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Displayed below are some selected recent viaLibri matches for books published in 1540

        M. Fab. Quintiliani Oratoris Eloquentissimi Declamationum Liber

      Lugduni (Lyon): Sebastian Gryphius, 1540. Hardcover. Very good. Small 8vo. 247,(1)pp. This is the "Declamationum Liber", or part two (complete) of Quintilian's "Institutionum Oratoriarum Libri XII" and though it has its own title page and pagination, there is no publisher indicia; that was printed only in part 1. The final page is a woodcut of Gryphius' trademark griffin printer's device. Gryphius issued ten editions of Quintilian, all between 1531 and 1575. Of these editions we have eliminated five based either on personal inspection or catalogued pagination, leaving editions in 1534, 1536, 1540, 1544 and 1549, of which this copy is one. Later (18th cent.?) binding of full calf; spine in six compartments with raised bands, gilt; red leather lettering piece, gilt. Hinges neatly mended else a very good copy with a fine textblock. The copy of lawyer, scholar, Greek translator and editor of the Chicago Tribune Horace White (1834-1916), with his bookplate on the front pastedown. All editions of Gryphius' Quintilian are uncommon. In Latin.

      [Bookseller: Thorn Books]
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        Methodus medendi.

      Heinrich Steiner, Augsburg 1540 - Kl.-8vo. (ca. 16,5 x 11 cm). Späterer flexibler Pergamentband, 2 Bll., CLXIII, 3 Bll. Sprache: Latein, Mit Titelbordüre in Holzschnitt. VD16 M 6267. Durlin 3292. Lesky 454. Wellcome I, 4433. Erste Ausgabe, eine weitere erschien 1545 in Venedig. - Montius war Professor für Logik, Philosophie und Medizin in Padua und Bologna (Geburtsjahr unbekannt, gestorben 1553). In diesem Werk setzt er sich mit den Lehren Galens (Galenus von Pergamon) auseinander (Methodus medendi war eines der Hauptwerke Galens), die bis in die Neuzeit hinein die medizinische Ausbildung bestimmten. Damit ist sein Buch der zweite Galen-Kommentar innerhalb weniger Jahre, der nach Johann Agricolas "Scholia copiosa in therapeuticam methodum." (1534) in Augsburg verlegt wurde. - Einband etwas wellig und fleckig (Spuren eines Wasserschadens), ansonsten aber fest und gut erhalten. Breitrandiges, nur am Kopf beschnittenes Exemplar. Der Titelholzschnitt ist deutlich größer als der Satzspiegel. Innen leicht gebräunt aber kaum fleckig, im ersten Teil blasser Wasserrand im oberen Eck. Durchgehend immer wieder Anmerkungen eines sachkundigen zeitgenössischen Lesers am Rand (saubere Handschrift mit Tinte). 550 Gramm. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Dr. Wolfgang Wanzke]
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        Biblia Hebrae, Chaldae, Graeca & Latina

      1540 - Estienne´s first illustrated Bible, with all woodcuts finely coloured by a contemporary hand, some heightened in gold. 1540-39-38. Paris. Robert Estienne. Folio (432 x 290 mm). 564 ff., as follows: [10], 268, 104, 90, 92. Contemporary blind-stamped calf over wooden boards, skillfully rebacked preserving style, lightly rubbed. Unobtrusive worming, mostly marginal, at beginning and end, title with marginal repairs, else a brilliant copy, with all woodcuts delicately coloured by a contemporary hand. 26,000 $ First illustrated edition of the remarkable Estienne Bible, a monumental and beautiful printing, here in a spectacular copy with all the woodcuts, capital letters, and printer´s devices coloured by a contemporary hand, some heightened in gold. Estienne´s illustrated Bible, besides being a very significant edition of the Vulgate, possibly one of the most beautiful Bibles printed in the 16th century, a fact that is singularly important to this copy, which presents the unique feature that all 20 woodcuts (some almost full page), 77 capital letters, and the four large printer´s devices are finely coloured by a contemporary hand, some heightened in gold. The illustration of this edition was highly praised, and of considerable influence for subsequently printed Bibles, such as Jean de Tourne´s Biblia Sacra (Lyon, 1556), Rouille´s Figures de la Bible (Lyon, 1564), and Buon´s Sainte Bible (Paris, 1586). This is the third folio Bible printed by Estienne, which represents a further revision along the same lines as his first critical edition of the Vulgate in 1528. 'The third Estienne folio Bible, for which the text was revised from additional MS sources; a list given at the end of the preface enumerates at least 16 MSS and 3 printed editions. This edition contains the first printing of the Prayer of Manasses, in Greek and Latin. It is the text of this monumental edition which became the foundation of the official Roman vulgate . This is the only illustrated Bible issued by Robert Estienne, and the second of only five illustrated books which he produced' (Schreiber). This edition contains the editio princeps of the Prayer of Manasses, in Greek and Latin, the short book in the Old Testament Aprocrypha consisting of a penitential prayer put into the mouth of Manasseh, Kind of Judah. The series of twenty woodcuts were re-issued in 1546: “the purpose of the woodcuts is instruction above the Biblia Pauperum level Estienne acknowledges on the title-page the assistance of Francois Vatable, regius professor of Hebrew, in preparing the illustrations for the Tabernacle and the Temple of Solomon” (Mortimer). "The text of this edition represents a further revision on the same lines as that of 1528, but based on a larger number of MSS. A list given at the end of the preface enumerates at least 16 MSS" (Darlow & Moule 6117); Provenance: Dominican Convent of Regensburg, old bookplate "Conventus Ratisbonensis F.F. Ord. Praed"; Royal Library of Munich (stamp); Samuel H. Turner (stamp); Philadelphia Divinity School (bookplate and perforated stamp on title). Adams B-1022; Armstrong 72-75; Bernard 215-16; Darlow & Moule 6117; Schreiber 59. [Attributes: First Edition; Hard Cover]

      [Bookseller: HS Rare Books]
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        Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus. | Habits de diverses nations de l[']Europe, Asie, Afrique et Ameriqe[!].| Trachtenbuch: Der furnembsten Nationen und Volcker Kleydungen beyde Manns und Weybs personen in Europa Asia Africa und America. [Antwerp, successors to] Joos de Bosscher, [ca. 1600]. Engraved print series with title-page, a leaf with a 10-line verse about clothing, a leaf with 2 portraitsm, and 61 costume plates (numbered 1-58 plus 28.1, 28.2 and 28.3). With: (2) [BRUYN, Abraham de]. Exhibemus hoc libello Romani Pontificis, Episcoporum, Monachorum, aliorumque sacerdotum, quorum aliquid scire potuimus, imagines.Antwerp, [successors to] Joos de Bosscher, "1581" [= ca. 1600]. Engraved print series with title-page and 18 numbered costume plates. 2 works in 1 volume. Small oblong 1mo (25.5 x 36.5 cm). 19th-century half red goatskin morocco, gold-tooled spine.

      Colas 475; Hollstein IV, A. de Bruyn 248-306 "4th" ed.; Vinet 2087; cf. Lipperheide Aa 18. Two beautiful and complementary 16th-century series of costume prints by the engraver Abraham de Bruyn (1540-1587), together showing over 450 different costumes, both first published in 1581. The first print series starts with the rich and elaborate costumes of the Emperor and Kings of the Holy Roman Empire, followed by the costumes of the Electors. Military costumes are also shown with twelve or more to one plate. The European costumes come from Antwerp, Brabant, Spain, England, France, Italy including Venice, Rome and Naples, and elsewhere. The more exotic costumes come from Turkey, the Arabic lands, Persia, Africa, Tartary and America. The second series starts with the Pope, cardinals and bishops, and continues with male and female members of various religious orders.With bookplate. The 3 preliminary leaves and plate 1 of part 1 have been cut down and mounted on backing leaves and show a few repaired tears, but both series are further in very good condition, with only an occasional minor stain, smudge or marginal tear. Several leaves are bound out of sequence.

      [Bookseller: Antiquariaat FORUM BV]
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        Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus. | Habits de diverses nations de l[']Europe, Asie, Afrique et Ameriqe[!].| Trachtenbuch: Der furnembsten Nationen und Volcker Kleydungen beyde Manns und Weybs personen in Europa Asia Africa und America. [Antwerp, successors to] Joos de Bosscher, [ca. 1600]. Engraved print series with title-page, a leaf with a 10-line verse about clothing, a leaf with 2 portraitsm, and 61 costume plates (numbered 1-58 plus 28.1, 28.2 and 28.3).With: (2) [BRUYN, Abraham de]. Exhibemus hoc libello Romani Pontificis, Episcoporum, Monachorum, aliorumque sacerdotum, quorum aliquid scire potuimus, imagines.Antwerp, [successors to] Joos de Bosscher, "1581" [= ca. 1600]. Engraved print series with t

      - Colas 475; Hollstein IV, A. de Bruyn 248-306 "4th" ed.; Vinet 2087; cf. Lipperheide Aa 18. Two beautiful and complementary 16th-century series of costume prints by the engraver Abraham de Bruyn (1540-1587), together showing over 450 different costumes, both first published in 1581. The first print series starts with the rich and elaborate costumes of the Emperor and Kings of the Holy Roman Empire, followed by the costumes of the Electors. Military costumes are also shown with twelve or more to one plate. The European costumes come from Antwerp, Brabant, Spain, England, France, Italy including Venice, Rome and Naples, and elsewhere. The more exotic costumes come from Turkey, the Arabic lands, Persia, Africa, Tartary and America. The second series starts with the Pope, cardinals and bishops, and continues with male and female members of various religious orders.With bookplate. The 3 preliminary leaves and plate 1 of part 1 have been cut down and mounted on backing leaves and show a few repaired tears, but both series are further in very good condition, with only an occasional minor stain, smudge or marginal tear. Several leaves are bound out of sequence.

