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Displayed below are some selected recent viaLibri matches for books published in 1536

        ANNOTATIONES IN L. II. DE CAPTIVIS, ET POSTLIMINIO REVERSIS. IN QVIBVS TRACTATVR DE RE NAVALI [and three other works]

      Paris: Robert Estienne, 1536. FIRST EDITION OF "De re Navali," First Printing of this Collection. Hardcover. 216 x 152 mm (8 1/2 x 6"). 4 p.l., [1]-168, [8], [1]-203, [13] pp. (with pagination anomalies). Edited by Charles Estienne. FIRST EDITION OF "De re Navali," First Printing of this Collection. STRIKING 16TH CENTURY ENGLISH CALF, HEAVILY AND BEAUTIFULLY GILT, covers gilt with border formed by two plain rules flanking a floral roll, this frame enclosing a central field of very many tiny star tools, intricate strapwork cornerpieces, and large central arabesque composed of strapwork interspersed with lilies and volutes; flat spine divided into latticed gilt panels by double plain rules and floral bands, newer (17th or 18th century?) black morocco label, the binding almost certainly with some restoration (the joints probably worked on, though the repairs executed with such skill as to make difficult identifying exactly what has been done), old stock used for replacement endpapers. WITH 32 FINE WOODCUTS in the text, 11 OF THEM FULL-PAGE OR NEARLY SO, the illustrations showing ancient ships, Roman clothing, and urns; woodcut printer's device on title, decorative initials, and four woodcut diagrams. Text in Latin and Greek. Schreiber 53; Renouard 44, #19; Brunet I, 710-11; STC French, p. 39. Covers with minor discoloration, a little crackling and minor scratching, and gilt a bit dulled and eroded, one corner somewhat bumped, half a dozen leaves with faint dampstains to lower outer corner, a hint of soil in isolated places, but AN EXTREMELY PLEASING COPY, the binding solid, with no serious wear, and still very attractive; the text clean, fresh, and bright; and the margins generous. This is the first of just five illustrated books published by Robert Estienne, offered here in a handsome and historically important contemporary English binding. Included in the present volume are Baïf's monograph on ancient ships, the author's treatise on Roman dress, and his work on early vases and receptacles, as well as an early printing of the first published monograph on colors, "De Coloribus" by Antonio Telesio (1482-1534), later reprinted in Goethe's "Farbenlehre." A distinguished humanist and diplomat who was well known in his own time for translations of the Greek dramatists, Baïf (1485-1547) is today best remembered for the works contained in this collection. The woodcuts, which include 20 of early ships, may have been produced by the atelier of Geoffroy Tory, since five of them are signed with the Lorraine cross (Tory was the Royal printer of France, appointed by François I, whose titles included Duke of Lorraine). Our volume appears here in a lovely 16th century decorative binding that certainly is English and seems in design and execution similar to the work of the artist whom Nixon dubbed the "Dudley Binder," for the work he did for Robert Dudley, Earl of Leicester. Our binding's central panel, with its oval medallion and ornate cornerpieces, is typical of the Dudley Binder's work (see, for example, items #16 and 17 in Nixon's "Five Centuries" and Foot's "Davis Gift," #43).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Grant of arms to Gregorio de Castro [Ejecutoria / Executoria]

