ratgeber Kurfürst Friedrichs des Weisen und in dieser Stellung auch der besondere Förderer und Beschützer Luthers. In seiner Vorrede bezeichnet sich Spalatin als Schüler Reuchlins. Seiner deutschen Übersetzung liegt die lateinische Athanasios-Übersetzung Reuchlins zugrunde. - Gering gebräunt oder fleckig, die beiden Schlußlagen H u. I mit Wasserrand. - Hoffmann I, 391; Panzer, Annalen II, 1039; VD 16 A 3992; BM STC German 49. [Attributes: First Edition; Hard Cover]

      [Bookseller: Buch & Consult Ulrich Keip]
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        Isagoge in Typum Cosmographicum seu Mappam Mundi

      Landschut: Johannes Weyssenburger, 1521. Small quarto. (7 7/8 x 6 inches). [8]pp. Wood-cut map on the title. Quarter vellum with tips over marbled paper covered boards, black morocco label on upper cover. Modern red half morocco and cloth slipcase. First edition of geographer Peter Apianus' first printed work, describing a large world map of which no copy has survived. The ellipsoidal map herein described is thought to have been based on the great Waldseemüller map of 1507, the first world map to use the term "America" Published about four years before his Cosmographicus Liber (which passed through thirty-five editions in the sixteenth century), the Isagoge is divided into twelve "Propositiones" showing how to use the map. Many of the comments and instructions in this guide are intended to explain the use of the map for astronomical and calendrical calculations. In his preface, he mentions his "Cosmography," which was not published until 1524, and which still stands as a foundational work on the subject. The preliminary section of the Isagoge was reissued in part in his Declaratio et Usus Type Cosmographici at Regensburg, probably the next year. "Harrisse, who knew this 'rare pamphlet' only in the copy in the Bibliotheque Nationale, Paris, believed that it could not describe the 1520 map and argued ingeniously that the 1520 map was published at the expense of Luc Alantse, whereas the Isagoge was dedicated to the Duke of Saxony. Ducal patronage would almost certainly supersede that of a private citizen. The James Ford Bell catalogue dates the Isagoge to 1520. Weyssenberger was the publisher of both the Isagoge and the Cosmographicus Liber . The map described in the Isagoge , although no copy is known, is a landmark in the history of the geography of the New World and this pamphlet describing it is an Americanum of the greatest rarity and cartographical significance" (Nebenzahl). Apianus was a Professor of Mathematics in Vienna, as well as a mapmaker, writer, and leading authority on cosmography - a subject encompassing astronomy, geography, and cartography. The woodcut map on the title of the Isagoge shows Europe, Asia and Africa, with Venice, Portugal and "Callicut" (i.e. Kozhikode) identified. Very rare in the market with only three copies traced for sale in the last century. European Americana 521/2; Bell Catalogue A-280; Van Ortroy, Bibliographie de l'Oeuvre de Pierre Apian , 10; Harrisse, History of America , p.534; Bagrow, History of Cartography , p.130; Stillwell I:22; Nebenzahl Catalogue 12:9; Leclerc 31; cf. Shirley, Mapping of the World 45.

      [Bookseller: Donald Heald Rare Books]
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