      [Bookseller: Antiquariaat FORUM BV]
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        De adoratione in spiritu et veritate, & spiritali totius legis Mosaicae in religione Christiana observantia, ... Lyon, Sybille de la Porte, 1588. 4to. With Porta's woodcut device on title-page, a woodcut headpiece, several woodcut tailpieces, numerous decorated woodcut initials (at least 3 series) and decorations built up from cast fleurons. Contemporary limp calf parchment.

      Baudrier VII, pp. 355-356; French vernacular books 63857; USTC 156678; cf. Florovsky, The Byzantine Fathers of the fifth century, p. 186. First edition of Agelli's translation (and first separate edition of any version) of Cyril's "the adoration and worship of God in spirit and in truth", a commentary on the Old Testament concerning Mosaic law, written in the form of a dialogue between Cyril and Palladius. It is the first commentary by the patriarch of Alexandria, Cyril of Alexandria (ca. 376-444), whose "precision, accuracy, and skill … as a theologian has often been remarked" (The Oxford Dictionary of Saints). "St. Cyril uncovers this mysterious, allegorical, and immutable sense of Mosaic Law and adds a coherent sketch of Old Testament foundations of spiritual preparation. In particular he dwells on the Old Testament prototypes of the Church" (Florovsky). It is published by the female printer Sybille de la Porte (1540-1608), widow of the printer Henry de Gabiano.With 17th-century owner's inscription on title-page. In very good condition with a minor water stain in the outer margin of ca. 20 leaves, some small stains from the ties of the binding through the first few leaves. Binding also very good, only slightly chipped in the lower spine and ca. 10 tiny wormholes.

      [Bookseller: Antiquariaat FORUM BV]
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        Principes de cosmographie, tirez d'un manuscrit de Viette, & traduits en François. Corrigées et augmentées.Paris, Jean Behourt, 1647. 12mo. With 2 woodcut illustrations in the text (a geocentric universe and a simple geometric figure). Contemporary limp sheepskin parchment.

      Cf. DSB XIV, pp. 18-25; M.J. Bradley, Pioneers in Mathematics: the age of genius, p. 16. Third edition of one of the first scientific works of the greatest French mathematician of the 16th century, François Viète (1540-1603). Viète graduated in 1560 from the University of Poitiers with a law degree. "In 1564, Viète accepted a position in the household of the prominent family of Jean de Parthenay and his wife, Antoinette d'Aubeterre. In fulfilment of his responsibilities as tutor for their daughter Catherine, he wrote a collection of essays on various scientific subjects.” (Bradley). The present compilation of three of these works first appeared posthumously in 1637, based on Viète's manuscript, under the title Principes de cosmographie ..., the three essays forming the three divisions of the book, on the geocentric universe, geography, and astronomy..It includes a section covering the geography of the Arabian peninsula (pp. 96-97), naming: Bahrain, Mecca, Aden, Ormuz etc.With owners' inscriptions (one dated 1657) and library stamps. Browned and with mostly marginal, water stains throughout. A reasonable copy. Binding still good.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Resolutioru[m] dubioru[m] circa celebatione[m] missarum occurrentium.(Colophon: Cologne, Johann Landen, 1506). With a woodcut illustration of the madonna and child on the recto of the last blank and repeated on the verso of the same leaf. With: (2) AUGUSTINUS OF LEONISSA. Sermones pulcherrimi sup[er] D[omi]nica[m] or[ati]o[n]em Pater noster et Angelicam salutat[i]o[n]em Ave Maria ... (Colophon: Cologne, [heirs of] Heinrich Quentel, 1505). With a couple decorated woodcut initials. 2 works in 1 volume. 8vo. Richly blind-tooled calf in panel design, signed ("HB") and dated ("1540"), both sides with in the centre a roll of showing the crucifixion, instruments of the Passion and the resurrection of Christ, surrounded by a roll with portraits of the 4 Evangelists and the front board with the title "Resolutorium" and "XLIII". Further with 5 brass bosses on each side, brass clasps, catch plates and corner pieces (lacking 2 corner pieces on the back).

      Ad 1: VD16, H 3454 (7 copies); Proctor 10484; ad 2: VD 16, A 4321 (7 copies); not in Proctor; for the binder: Haebler I, pp. 39-41 & II, p. 303. Two rare early 16th-century Cologne imprints in a slightly later binding by the Breslau binder "HB", dated 1540. The first work is a popular manual on the rites of the Roman Catholic mass by Johannes Heynlin de Lapide (ca. 1425-1496) and the second work contains sermons by Augustinus of Leonissa (fl. 1435). The binder, only known by his monogram "HB", is a Breslau binder active from 1525 to 1540, who is known to have made bindings for Johann Hess (1490-1547), Protestant reformer of Breslau, and for the humanist and diplomat Heinrich Ribisch, syndic of the city of Breslau and correspondent of Melanchthon. The present binding has two figurative rolls: the first showing the crucifixion, instruments of the Passion, and the resurrection of Christ, with the HB monogram (167 x 15 mm; could be similar to Haebler roll no. 6, but instead of the Man of Sorrows, it shows the Instruments of the Passion); and the second showing the four Evangelists with the HB monogram above the head of St. Matthew and the date at the top of the image of St. Marc (175 x 17 mm; Haebler roll no. 2).With old owner's inscription on paste-down, owner's inscription struck through on title-page and several contemporary manuscript owner's inscriptions throughout, a few shaved by the binder, showing that they predate the 1540 binding. A good copy, with the blank lower half of the title-page cut off, some occasional browning and a few smudges. Binding lacking two of the corner pieces on the back board and the front spine is cracked, but still firmly attached, otherwise good with the tooling very well preserved.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        De adoratione in spiritu et veritate, & spiritali totius legis Mosaicae in religione Christiana observantia, Lyon, Sybille de la Porte, 1588. 4to. With Porta's woodcut device on title-page, a woodcut headpiece, several woodcut tailpieces, numerous decorated woodcut initials (at least 3 series) and decorations built up from cast fleurons. Contemporary limp calf parchment.

      - Baudrier VII, pp. 355-356; French vernacular books 63857; USTC 156678; cf. Florovsky, The Byzantine Fathers of the fifth century, p. 186. First edition of Agelli's translation (and first separate edition of any version) of Cyril's "the adoration and worship of God in spirit and in truth", a commentary on the Old Testament concerning Mosaic law, written in the form of a dialogue between Cyril and Palladius. It is the first commentary by the patriarch of Alexandria, Cyril of Alexandria (ca. 376-444), whose "precision, accuracy, and skill as a theologian has often been remarked" (The Oxford Dictionary of Saints). "St. Cyril uncovers this mysterious, allegorical, and immutable sense of Mosaic Law and adds a coherent sketch of Old Testament foundations of spiritual preparation. In particular he dwells on the Old Testament prototypes of the Church" (Florovsky). It is published by the female printer Sybille de la Porte (1540-1608), widow of the printer Henry de Gabiano.With 17th-century owner's inscription on title-page. In very good condition with a minor water stain in the outer margin of ca. 20 leaves, some small stains from the ties of the binding through the first few leaves. Binding also very good, only slightly chipped in the lower spine and ca. 10 tiny wormholes. [Attributes: First Edition]

      [Bookseller: Antiquariaat FORUM BV]
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        Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus. | Habits de diverses nations de l[']Europe, Asie, Afrique et Ameriqe[!].| Trachtenbuch: Der furnembsten Nationen und Volcker Kleydungen beyde Manns und Weybs personen in Europa Asia Africa und America. [Antwerp, successors to] Joos de Bosscher, [ca. 1600]. Engraved print series with title-page, a leaf with a 10-line verse about clothing, a leaf with 2 portraitsm, and 61 costume plates (numbered 1-58 plus 28.1, 28.2 and 28.3). With: (2) [BRUYN, Abraham de]. Exhibemus hoc libello Romani Pontificis, Episcoporum, Monachorum, aliorumque sacerdotum, quorum aliquid scire potuimus, imagines.Antwerp, [successors to] Joos de Bosscher, "1581" [= ca. 1600]. Engraved print series with title-page and 18 numbered costume plates. 2 works in 1 volume. Small oblong 1mo (25.5 x 36.5 cm). 19th-century half red goatskin morocco, gold-tooled spine.