      Splendid early and large illuminated Spanish Grant of Arms on vellum, from Carlos V, 1536. October, 1536. Valladolid. In large folio (575 mm x 417 mm). 1 ff. Margins extended for appropriate framing expertly done; some scratching and rubbing, signatures at bottom slightly faded, else perfect. Large illuminated document on vellum, in fine rotunda, 55 lines plus headline. Early and handsome example of early 16th century Spanish illumination and grant of arms; signed by the Emperor and including two large miniatures. Headed with ?D O N   C A R L O S?. Large initial ?D? (c70 mm x 70 mm) including the Imperial Spanish Royal Coat of Arms; 9 illuminated initials in blue and red; and a large coat of arms in a central block at the centre of the document. All painted in brilliant colours. Text is surrounded by a wide border to top and lateral margins, embodying interlacing designs, flora and fauna, with a golden background. The border and heraldic decoration are splendid examples of the Hispano-Flemish school of miniature painting. The document begins with ?Don Carlos V Por la divina clemencia Emperador de los Romanos Augusto Rey de Alemania Doña Juana su madre y el mismo Don Carlos por la gracia de Dios Reyes de Castilla, de Leon de Aragon, de las Dos Sicilias de Jerusalem...?, thus sharing the power with his mother, Doña Juana. The grant is extended to Gregorio de Castro ?vezino de la Abadia de Burgos?. The last part of the document, after explaining who the grantee is, describes the Coat of Arms given to the family. Castro is a long-standing family name of Spain, apparently descending directly from the first rulers of Castille. In the XII century, the family was divided in two major families; Gregorio was a descendant of one of those, apparently of those from Burgos (Señores de Zelada del Camino). Early Spanish manuscripts, with this decoration, and from Charles V, are not at all common, especially of this size and beauty.

      [Bookseller: Hs Rare Books]
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        Adamo ed Eva

      Bulino, 1536, monogrammato in lastra. Poco prima del 1520, alcuni giovani artisti della cerchia di Albercht Dürer presero a realizzare incisioni molto piccole che hanno sfidato lo spettatore con un mondo in miniatura, un mondo di nuovo soggetto laico e di interpretazioni non convenzionali di temi tradizionali. A causa delle ridotte dimensioni delle loro incisioni, questi artisti sono stati appellati a lungo, con il nome collettivo, e poco lusinghiero, di Piccoli Maestri di Norimberga. Il nucleo del gruppo consiste in tre artisti di Norimberga, Hans Sebald & Bartel Beham e Georg Pencz, e inoltre Jacob Bink da Colonia e Heinrich Aldegrever da Soest. La presente incisione proviene da una vecchia collezione in cui le opere erano conservate, come spesso accadeva, applicate in un album databile al XVIII secolo. Buona prova, impressa su carta vergata coeva, rifilate al rame, in buono stato di conservazione. Engraving, 1536, signed on plate. A good impression, printed on contemporary paper, trimmed to the platemar, in good conditions. Shortly before 1520, several young artists in the immediate circle of Albercht Dürer began making remarkably small engravings that challenged the viewer with a world in miniature; a world of new secular subject and of unconventional interpretations of traditional themes. Because of the scale of their engravings these artists have long been saddled with the unflattering collective name the Little Masters. The core of the group consist in three Nuremberg artists, Hans Sebald & Bartel Beham and Georg Pencz, Jacob Bink form Cologne and Heinrich Aldegrever from Soest. This engraving comes from an old collection and were pasted in XVIII century portofolio. Bartsch 5, Pauli 6. Dim.54x81.

      [Bookseller: Libreria Yelets]
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        Herbarum imagines vivae. Der kreuterlebliche Conterfeytunge.

      8°. 40 n.n. Bl., 4 n.n. Bl. Index; 20 n.n. Bl., 2 n.n. Bl. Index. Mit 231 Holzschnitten (Teil 1), 68 Holzschnitten und einer Holzschnitt-Titelbordüre (Teil 2). Kalblederband des 18. Jahrhunderts mit goldgeprägtem Rückenschild und Rückenvergoldung und dreifacher Deckelfiletierung sowie Ganzgoldschnitt. VD16 H 2196. - Vgl. Nissen 911 (mit 1533 als Erscheinungsjahr). - Sehr seltene Ausgabe dieses Kräuterbuches in Taschenformat, das erstmals 1533 erschien. "Es enthält nur Abbildungen von Pflanzen, und zwar, wie immer um jene Zeit, in Holzschnitt, ein Text fehlt vollständig, nur ein Register der Pflanzennamen wurde beigefügt. Es hat kurz nacheinander mehrere Auflagen erlebt und wird zur Pflanzenkenntnis im Volk nicht unwesentlich beigetragen haben; heutzutage ist es fast völlig verschwunden" (Schmid: Über alte Kräuterbücher, Seite 24 und Abbildung der Titelblätter Seite 23 und 25). - Einige Darstellungen ankoloriert. Alle deutsch gedruckten Pflanzennamen mit der lateinischen Bezeichnung handschriftlich ergänzt. Verzeinzelt etwas fleckig. Einband mit Kratzspuren auf den Deckeln. Ecken leicht bestossen. [2 Warenabbildungen bei antiquariat.de]