      Colas 475; Hollstein IV, A. de Bruyn 248-306 "4th" ed.; Vinet 2087; cf. Lipperheide Aa 18. Two beautiful and complementary 16th-century series of costume prints by the engraver Abraham de Bruyn (1540-1587), together showing over 450 different costumes, both first published in 1581. The first print series starts with the rich and elaborate costumes of the Emperor and Kings of the Holy Roman Empire, followed by the costumes of the Electors. Military costumes are also shown with twelve or more to one plate. The European costumes come from Antwerp, Brabant, Spain, England, France, Italy including Venice, Rome and Naples, and elsewhere. The more exotic costumes come from Turkey, the Arabic lands, Persia, Africa, Tartary and America. The second series starts with the Pope, cardinals and bishops, and continues with male and female members of various religious orders.With bookplate. The 3 preliminary leaves and plate 1 of part 1 have been cut down and mounted on backing leaves and show a few repaired tears, but both series are further in very good condition, with only an occasional minor stain, smudge or marginal tear. Several leaves are bound out of sequence.

      [Bookseller: Antiquariaat FORUM BV]
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        Adorazione dei pastori

      1540 - Silografia, circa 1540, monogrammata in lastra in basso a sinistra. Il soggetto deriva da un dipinto di Tiziano, rispetto al quale è in controparte, conosciuto in più copie. Magnifica prova, impressa su carta vergata coeva, completa della linea marginale, piccoli restauri perfettamente eseguiti, nel complesso in ottimo stato di conservazione. L’opera, che può essere identificata come la Natività, è conosciuta in tre stati, che si possono facilmente identificare poiché un tassello di forma ovale è aggiunto sul volto della Vergine dal secondo stato in poi. In passato attribuita a Nicolò Boldrini, questa silografia viene successivamente assegnata al Britto, la cui tecnica risulta assai differente. Bibliografia: Passavant, VI, p. 224, 9; Muraro e Rosand, Tiziano e la Silogrfaia Veneziana del Cinquecento, p.119, 55a. Dimensioni 500x388. Woodcut, 1540 circa, signed with monogram on lower left plate. Counterpart of a subject painted by Titian, known in many copies. Magnificent work printed on contemporary laid paper with full marginal line, perfectly executed minor repair, otherwise in good condition. This work can be identified with the Natività; it is known in three states which can be easily identified for the oval plug on the Virgin’s face has been added from the second state onward. In the past, this subject has been ascribed to Nicolò Boldrini, but has been afterwards allocated to Britto, whose technique is quite different. Bibliografia: Passavant, VI, p. 224, 9; Muraro e Rosand, Tiziano e la Silogrfaia Veneziana del Cinquecento, p.119, 55a. Dimensioni 500x388. Passavant, VI, p. 224, 9; Muraro e Rosand, Tiziano e la Silografia Veneziana del Cinquecento, p.119, 55a. Dimensioni 500x388. Dimensioni [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Epistolarum medicinaliu[m] libros XX. ... Eiusdem in Ioan. Mesue simplica & composite annotations ... Basel, Michael Isengrin, 1540. Folio. With woodcut device on title-page (repeated on last blank). Modern half vellum.

      Durling 2915; USTC 604048 (2 copies); VD16 M473; cf. Bibl. Osleriana 3316. Very rare Isengrin edition of a selection of medical letters and a commentary on Mesue the younger (also known as Masawaih al-Mardini). "The letters illustrate in an interesting way -- and this is their value -- the transitions from Arabian to Greek dominion. The opinions of Avicenna, Hippocrates and Galen are quoted on every page" (Bibl. Osleriana).It is written by the Italian physician Giovanni Manardi, described on the title-page as: "omnium medicinae professorum per universam Italiam, in Galeni docttrina & Arabum censura celeberrimi, & optimèmeriti"(the most famous and worthy in this this day and age, of all the professors of medicine through the whole of Italy, in the judgment of Galen and the Arabians).Foxed throughout, but still a good copy.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Apollo e Marsia

      1540 - Bulino, 1540-1545 circa, in basso a sinistra l’excudit di Antonio Salamanca. Da un soggetto di Francesco Salviati. Nel margine inferiore, sei versi in latino distribuiti su tre colonne: 'Ausus cum Phaebo Satyrus contendere' cantu Pro stolida paenas credulitate luit .'. Esemplare nel probabile primo stato di tre, o secondo di quattro, avanti gli indirizzi di De Rossi e Pacifici. Bella prova, impressa su carta vergata coeva con filigrana "santo inginocchiato", simile a Briquet 7628, due tracce di piega di carta orizzontali, per il resto in ottimo stato di conservazione. Si tratta di una copia in controparte di una stampa, sconosciuta al Bartsch, il cui soggetto viene attribuito a Francesco Salviati, come già sostenuto da Nagler, Voss e dalla Borea. L’incisore della stampa originaria è stato individuato in Girolamo Fagiuoli o Faccioli che, in effetti, aveva incisi già diversi disegni del Salviati. Resta, invece, anonimo l’incisore di questa copia. Marsia è legato, in piedi, ad un albero mentre Apollo, armato di coltello, si appresta a scuoiarlo. Contrariamentre all’iconografia tradizionale del tema, Marsia non è posizionato a testa in giù. Tale era infatti la punizione per la superbia di Marsia che osò sfidare Apollo, dio della musica e delle arti, in una gara musicale. Nello sfondo è visibile il tempietto del Bramante con S. Pietro in Montorio, mentre in basso è la personificazione di un fiume che sgorga dalla caverna di Celene. Secondo quanto tramandato da Diodoro Siculo, per la sfida furono scelti come giudici i Nisei i quali, ascoltate attentamente le esibizioni di Marsia con il flauto e di Apollo con la cetra, propendettero per attribuire la vittoria al primo; ma il dio – sentendosi sconfitto – suonò una seconda armonia accompagnata da un canto melodioso, convincendo i giudici ad invertire il loro responso. Marsia protestò per l’irregolarità della gara, ma Apollo rispose che cantando non faceva nulla di diverso di quanto facesse lui soffiando nel flauto, quindi bisognava che nessuno dei due utilizzasse la bocca per suonare, ma soltanto le dita. Grazie a questo imbroglio Marsia fu sconfitto. In altre versioni del mito, come nel testo di Apollodoro, Apollo vince capovolgendo la cetra e invitando Marsia ad imitarlo: ma mentre il dio, con lo strumento capovolto, può continuare a suonare, il flauto rovesciato non produce alcun suono, causando la sconfitta del satiro. Timbro della collezione Plinio Nardecchia, in basso a destra. Nova 'Francesco Salviati e gli editori 1. Le incisioni', in Francesco Salviati (1510-1563) o la Bella Maniera, 1998, p.67; S. Boorsch, 'Salviati and Prints: the Question of Fagiuoli', in Francesco Salviati et la bella maniera, 2001; Luisa Mortari, Francesco Salviati, 1992, n.26, p. 300. Engraving, 1530-1560 circa, inscribed on the bottom left "An t. Sal. exc". After Francesco Salviati. Lettered along bottom with three columns of description in Latin. Exanple of the first state of three (or the second of four), before the address of Pacifici and De Rossi. A very good impression, printed on contemporary laid paper, with watermark "prayng saint", trimmed to the paltemark, two light paper folds, otherwise in very good condition. The satyr Marsyas was a flute player who challenged Apollo to a music contest. He was defeated and was consequently at the mercy of the god, who decided to flay Marsyas alive as a punishment for losing. Ex collection Plinio Nardecchia, print dealer in Rome (not in Lugt). A. Nova 'Francesco Salviati e gli editori 1. Le incisioni', in Francesco Salviati (1510-1563) o la Bella Maniera, 1998, p.67; S. Boorsch, 'Salviati and Prints: the Question of Fagiuoli', in Francesco Salviati et la bella maniera, 2001; Luisa Mortari, Francesco Salviati, 1992, n.26, p. 300. Massari, Tra mito e allegoria, p. 317; Borea, Stampe da modelli fiorentini nel Cinquecento, p. 271 Dimensioni 252 355mm

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        Noua Graecia secundum omnes eius regiones & prouincias & ultra Hellespontum.

      Basilea 1540 - Per la prima volta pubblicata nel 1544 nella "Geographia" di Sebastian Munster, questo esemplare deriva dall'edizione latina della "Cosmographiae Universalis" del 1550. Secondo Zacharakis tra il 1544 ed il 1572 Henricus Petri pubblicò ben otto edizioni della Geographia con il testo latino. Ottimo esemplare di questa affascinante ed arcaica mappa della Grecia. Nice example of Munster's map of Greece, Turkey and adjoining regions, from one of the eight latin editions of Munster's Cosmographia. Extends to Just north of the Donau River, showing Wallachia, Romania, etc. Nice depiction of Mount Olympus, Constantinopel and other cities in Natolia. Interesting early regional map, from a German edition of Munster's Cosmography one of the most influential georgaphical works of the 16th Century. A fine dark impresion. Zacharakis C. G. "A Catalogue of Printed Maps of Greece 1477 - 1800 (2009), n. 2438 Dimensioni 350 260mm

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        Nicolai Perotti Libellus no Infrugifer de Metris Oderum Horatianarum. [junto con] Q. Horatii Flacci Epistolarum Liber Primus . Secundus.

      Apud Simonem Colinaeum,, Paris 1540 - 7x11.7. 100ff + 67ff. Faltas en una esquina de la portada, falta una parte del f 2 (Aii), con la vida de Horacio por Petrus Cuinitus Florentinus; algunas finas picaduras en las últimas 5 ff.; el sugundo libro carente de portada. Encontramos un ejemplar incompleto (77ff. solamente) en la BN de París, ninguno en el CCPB; varios en en WorldCat. Cubiertas provionales y mudas de cartulina.

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        Il Banchetto di Alessandro Magno

      1540 - Bulino, 1540-50 circa, firmato in lastra, a sinistra sulla tavoletta, Domenico Fiorentino. Su un gradino, sulla destra "A Fontana Belo Bol". Da un affresco di Primaticcio. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L’incisione riproduce un affresco di Primaticcio per la Camera della duchessa d'Etampes. a Fontainbleau, realizzato tra il 1541-1544, come pendant ad un altro affresco legato ad Alessandro Magno, l’Incendio di Persepoli – ordinato dal macedone - poi perduti. Marianne Grivel sottolinea che questo è uno dei soli tre casi in cui Domenico del Barbiere interpreta il lavoro di un altro artista. Il disegno preparatorio di Primaticcio, che risulta in controparte, è conservato al Louvre, inv. 8569. Non sono noti esemplari di un primo stato privo di iscrizioni. Davis osserva che lo stile dell’opera riflette il viaggio in Italia del Primaticcio, avvenuto tra 1539-40, e mostra l’influenza dello stile di Raffaello e del Primaticcio. Al verso, timbro di collezione D'Arenberg (Lugt, 567) Engraving, 1540-50 ca, signed on the plate, on the tablet in the image "Domenico Fiorentino"; inscribed lower right on the step: A Fontana Belo Bol'. After Primaticcio. A good impression, printed on contemporary laid paper, trimmed to the platemark, very good condition. A banquet in a classical room decorated with sculptures in architectural niches, known as the Banquet of Alexander the Great; people are sitting around tables while in the foreground, servants are bringing the dishes. The engraving reproduces Francesco Primaticcio's fresco in the Chambre de la Duchesse d'Étampes, Fontainebleau, painted in 1541-44 as a companion to the Burning of Persepolis, lost during the transformations of the 18-19th centuries. Primaticcio's preparatory drawing in reverse is preserved in the Louvre, inv. no. 8569, Henri Zerner did not find any example of the first state without inscription that Herbet recorded. Bruce Davis noted that the print is a reflection of Primaticcio's absorption, during his Italian journey of 1539-40, of the Roman styles of Raphael and Parmigianino. Marianne Grivel claimed this is one of the three cases when Domenico del Barbiere interpreted a work by another artist. Ex colletione d’Arenberg (Lugt, 567). Zerner 1969 DB.7; Bartsch XVI.359.6; 'École de Fontainebleau',1972, Cat. No.336; B. Davis, Mannerist Prints, 1988, n. 63 Dimensioni 360 250mm [Attributes: Signed Copy]

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        Italia mit den Dreien Furnemsten Inseln Corsica, Sardinia und Sicilia

      Basilea 1540 - Bella e affascinante carta dell'Italia che mostra anche la Sardegna, la Sicilia e la Corsica. L'orografia è prospettica, rappresentata da piccoli coni di talpa associati ed allineati, senza ombreggiature; l'idrografia con una doppia linea; la superficie dei laghi è tratteggiata; i centri sono indicati con casette. Esemplare pubblicato nell'edizione tedesca della Comosgrahia di Sebastian Münster, Cosmographey oder beschreibung aller Länder, edita a Basilea nel 1574 da Heinrich Petri. Il legno di questa mappa è lo stesso utilizzato per l'edizione della Geographia di Tolomeo curata da Münster nel 1540. Xilografia, finemente acquarellata, in ottimo stato di conservazione. Early woodcut map of Italy by Sebastian Münster. Showing Italy with the Islands Sardinia, Sicily and Corsica. With Dalmatia in the East. The map shows the rivers, lakes, mountain ranges and major cities.The title on verso is surrounded by a beautiful woodcut border. From the German edition of Sebastian Münster's Cosmography, titled Cosmographey oder beschreibung aller Länder, published 1574 by Heinrich Petri in Basel. The woodblock of this map was used first in Münster's Geographia Universalis in 1540 Borri, R.: L'Italia nell'Antica Cartografia 1477-1799, No. 26. Dimensioni 335 250mm

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        Resolutioru[m] dubioru[m] circa celebatione[m] missarum occurrentium.(Colophon: Cologne, Johann Landen, 1506). With a woodcut illustration of the madonna and child on the recto of the last blank and repeated on the verso of the same leaf. With: (2) AUGUSTINUS OF LEONISSA. Sermones pulcherrimi sup[er] D[omi]nica[m] or[ati]o[n]em Pater noster et Angelicam salutat[i]o[n]em Ave Maria . (Colophon: Cologne, [heirs of] Heinrich Quentel, 1505). With a couple decorated woodcut initials. 2 works in 1 volume. 8vo. Richly blind-tooled calf in panel design, signed ("HB") and dated ("1540"), both sides with in the centre a roll of showing the crucifixion, instruments of the Passion and the resurrection of Christ, surrounded by a roll with portraits of th

      - Ad 1: VD16, H 3454 (7 copies); Proctor 10484; ad 2: VD 16, A 4321 (7 copies); not in Proctor; for the binder: Haebler I, pp. 39-41 & II, p. 303. Two rare early 16th-century Cologne imprints in a slightly later binding by the Breslau binder "HB", dated 1540. The first work is a popular manual on the rites of the Roman Catholic mass by Johannes Heynlin de Lapide (ca. 1425-1496) and the second work contains sermons by Augustinus of Leonissa (fl. 1435). The binder, only known by his monogram "HB", is a Breslau binder active from 1525 to 1540, who is known to have made bindings for Johann Hess (1490-1547), Protestant reformer of Breslau, and for the humanist and diplomat Heinrich Ribisch, syndic of the city of Breslau and correspondent of Melanchthon. The present binding has two figurative rolls: the first showing the crucifixion, instruments of the Passion, and the resurrection of Christ, with the HB monogram (167 x 15 mm; could be similar to Haebler roll no. 6, but instead of the Man of Sorrows, it shows the Instruments of the Passion); and the second showing the four Evangelists with the HB monogram above the head of St. Matthew and the date at the top of the image of St. Marc (175 x 17 mm; Haebler roll no. 2).With old owner's inscription on paste-down, owner's inscription struck through on title-page and several contemporary manuscript owner's inscriptions throughout, a few shaved by the binder, showing that they predate the 1540 binding. A good copy, with the blank lower half of the title-page cut off, some occasional browning and a few smudges. Binding lacking two of the corner pieces on the back board and the front spine is cracked, but still firmly attached, otherwise good with the tooling very well preserved.

      [Bookseller: ASHER Rare Books]
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        Of the Wood Called Guaiacum that healeth the frenche pockes, and also helpeth the goute in the feete, the stone, palsey, lepre, dropsy, fallyinge euyll, and other diseses.

      London: Thomas Berthelet, 1540. Hardcover. Near Fine. 4to [19.7 x 13.9 cm]. (3) ff., (1) ff. integral blank, 58 ff., with numerous figural woodcut initials. Bound in early calf, boards with blind double-ruled borders, gold-tooled board edges, red sprinkled edges. Neatly rebacked, corners renewed, minor rubbing to boards, bookplate of Cornelius J. Hanck inside upper cover, typed description inside lower cover. Small pale dampstain in lower margin, contemporary annotation to fol. 3, some edge wear and minor marginal spotting to the final three leaves. Very fresh, excellent. Rare 1540 (first quarto) Tudor translation of an important early medical work on the curative properties of the American wood known as 'guaiacum,' a text first published in Latin in 1519 as De Guaiaci Medicina et Morbo Gallico by the German scholar, poet and reformation thinker Ulrich von Hutten (1488-1523). Hutten's treatise, which was quickly translated into several languages, popularized the use of guaiacum to treat several conditions, especially the New-World scourge of syphilis, and accelerated the import of this botanical from the Caribbean. Indeed, the work likely convinced the Fugger banking family of Augsburg to seek a monopoly on the import of the drug from the Americas, a concession they later secured from the Spanish crown in exchange for a loan (Flood, p. 29). In Of the Wood Called Guaiacum, Hutten not only gives a full and nuanced account of the appearance of syphilis in Europe along with its various treatments, but also recounts in detail his own struggle with the affliction (at one point, a friend councils him to commit suicide) and the various therapeutic (and sometimes gruesome) regimens he was subjected to, making the treatise one of the earliest patient narratives published. "This tract had enormous resonance in 16th-century medical circles . Hutten was the first significant publicist for the Guaiac treatment . Hutten's descriptions of the therapy are the most accurate of the period, and the account of the qualities of Guaiac is worthy of any modern pharmacopoeia . it remained influential into the 18th century" (Jillings, p. 5). Hutten notes the first arrival of 'the frenche pockes' (morbus gallicus) in 1493 in Naples, a city then occupied by the French troops of Charles VIII (Frenchmen preferred to call the disease 'the evyll of Naples') and describes the extremely virulent nature of the affliction at that time, its rapid spread across Europe, early methods of treatment (especially with mercury), and the great hope that the discovery of guaiacum wood gave to those infected: "The use of this wodde was brought to us out of the ylond named Spagnola, this ylond is in the weste nyghe to the countrey of Amerike, set in that place where the lenghte of Amerike, stretchynge in to the north, doth ende: and was found of late dayes amonge the newe landes, which were unknowen by the olde tyme" (fol. 8r.). Hutten remarks that syphilis was as endemic on Hispaniola as smallpox and measles were in Europe, posits the sexual origin and transmission of the disease, and describes how guaiacum was to be prepared and administered. In an especially revealing chapter, Hutten discusses the role of physicians in prescribing the drug (the natives of Hispaniola, after all, had no Galenic doctors!), and recalls a remarkable dispute he had with a physician concerning ancient and modern origins of medical authority: The physician doubts guaiacum's efficacy, telling Hutten it is not to be found in Aristotle, to which Hutten responds, "It may be, good father, seinge the disease is newe, and this is a newe medicine, that the hole matter is yet unknowen unto you" (f. 21r.). The conversation recalls the contemporary iconoclastic projects of Andreas Vesalius (e.g., the 1539 'Venesection Letter') a physician who, in his 'China-Root Epistle' of 1546, would soon enter the debate concerning new drugs from new lands intended to treat new diseases. * for full description visit our website at www.martayanlan.com