      [Bookseller: Daniel Thierstein Buchantiquariat]
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        Vita Christi

      Lugduni [Lyon]: Coimpressa Sumptibus honorat. vir. Jacobi. q. Francisci de Giunta Florentini, 4 May 1536. Leather Bound. Very Good +. 6 x 8 1/4 inches. Begins at t(cross)ii, otherwise collates as complete compared with Registrum on last page. First page with large woodcut and printed in red and black. Some light dampstains to lower margins and last four to five lines of text. Printed in two column black letter. With numerous decorated initial capitals and miniatures. Occasional old ink in margins. Title and author in ink to foreedge. Two brands to top edge (an "S" and an "F" with a small circle on to horizontal line of the "F"). Bound in old brown calf over wooden boards, with darkened geometrical designs possibly made with heated instruments. Brass catches, clasps and corners, with brass clasps renewed. Professionally rebacked to style with four large raised bands. Provenance: Convent in Arequipa, Peru, title page existed during the 1884 war with Chile. Although virtually unknown to English speakers, Ludolph's Vita Christi was an extremely popular devotional work that was widely read during the fifteenth century, and which influenced St. Ignatius Loyola during his recuperation (1521-22), the influence of which may be seen in the similar structure, imagery and themes of his Spiritual Exercises. The miniatures provide valuable period detail and information (e.g., vestments and clothing, clerical and secular headgear, a rosary, hairstyles including tonsures) others are interesting for their theological information (e.g., a horned devil, the church as an ark). A very good copy of this rare work.

      [Bookseller: St. Wulfstans Books]
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        Außlegung oder Postilla des Heiligen und Gotzuerstendigen Zmaragdi, eines theuren Abbts auß Sachßen (der gelept hat, als man zalt D.CCCC.LXX. jar) uber die furnempsten Evangelia vnd Episteln des gantzen jars, auß den heyligen alten Marterern und lerern der Christlichen kirchen, nämlich, Origine, Hieronymo, Chrysostomo, Ambrosio, Augustino, Cypriano, Cyrillo, Gregorio, Victore, Fulgentio, Cassiodoro, Eucherio, Tychonio, Figulo, Beda, Primasio und anderen, mit klarer kürtz zu nutz Christenlicher kirchen kirchen zusamen getragen, unnd als ein unpartheyisch buch für dise zeit newlich auß dem Latein verteutschet (von Caspar Hedio)

      Straßburg, Kraft Müller 1536. 29 cm. (20), 296 Blatt mit Titelvignette, Schlußvignette, 1 ganzseitigen Holzschnitt und 45 Textholzschnitten, davon 38 von dem Monogrammisten IS. Flexibler Pergament-Band der Zeit mit handschriftlichem Rückentitel - VD16 S 6798 - Oldenbourg, Schäuf. S. 129 - Realenz. 18, 448 (lat.) - Erste deutsche Ausgabe von "In Evangelia et Epistolas ...", im Jahr der ersten lateinischen Ausgabe erschienen. Mit Vorrede von Kaspar Hedio und Lebensbeschreibung des Autors von Johannes Trithemius. Der ganzseitige Holzschnitt mit dem Kruzifix in gutem Abdruck. Smaragdus (Smaragd), Abt des Klosters St. Mihiel bei Verdun, genoß großes Ansehen unter Karl dem Großen und Ludwig dem Frommen. Sein vorliegendes exegetisches Hauptwerk ist eine "Kompilation für den Gebrauch predigender Priester, in welcher die exegetischen Bemerkungen zahlreicher älterer kirchlicher Schriftsteller ... zusammengetragen sind" (Realenz. 18, 448 zur lateinischen Ausgabe 1536). Einband schwach fleckig, Schließbänder nur noch teilweise vorhanden, innen stellenweise leichte papierbedingte Bräunung, 2 Blatt etwas stockfleckig -