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        La musa Erato

      1540 - Acquaforte, 1540-45 circa, firmato in lastra in basso a sinistra con il monogramma LD. Da un affresco di Primaticcio. Bellissima prova, impressa su carta vergata coeva, rifilata all'interno della linea del rame, oiccolo restauro perfettamente eseguito nella parte superiore, per il resto in ottimo stato di conservazione. La scena raffigura la musa Erato, appoggiato su un arco, che ha in mano un triangolo. Erato era la musa della danza prima, poi della mimica e della geometria La stampa appartiene alla serie di dodici acqueforti intitolata "Tre dee e le Muse". Tale serie, incisa da Davent, riproduce invenzioni di Primaticcio destinate alla decorazione della Galleria Bassa del palazzo. Non si conosce molto su Leon Davent, oltre al fatto che ha realizzato 200 stampe. Come incisore, ha iniziato ad utilizzare prima la tecnica a bulino, per passare poi all’acquaforte, che permetteva una maggiore libertà di linee e di toni. Davent svolse la maggior parte della sua attività al palazzo di Fontainebleau, traducendo a stampa gli affreschi realizzati da artisti come Francesco Primaticcio, Rosso Fiorentino. Primaticcio, pittore manierista, architetto, scultore, dai primi del 1540 fu il soprintendente dei lavori a Fontainebleau. Il palazzo era la residenza reale primaria del re di Francia di Francesco I che, nei primi anni del 1530, la riempì di artisti, architetti, e artigiani italiani per decorarlo. È qui che nasce il movimento artistico conosciuta la Scuola di Fontainebleau, destinata ad orientare l’arte francese verso il naturalismo classico. Sotto la direzione di Primaticcio, "si sviluppò uno stile caratterizzata da linee esagerate, colori brillanti e figure allungate con pose a volte imbarazzanti, spesso in paesaggi classici e mitologici. Inoltre, una sensualità che si rivela nella figura nuda, in gran parte assente nell'arte francese prima di questo tempo ."(Heilbrunn Timeline di Storia dell'Arte," Fontainebleau) Incisori come Davent sono stati chiamati Fontainebleau per riportare a stampa e in qualche modo conservare le opere lì prodotte. "Come risultato, un numero significativo di disegni e modelli sono conservati attraverso acqueforti e incisioni che attestano progetti abbandonati o decorazioni distrutte." (Ibidem) L’iscrizione sono l’immagine, 'A.fontennbleau', suggerisce che il disegno originale era parte delle decorazione del palazzo di Fontainebleau. Potrebbe appartenere alla serie di dodici acqueforti intitolata "Tre dee e le Muse". Tale serie, incisa da Davent, riproduce invenzioni di Primaticcio destinate alla decorazione della Galleria Bassa del palazzo. Etching, 1540-45 circa, signed on plate at bottom left with monogram LD; lettered with name of designer. After Francesco Primaticcio. A very good impression, printed on contemporary laid paper, trimmed inside the paltemark, a small repaired area at the upper top, otherwise in very good condition. The muse Erato, draped, leaning on an arch, turned to the left, and holding a triangle. From a set of twelve, representing the Muses and three goddesses, probably etched after the frescoes executed by Primaticcio in the lower gallery at Fontainebleau. The preparatory drawings for those paintings are all kept in the Louvre (Paris), except the one representing Euterpe (Musée Bonnet, Bayonne) and the one representing Erato (current location unknown). Not much is known about Davent other than his name and the more than 200 prints he made. He started out as an engraver but moved on to etching, a medium that allowed for more freedom of line and tone. Davent did most of his work at the palace of Fontainebleau, making prints of the paintings being produced there by artists like Francesco Primaticcio. Primaticcio was an Italian mannerist painter, architect, and sculptor who was the chief artist and designer at Fontainebleau. The palace was the French king Francis I’s primary royal residence, and, in the 1540s, he filled it with Italian artists, architects, and craftsmen to decorate it. They [Attributes: Signed Copy]

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        Syria / Cypern / Palestina / Mesopotamia / Babylonia / zwey Arabia mit Bergen / Wassern und Stetten

      Basilea 1540 - Esemplare pubblicato nella "‘Cosmographia oder beschreibung Aller Lander.", edita a Basilea nel 1574. Questa affascinate mappa xilografica copre l’area dal Mediterraneo (con Cipro mostrata in evidenza) al Golfo Persino, e dalla Turchia meridionale fino al Mar Rosso. La mappa è disegnata secondo lo stile delle tolemaiche, con catene montuose e fiumi in rilievo. Sono registrati gli antichi toponimi e i siti biblici. Un accampamento nomade è raffigurato nel deserto arabo. Testo Tedesco, in carattere gotico, al verso. Xilografia, finemente colorata a mano, in ottimo stato di conservazione. Published in ‘Cosmographia oder beschreibung Aller Lander.’, Basle 1588. This attractive woodblock map covers the region from the Mediterranean (with Cyprus prominently shown) to the Persian Gulf, and from southern Turkey to the Red Sea. The map is presented in the Ptolemaic style with rope-like mountain ranges and prominent rivers. Details include ancient place names and biblical sites. A nomadic encampment is shown in the Arabian desert. German text and gothic design on verso. Woodcut, with fine colour, very good condition. Laor 525, Zacharakis/Scutari 2452/1590 Dimensioni 355 310mm

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        Le tre parche

      1540 - Bulino, circa 1540-45, privo di dati editoriali. Da un soggetto di Rosso Fiorentino. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. La scena raffigura le tre Parche: a destra, Lachesi, tiene in mano la conocchia e fila il destino della vita umana;a sinistra, Cloto presa di schiena ne misura la lunghezza; nel mezzo, Atropo strappa il vilo, determinando il momento irrevocabile della morte. Anche se questa incisione non reca il nome di Rosso Fiorentino, la sua paternità della composizione non è mai stata messa in discussione. Dumesnil, ascrive l'incisione a Renè Boyvin, perché la figura di Cloto visto di schiena, trova precise corrispondenze con la figura femminile della "Caritas Romana", a lui attribuita. Secondo documenti pubblicati da Metman, le Tre Parche sarebbero state incise da Pierre Milan, intorno al 1545. Milan potrebbe aver lavorato direttamente da un disegno di Rosso, o su una copia del disegno di Rosso realizzata ad hoc, come modello per l'incisore, come nel caso della "Danza delle Driadi". Van Mander sembra aver identificato le tre figure femminili come le Tre Grazie, poiché, contrariamente all’iconografia tradizionale, le Parche appaiono giovani e nude, esili ed aggraziate. Anche altri dettagli ed attributi possono riferirsi ad un ambito diverso da quello consueto delle Parche. Il turbante di Atropo le conferisce un aspetto sibillino; Cloto siede precariamente su un cesto di fiori, suggerendo Flora o la primavera o semplicemente l'abbondanza e la freschezza, Lachesi indossa una corona, e il suo sedile assomiglia ad un carro trainato da leoni. Questi attributi sono forse un riferimento a Cibele. Il cielo appare in tutta l'arte di Rosso, in particolare nelle opere da lui prodotte in Francia, e non sembra inadeguato qui, come sfondo, ad allargare il significato delle tre Parche. L’opera, infatti, offre diversi livelli di lettura e di significato: se la sessualità delle figure è esplicita e manifesta, anche la loro postura e i gesti sono assolutamente eloquenti. Quest’ eloquenza s’insinua nella loro sessualità nel momento in cui viene riconosciuta la loro identità che ci porta a riflettere sulle conseguenze indicate dal gesto di Atropo. Bellissimo esempalre di questa rara incisione. Engraving, 1540-45 circa, not signed. After Rosso Fiorentino. A very good impression, printed on contemporary laid paper, trimmed close to the platemark, some paper folds at bottom left, generally very good condition. The scene depicts the three Fates: on the right, Lachesis spinning the thread of life from her distaff, on the left Clotho, seen from behind, measuring the thread with a rod, and in the middle, Atropos ripping it apart. Although this engraving is not inscribed to Rosso, his authorship of its composition has never been questioned. Dusmenil ascribed the engraving to Renè Boyvin, because the Fate seen from the back is used for the female figure of "Caritas Romana", attributed to him. According to the documents published by Metman, the Three Fates would have been engraved by Milan by 1545. Milan could have worked directly from a drawing by Rosso, or he could have worked from a copy of Rosso’s drawing made especially as a model for the engraver, as in the case of Milan’s Dance of the Dryads. Being young and nude as well as slender and graceful, these three figures have something of the aspect of the Three Graces, as Van Mander seems to have identified them. Other details in the picture may also be references to subjects beyond the usual realm of the Fates themselves. Atropos’turban gives her a sibylic aspect. Clotho sits precariously upon a basket of flowers, suggesting Flora or Spring or simply abindance and freshness. Lachesis wears a crown, and her seat resembles a chariot pulled by lions. These attributes are possibly a reference to Cybele. The sky appears throughout Rosso’s art, especially in the works he produced in France, and they not seem inappropriate here in enlar

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        La morte di Aiace

      1540 - Chiaroscuro a tre legni, 1540-50 circa, in basso a destra iscrizione 'POLIDORO DA CARAVAGIO/INVENT AA in mantoua [160]8'. Da un soggetto di Polidoro da Caravaggio. Esemplare nel secondo stato di due, con l’indirizzo di Andreani e la data aggiunti sulla firma già obliterata "IO NIC VICEN". Magnifica prova, impressa su carta vergata coeva, irregolarmente rifilata alla linea marginale, in ottimo stato di conservazione. La composizione riproduce una delle scene dipinte à grisaille da Polidoro di Caravaggio sulle facciate di diversi palazzi romani, oggi scomparse. La scena raffigurata è stata interpretata come La morte di Aiace, il più valoroso degli eroi greci. Quando, dopo la morte di Achille, non lui ma Ulisse viene giudicato il più degno di ricevere in consegna le armi dell'eroe, Aiace non sopporta l'affronto e medita di vendicarsi; ma la dea Atena gli toglie il senno. Aiace, impazzito, fa strage del bestiame dei Greci, credendo di uccidere Agamennone e Menelao responsabili dell'ingiusto verdetto. Tornato in sé, vergognandosi delle azioni commesse, decide di suicidarsi trafiggendosi con la propria spada. Nella composizione, Aiace è sulla sinistra , a terra appoggiato ad un albero, mentre con la mano sinistra leva in alto lo scudo. Dietro di lui, un gruppo di soldati greci; a destra si distingue la figura del re Menelao seduto e, all’estrema destra, una figura in piedi, con lo sguardo basso e le braccia conserte, da alcuni identificato con Agamennone. Secondo Barryte, forse il momento rappresentato è quello immediatamente successivo alla decisione del consiglio e la figura in piedi a destra, le braccia incrociate e lo sguardo verso il basso è Ulisse - non Agamennone - che non vuole vantarsi del suo successo, proprio per la reazione di Aiace che cade a terra, contorcendosi in amara delusione e si volta dall’altra parte rispetto al gruppo di soldati, come a non voler guardare coloro dai cui ha appena ricevuto l’offesa. È probabile che il chiaroscuro venne eseguito non direttamente dalla scena della facciata, bensì a partire da un disegno preparatorio o addirittura da una copia. La disposizione serrata delle figure e la fedele riproduzione delle armature documentano lo stile antiquario a rilievo sviluppato da Polidoro negli anni venti del secolo. Chiaroscuro woodcut from three blocks in grey, , Inscribed with inventor's name, publisher's address and date lower left: 'POLIDORO DA CARAVAGIO/INVENT AA in mantoua [160]8'. After Polidoro da Caravaggio. Example of the second state of two, with Andreani’s address added at lower right. Presumably, the composition is based on one of the numerous "all’antica" composiitions with which Polidoro da Caravaggio ornated the facades of Roman palaces, the majority of which have vanished. The scene depicted was interpreted as The death of Ajax. When Achilles was killed, his armor was to be awarded to the next greatest Greek hero. The armor led to a dispute between Ajax and Odysseus. Both heroes felt entitled to it. To settle the matter, the Greeks decided to take a vote, and they awarded the armor to Odysseus. Enraged by this decision, Ajax planned an assault on the Greek troops that night. However, Athena, the goddess of wisdom, drove Ajax temporarily insane, and he attacked a flock of sheep instead. After recovering his senses, he was so ashamed that he killed himself with the sword Hector had given him Vicentino’s print illustrates dying hero to left leaning against tree, with the left raised with shield; right leg bent beneath him; behind to right group of Greek warriors; King Menelaus seated and Agamemnon in foreground. According Barryte, perhaps this is the moment after the fate of the armor is decided and the figure standing to the right, arms crossed and head down is Odysseus - not Agamemnon -, unwilling to boast of his success as Ajax falls the ground, writhing in bitter disappointment and unwilling to face those by whom he felt wronged. Bartsch XII.99.9; Le Blanc IV.116.7; Oberhuber, K., Gn

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        Sinone e i Troiani

      1540 - Bulino, 1540 circa, firmato in basso a sinistra 'J.B.Mantuanus inv' e nel margine bianco inferiore 'Georgius Mant f'. Da un soggetto di Giovani Battista Scultori. Secondo stato di cinque, con l’indirizzo di Antonio Lafrery aggiunto in basso a destra. Splendido esemplare, ricco di toni e ben contrastato, impresso su carta vergata coeva, rifilato alla linea marginale, in ottimo stato di conservazione. Come afferma Bellini (1998, pp. 52-54 n. 8) questa stampa è stata a lungo creduta opera di G.B. Scultori, forse perchè la firma del Ghisi, nascosta nell'ombra, risulta poco visibile, ma anche per la vicinanza allo stile proprio di quell'artista. Invece lo Scultori è solo l'inventore della composizione, che presenta anche soluzioni tratte da G. Romano. Vari elementi quali la complessità della composizione, le dimensioni notevoli della lastra, lo stile più maturo ed attento al disegno e alla costruzione prospettica inducono a datare quest'opera agli ultimi anni del periodo mantovano o al periodo romano. Ghisi ha realizzato due incisioni che derivano da due disegni sulla guerra di Troia di Giovan Battista Scultori: quella qui presentata e La caduta di Troia e la fuga di Enea (V, 8.94). Questa stampa mostra il greco Sinone in ginocchio mentre i Troiani spingono all’interno della città il cavallo di legno, nel cui ventre cavo erano nascosti i più forti dei guerrieri greci. Il personaggio di Sinone non è menzionato da Omero, ma appare nei poemi epici più tardi, in particolare nell’Eneide. I fatti, raccontati all’inizio del secondo libro dell’«Eneide», vv. 57-198, sono noti: I Troiani scoprono sulla spiaggia un greco, Sinone. Egli dice di essere fuggito dai compagni, che volevano sacrificarlo agli dei per garantirsi un ritorno sicuro. Racconta poi che i Greci sono salpati e che il cavallo è stato costruito per placare la collera di Minerva, scatenata dal furto del Palladio che Ulisse e Diomede avevano sottratto dalla rocca di Troia: se sarà portato dentro le mura di Troia, renderà grande e potente la città. Accompagnato dai funesti vaticini di Cassandra, e nonostante gli ammonimenti di Laooconte, il cavallo viene introdotto nella città. A notte fonda, Sinone libera i compagni rinchiusi all’interno e aprirono le porte della città al resto dei soldati Greci che avevano atteso a largo dell’isola di Tenedo. La città di Troia venne così distrutta. Ex collezione Städel Museum, Städelsches Kunstinstitut und Städtische Galerie, legs J. K. Brönner (Lugt 306). Engraving, circa 1540, signed at lower left 'J.B.Mantuanus inv' and at bottom white margin 'Georgius Mant f'. After Giovanni Battista Scultori. Second state of five, added at image bottom the publisher’s address "Romae Antonij Lafreri formis" A very good example, printed on contemporary laid paper, trimmed at margins, in very good condition. Ghisi made two engravings reproducing a composition of the Trojan War by Giovanni Battista Scultori , this one and The Fall of Troy and the Escape of Aeneas (V,8.94). This print shows the Greek Sinon standing knee deep in a marsh, center left, as the Trojans pull the wooden horse, in whose hollow belly were hidden the strongest of the Greek warriors, into their city. Sinon is not mentioned by Homer but does appear in later epics, notably in Aeneid, which would have been especially well known in Mantua, Virgil’s birthplace. As Virgil relates the episode, in Aeneid II 57 ff., Sinon told the Trojans that the Greek had decided to leave and had chosen him to be sacrificed in order to gain a safe return, but that he had escaped and had hidden at night among reeds in a marsh. He told the Trojans the horse was made as an offering to Athena, whose temple some of the Greek has defiled. The horse was purposely made too large to fit throught the gates of Troy, Sinon ontinued, because the Greeks believed that if Trojans did bring it in, they would then be victorious over the Greeks. Despite the warnings of Laocoön and Cassandra, the horse was taken inside the city gat [Attributes: Signed Copy; Hard Cover]