      [Bookseller: Wenner Antiquariat]
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        Cornazano, De re militari, nuovamente con somma diligentia impresso

      Vinegia: Published, Vinegia : nelle case di Pietro. di Nicolini da Sabbio, 1536. Cornazano, De re militari, nuovamente con somma diligentia impresso. By Antonio Cornazzano. Edited by B. Giunta of Florence. Published, Vinegia : nelle case di Pietro. di Nicolini da Sabbio, 1536. Reprint of the Giuntine edition of 1520.First published in 1493.Collation,366pp. Bound in full modern calf, raised bands, leather title label, full gilt edges. Binding in excellent condition. Internally, no loose pages, no writing or marking, very occasional light browning, pages in remarkably clean condition throughout.Book measures 11x16.5cms.A39. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: George Jeffery Books]
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        COMEDIA DEL/DIVINO POETA DANTHE/Alighiero, con la dotta & leggiadra spositione di Christo-/phoro Landino: con somma diligentia & accu/rratissimo studio nuovamente corretta, /& emandata: da infinti errori pur/gata, ac etianio di utilissime/ postille ornata./AGGIUNTAVI DI NUOVO UNA COPIOSIS-/ima Tavola, nellaqualla si contengono lestorie, savole senten/tie & le cose memorabili & degnedi annotatione/che in tutta lÕopera si ritrouano.[Oval engraving of Dante flanked by date in Roman numerals] MDXXXVI [Below engraving] In Vinegia ad instantia di gioanni Giolitto da Trino

      Venice: Bernadino Stagnino, 1536. Third Stagnino edition. Full contemporary vellum with ÔDanteÕ in contemporary ink on spine.. The book has been reset and has been expertly restored-the titlepage has been repaired and the fore-edge of the fullpage woodcut has been remarginned. lacks 4 leaves (98,99,102,103). A very handsome copy, expertly restored, of a rare early edition of Dante.. Quarto (205 x 148mm), ff. titlepage [1]and Tavola [11], secondary title-CANTICA/ DEL DIVINOPOE/TADANTHE/ ALIGHIERI FIOREN/TINO [1], and then ÔCOMMENTO DI CHRISTOPHORO LANDINO ...Õ[15], 440.& This collation concurs with the ÔRegistroÕ of gatherings on collophon One full page woodcut on A1, preceding the first canto, small woodcuts in text at the beginning of each canto. PrinterÕs device on collophon below register. Titlepage has several signatures in contemporary ink,sporadic marginal notes in contemporary ink on first 30 leaves of Inferno. 3rd edition printed by Stagnino, a reprint of editions of 1512 &1520. & COPAC lists copies in British Library, Oxford, Edinburgh, 2 in Manchester and UCL (582)

      [Bookseller: G&R Stone]
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        ORGANUM VRANICUM. SEBASTIANVS MVNSTERVS HABES IN HOC LIBRO, AMICE LECTOR, EXPLICATAS THEORICAS OMNIVM PLANETARU