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        Clelia che attraversa il Tevere

      1540 - Bulino, 1540 -46 circa, firmato in lastra in basso a destra. Da un soggetto di Polidoro da Caravaggio. Esemplare nel secondo stato di due, con l’indirizzo dell’editore Antonio Lafrery. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata alla linea marginale, minima traccia di piega centrale verticale al verso, per il resto in perfetto stato di conservazione. La scena rappresenta la fuga leggendaria di Clelia, eroina romana d’età repubblicana, dal campo del re etrusco Porsenna, che la teneva prigioniera insieme alle sue compagne. Dopo la cacciata da Roma, Tarquinio il Superbo aveva chiesto aiuto alla vicina Etruria, ma solo la città di Chiusi, governata da Porsenna, accettò la richiesta. Dopo due anni d’assedio, dal 509 al 507 a.C, i due popoli stipularono la pace, e nel contesto delle trattative, i Romani consegnarono a Porsenna 9 ragazze, tra le quali Clelia. L’eroina però, riuscì a fuggire attraversando il Tevere – da sola, o con le compagne, a seconda delle fonti - e quando i Romani la riconsegnarono agli Etruschi, Porsenna colpito da tanto coraggio, decretò di liberarla. I Romani riconoscenti l'onorarono d'una statua equestre lungo la Via Sacra. La leggenda è un tentativo di spiegare un'antica statua equestre, della quale non si sapeva più il significato, e che raffigurava, secondo l'interpretazione più comune, Venus Equestris, identificata da molti con la Venus Cluilia o Cloacina (di qui il nome Cloelia), dea della cloaca massima. L’incisione è tratta dall’affresco di Polidoro, eseguito tra il 1525-’26 – un tempo sulla facciata di Santa Lucia della Chiavica (oggi detta del Gonfalone), a Roma, come ricorda Vasari; fu probabilmente realizzata intorno al 1540-46 circa. Sullo stesso tema, Polidoro realizzò un altro affresco, per la volta del Salone di Villa Lante, oggi a Palazzo Zuccari sede della Bibliotheca Hertziana, in Roma. Da quest’affresco derivò un’altra incisione che erroneamente De Wit attribuì a Bonasone, su invenzione del Rosso Fiorentino, mentre invece è opera di Pierre Milan e René Boyvin. Bellissimo esemplare di questa rara incisione del Bonasone. Engraving, about 1540 -46, signed in the plate at lower right. After a subject by Polidoro da Caravaggio. Example in the second state of two, with the address of Antonio Lafrery. Magnificent example, rich in shades, printed on contemporary laid paper, trimmed to marginal line, light vertical central fold, otherwise in perfect condition. This engraving records a fresco on a house at the Chiavica di Santa Lucia which Vasari mentions in his life of Polidoro, 'sul canto alla chiavica per andare a Corte Savella'. He lists a facciata with Cloelia crossing the Tiber, and a scene of sacrifice. Cloelia was one of the ten daughters, who, with ten sons, of patrician Roman families, were given as hostages to Lars Porsena, the Etruscan king of Clusium, as a token of good faith following the conclusion of a treaty between Rome and the Etruscans. Cloelia escaped to Rome by re-crossing the Tiber on horseback, persuading her female companions to swim after her. The girls were sent back by the Romans but Porsena, in admiration of Cloelia's courage, presented her with a horse and restored her freedom together with that of her companions. Her escape across the Tiber was remembered in Republican and Imperial times as an example of female virtue, and there was a statue to her memory in the Via Sacra mentioned by Pliny and Dionysos of Halicarnassos. Bonasone's inscription, with the word "imitando" may imply that the image was created in the spirit of Polidoro's original rather than strictly copying it. Perhaps the original was already lost when he engraved it. According to Vasari, the original composition appeared on the frieze of a building as a relief sculpture by Polidoro da Caravaggio, made around 1525-1526. The engraving was realized possibly around 1540-1546. On the same subject, Polidoro realized another fresco, for the vault of the Salon in Villa Lante, today a [Attributes: Signed Copy]

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        Alessandro Magno e il sacerdote di Ammon

      1540 - Bulino, 1540 circa, da un soggetto di Francesco Salviati. Esemplare nel II stato finale, con l'indirizzo di Antonio Salamanca in basso a sinistra. Bellissima prova, ricca di toni, impressa su carta vergata coeva, con filigrana della "mano", con inusuali ampi margini, in perfetto sttao di conservazione. La scena raffigura un imperatore inginocchiato davanti a unsacerdote; sullo sfondo, è ben riconoscibile il Tempietto del Bramante in S. Pietro in Montorio. La conferma che l’inventore del soggetto sia Salviati si è avuto quando il suo disegno preparatorio per il sacerdote è apparso in un’asta nel 1991. Bartsch ritiene che il tema della stampa sia l'imperatore Teodosio inginocchiato davanti a Sant'Ambrogio: ma il cappello del sacerdote dimostra che egli non è appartiene alla Chiesa cristiana. John Gere pensa che possa trattarsi di Alessandro Magno davanti al sacerdote di Ammon, piuttosto che al sommo sacerdote di Gerusalemme, e ha ipotizzato che l’incisione possa essere basato su un disegno preparatorio per un affresco di Taddeo Zuccari. Questa ipotesi, però, risulta poco convincente. L'incisione è molto più vicina al rovescio di una medaglia scolpita da Alessandro Cesati per Papa Paolo III (1534-1539). Secondo Edgar Wind, la medaglia e una rappresentazione simile in un medaglione della Cappella Sistina di Michelangelo, rappresentano una scena che Niccolò Malermi ha inserito nella sua famosa Bibbia illustrata, pubblicata per la prima volta a Venezia nel 1490. Il passaggio, aggiunto al primo libro dei Maccabei, racconta che quando Alessandro si avvicinò a Gerusalemme, fu così impressionato dalla vista del Sommo Sacerdote, che indossava l’abito pontificale e la mitra, che scese da cavallo e si inginocchiò. Il cavallo e gli astanti, che sono ancora rappresentati nell’affresco di Michelangelo, per ragioni di spazio non sono raffigurati nella medaglia, e mancano anche in questa incisione. Il Tempietto del Bramante è stato utilizzato da artisti, da Raffaello a Barocci, come immagine di un tempio antico, in particolare per rappresentare il tempio di Salomone a Gerusalemme. Bibliografia: Hind 1938-48 27.I (as Anonymous early Italian); TIB 2801.023; Bartsch XV.22.1 (as School of Marcantonio); Catherine Goguel in 'Francesco Salviati o la Bella Maniera', Rome 1998, cat.111; A. Levinson, Konrad Oberhuber, and Jacquelyn Sheehan, Early Italian Engravings from the National Gallery of Art, Washington, D.C., 1973, no. 186; E. Wind, "Maccabean histories in the Sistine ceiling", Italian Renaissance Studies, 1960, pp. 312-314. Engraving, 1540 circa. After Francesco Salviati. Example of the second state, with Antonio Salamanca's address at lower left. A good example, printed on contemporary laid paper, with watermark of the "hand", with large margins, perfect condition. The scene depict an Emperor kneeling before a priest; in the backgroud Bramante's Tempietto in S. Pietro in Montorio. Both Bartsch and Hind thought the engraving earlier than it actually is. The confirmation that the designer was Salviati came when his preparatory drawing for the priest appeared at auction in 1991. Bartsch thought that the subject of the print was the Emperor Theodosius kneeling before St Ambrose: but the priest's hat shows that he is not of the Christian church. John Gere thought it might be Alexander before the priest of Ammon rather than the high priest in Jerusalem, and thought that the print could be based on a preparatory drawing by Taddeo Zuccaro for the fresco. The engraving is much closer to the reverse of a medal struck by Alessandro Cesati for Pope Paul III (1534-1539). According to Edgar Wind, the medal and a similar representation in a medallion of Michelangelo’s Sistine ceiling, represent a scene which Niccolò Malermi has inserted into his famous illustrated Bible which was first published in Venice in 1490. The passage, added to the first book of Maccabees, tells that when approaching Jerusalem, Alexander was so awed by the appearance of the High Priest

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        La nascita della Vergine