      Basel: Henricvm Petrvm, [1536].. [8],70,[36]pp., including fourteen working volvelles (four in pen-and-ink facsimile). [bound with:] Finé, Oronce: ORONTII FINEI DELPHINATIS, REGII MATHEMATICARVM PROFESSORIS QVADRANS ASTROLABICVS, OMNIBUS EUROPÆ REGIONIBUS INSERUIES: EX RECENTI & EMEDATA IPSIUS AUTHORIS RECOGNITIONE IN AMPLIORÉ, AC LONGE FIDELIOREM REDACTUS DESCRIPTIONEM. Paris: Simonem Colinæum, 1534. 18 leaves. Folio. Later calf, ornate blind tooled covers, gilt-lettered spine. Moderately rubbed. Front board detached. Old bookplate and binder's label on front pastedown. Some light dampstaining to inner margin of first few leaves, one leaf neatly repaired. Very good. In a half morocco and cloth box. Two primary works of early astronomy and mathematics. The first, by Sebastian Munster, author of the celebrated COSMOGRAPHIA UNIVERSALIS of 1544, is especially notable for its remarkably clean and operable original volvelles. His inclusion of numerous volvelles (which track the movements of the planets through the solar system) has made his text one of the primary sources for the study of "dialing" in the 16th century. Munster previously employed volvelles in his 1525 INSTRUMENT OF THE SUNS, though here he makes more ample use of them. The text examines the movement of the planets, a popular subject of the time due to the demand to improve navigation techniques. It is extremely rare for volvelles to survive in such pristine condition, making this copy highly desirable. The second text, by Oronce Finé, is the second edition, after the first of 1527. This work is Finé's first treatment of what Karrow calls a "universal" quadrant, an essential component of astronomy during Finé's lifetime. Though Finé is best known for his work on spheres, all of his writings demonstrate his command of contemporary mathematical theory and are evidence of his station as one of France's leading 16th-century mathematicians. Two astronomical and mathematical treatises by leading luminaries of their day, one with lovely volvelles, both fueled by the demands of the art of navigation and the race to the New World. Organum...: KARROW 58N. BURMEISTER 1964:43. GRAESSE IV:622. OCLC 6494643. Orontii...: HILLARD & POULLE 1971:2. KARROW 27H. GRAESSE II:580. OCLC 23624574, 3425957, 18073996.

      [Bookseller: William Reese Company - Americana]
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        OPERA DI AGRICOLTURA. Ne la qual si contiene a che modi si debbe coltiuar la terra: seminare, inserire li alberi, gouernar gli giardini e li horti: la proprietà de tutti i frutti & herbe: la natura de tutti gli animali: & uccelli...

      In-16 p. (mm. 152 x 98), p. pergam. coeva (risg. rifatti), tit. ms. al dorso, cc.nn. 392, cornice figurata al frontesp., con bella xilografia a p. pag. al verso della terza carta; ornato da grandi iniz. figur. a vignetta inc. su legno. Di questo celebre trattato, che ebbe numerosiss. edizioni a partire dal XV secolo, cosi' precisa Gamba,374: "Il Crescenzio scrisse quest'opera in latino tra il 1307 e il 1311, ed è stata opinione di Leonardo Salviati, che'l volgarizzamento siasi fatto verso il 1350. Egli notò che dee riguardarsi come una delle principali scritture del volgar nostro, si' per li nomi specialissimi degli affari della villa, e talora anche di astrologia e di medicina e di altre arti, e si' perchè in genere di buone voci e di pura lingua è ripiena..". Cfr. anche Sander,I,2240: ?Page du titre, encadrement orné à la grotesque; dans le haut, le chat des Sessa. Bois de page, portrait de l?auteur assis in cathedra? - Ceresoli, p. 184. Esemplare corto del margine sup., peraltro ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        Ptolomaei Planisphaerium. Jordani Planisphaerium. Federici Commandini Urbinatis in Ptolemaei Planisphaerium Commentarius. In quo universa Scenographices ratio quam brevissime traditur, ac demonstrationibus confirmatur.Venice: Aldus (Paolo Manuzio), 1558.

      First edition of Commandino's commentary. The Greek text of this writing by Ptolemy on stereographic projection is lost, a Latin version appeared in Basel in 1536, but this is the first separate and best edition, translated from the Arabic and edited by Commandino with his commentary. The 'Planisphaerium' concerns the stereographic projection of the celestial sphere on a plane with the south celestial pole at the center, a technique which Ptolemy used for mapping points in the heavens on the plane of the equator. In working with this projection and conic sections, Commandino noticed that conic sections can be considered sections in visual cones or perspective images. This inspired him to include in his work a study of perspective which occupies the first nineteen leaves of his commentary, and represents one of the earliest mathematical formulations of a method already widely employed by artists. (For a detailed account of this work see Andersen's The Geometry of an Art, pp.138-145). Houzeau & Lancaster 769; Riccardi I, 360.1; Adams P-2242; Sarton I, 277 and II, 616; Renouard 173.4; STC 543.. Two parts bound in one volume (as issued). Small 4to: 211 x 156 mm. Contemporary limp vellum. ff. 3, (1:blank), 37, (1:printers device); 28. [complete]

      [Bookseller: Sophia Rare Books]
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