      1540 - Bulino, 1540, datato in lastra. Esemplare nel secondo stato di quattro, con l’indirizzo di Antonio Salamanca e la data 1540. Bellissima prova, impressa su carta vergata coeva con filigrana non leggibile, irregolarmente rifilata al rame, restauri perfettamente eseguiti alla piega centrale, per il resto in ottimo stato di conservazione. L’incisione risulta essere una copia in controparte dell’opera di Beatricetto che "restituiva" un disegno di Baccio Bandinelli, come si legge nell’iscrizione che l’accompagna: Bacius Floreninus Inventor.Nicolaus Beatricius Ltharingus restituit. Il disegno di Bandinelli, oggi conservato agli Uffizi di Firenze, con ogni probabilità doveva costituire uno schizzo preliminare per il bassorilievo nella Basilica di Loreto. Questo primo progetto fu poi modificato. Sempre agli Uffizi, si conserva un secondo disegno preparatorio molto più vicino al bassorilievo realizzato. Il primo progetto fu, però, mantenuto per essere rielaborato - con diversi ampliamenti - in incisione. La composizione è su due livelli, secondo uno stile che Bandinelli mostra di prediligere nei suoi disegni per le incisioni, basti pensare al Martirio di S. Lorenzo inciso da Marcantonio Raimondi. La scena è affollata: in una grande stanza, intorno a S. Anna, madre della Vergine, diverse donne sono affaccendate in mansioni e compiti diversi, altre accorrono dal piano inferiore, attraverso le scale in primo piano, mentre, sullo sfondo a destra, una donna osserva dalla porta. La tecnica utilizzata da questo incisore anonimo è ricca di linee marcate che servono a enfatizzare i profili e i contorni. Agli inizi del secolo, una tecnica simile era stata utilizzata da Giovanni Jacopo Caraglio, da cui probabilmente l’incisore fu influenzato. Da alcuni studiosi viene avanzato il nome di Agostino Veneziano che sappiamo aver inciso anche da invenzioni di Baccio Bandinelli. Engraving, circa 1530, dated on plate. Example of the second state of four with the date 1540 and the address of Salamanca. A good impression, printed on contemporary laid paper, irregularly trimmed at the platemark, perfect repaired areas in the central part, otherwise in very good conditions. The engraving appears to be a copy of the work of Beatricetto, after a drawing of Baccio Bandinelli, as stated in the inscription that accompanies it : Bacius Floreninus Inventor.Nicolaus Beatricius Ltharingus restituit. The work of Bandinelli, now in the Uffizi in Florence, in all probability was to be a preliminary sketch for the bas-relief at the Basilica of Loreto. This first project was later modified. Always in the Uffizi, it keeps a second preparatory drawing much closer to the bas-relief. The first project was, however, remained to be reworked - with several expansions - in engraving. The composition is on two levels, in a style that shows a preference Bandinelli in his designs for engravings, just think of the Martyrdom of Saint Lawrence engraved by Marcantonio Raimondi. The scene is crowded: in a big room, around St. Anne, mother of the Virgin, several women are bustling in different duties and responsibilities, others rush from the lower floor, via the stairs in the foreground, while the background to the right, a woman looks out of the door. The technique used by this anonymous engraver is full of sharp lines which serve to emphasize the profiles and contours. At the beginning of the century, a similar technique was used by Giovanni Jacopo Caraglio, from which the engraver was probably affected. Is advanced by some scholars the name of Agostino Veneziano that we have also impacted by the inventions of Baccio Bandinelli. Bartsch XV.13.1; TIB 28.010 S2; C. Witcombe, Print Publishing in Sixteenth – Century Rome, p. 249. Dimensioni 435 382mm

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        Le tre parche

      1540. "Bulino, circa 1540-45, privo di dati editoriali. Da un soggetto di Rosso Fiorentino. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. La scena raffigura le tre Parche: a destra, Lachesi, tiene in mano la conocchia e fila il destino della vita umana;a sinistra, Cloto presa di schiena ne misura la lunghezza; nel mezzo, Atropo strappa il vilo, determinando il momento irrevocabile della morte. Anche se questa incisione non reca il nome di Rosso Fiorentino, la sua paternità della composizione non è mai stata messa in discussione. Dumesnil, ascrive l'incisione a Renè Boyvin, perché la figura di Cloto visto di schiena, trova precise corrispondenze con la figura femminile della ""Caritas Romana"", a lui attribuita. Secondo documenti pubblicati da Metman, le Tre Parche sarebbero state incise da Pierre Milan, intorno al 1545. Milan potrebbe aver lavorato direttamente da un disegno di Rosso, o su una copia del disegno di Rosso realizzata ad hoc, come modello per l'incisore, come nel caso della "Danza delle Driadi". Van Mander sembra aver identificato le tre figure femminili come le Tre Grazie, poiché, contrariamente all'iconografia tradizionale, le Parche appaiono giovani e nude, esili ed aggraziate. Anche altri dettagli ed attributi possono riferirsi ad un ambito diverso da quello consueto delle Parche. Il turbante di Atropo le conferisce un aspetto sibillino; Cloto siede precariamente su un cesto di fiori, suggerendo Flora o la primavera o semplicemente l'abbondanza e la freschezza, Lachesi indossa una corona, e il suo sedile assomiglia ad un carro trainato da leoni. Questi attributi sono forse un riferimento a Cibele. Il cielo appare in tutta l'arte di Rosso, in particolare nelle opere da lui prodotte in Francia, e non sembra inadeguato qui, come sfondo, ad allargare il significato delle tre Parche. L'opera, infatti, offre diversi livelli di lettura e di significato: se la sessualità delle figure è esplicita e manifesta, anche la loro postura e i gesti sono assolutamente eloquenti. Quest' eloquenza s'insinua nella loro sessualità nel momento in cui viene riconosciuta la loro identità che ci porta a riflettere sulle conseguenze indicate dal gesto di Atropo. Bellissimo esempalre di questa rara incisione." Engraving, 1540-45 circa, not signed. After Rosso Fiorentino. A very good impression, printed on contemporary laid paper, trimmed close to the platemark, some paper folds at bottom left, generally very good condition. The scene depicts the three Fates: on the right, Lachesis spinning the thread of life from her distaff, on the left Clotho, seen from behind, measuring the thread with a rod, and in the middle, Atropos ripping it apart. Although this engraving is not inscribed to Rosso, his authorship of its composition has never been questioned. Dusmenil ascribed the engraving to Renè Boyvin, because the Fate seen from the back is used for the female figure of "Caritas Romana", attributed to him. According to the documents published by Metman, the Three Fates would have been engraved by Milan by 1545. Milan could have worked directly from a drawing by Rosso, or he could have worked from a copy of Rosso's drawing made especially as a model for the engraver, as in the case of Milan's Dance of the Dryads. Being young and nude as well as slender and graceful, these three figures have something of the aspect of the Three Graces, as Van Mander seems to have identified them. Other details in the picture may also be references to subjects beyond the usual realm of the Fates themselves. Atropos'turban gives her a sibylic aspect. Clotho sits precariously upon a basket of flowers, suggesting Flora or Spring or simply abindance and freshness. Lachesis wears a crown, and her seat resembles a chariot pulled by lions. These attributes are possibly a reference to Cybele. The sky appears throughout Rosso's art, especially in the works he produced in France, and they not seem inappropriate here in enlarging upon the meaning of the three Fates. The Three Fates offer a different level and a different range of significance. Its sexuality is frank but also compelling, because the figures are so grand and so eloquent in their posture and gestures. This eloquence insinuates their sexuality into their identify as the Fates and leads us to experience the tragic consequences indicates by Atropo's gesture. Zerner 1969 PM.2; Robert-Dumesnil 1835-71 VIII.33.31; Carroll, Rosso Fiorentino, n.105. 167 243

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        M Fab Quintiliani Oratoris Eloquentissimi Declamationum Liber

      Lugduni (Lyon): Sebastian Gryphius, 1540. Hardcover. Very good. Small 8vo. 247,(1)pp. This is the "Declamationum Liber", or part two (complete) of Quintilian's "Institutionum Oratoriarum Libri XII" and though it has its own title page and pagination, there is no publisher indicia; that was printed only in part 1. The final page is a woodcut of Gryphius' trademark griffin printer's device. Gryphius issued ten editions of Quintilian, all between 1531 and 1575. Of these editions we have eliminated five based either on personal inspection or catalogued pagination, leaving editions in 1534, 1536, 1540, 1544 and 1549, of which this copy is one. Later (18th cent.?) binding of full calf; spine in six compartments with raised bands, gilt; red leather lettering piece, gilt. Hinges neatly mended else a very good copy with a fine textblock. The copy of lawyer, scholar, Greek translator and editor of the Chicago Tribune Horace White (1834-1916), with his bookplate on the front pastedown. All editions of Gryphius' Quintilian are uncommon. In Latin.

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        Memoires De Messire Pierre de Bourdeille, Seigneur de Brantome, Contenans Les Vies de Dames Galantes de fon temps.

      Volume I et II en un volume. 8,5 cm x 14 cm. 358 pages, 408 pages. Hardcover / Original vellum. A tear to bottom of spine, some foxing to page edges, otherwise in very good condition with only minor signs of external wear. Bookplate to pastedown. Pierre de Bourdeille, seigneur de Brantôme (c.?1540 15 July 1614), also known as the abbé de Brantôme, was a French historian, soldier, and biographer. De Bourdeille was born in Périgord, Aquitaine, the third son of the baron de Bourdeille. His mother and maternal grandmother were both attached to the court of Marguerite of Navarre, on whose death in 1549 he went to Paris, and later (1555) to Poitiers, to finish his education. He was given several benefices, the most important of which was the abbey of Brantôme, but had no inclination for an ecclesiastical career. He became a soldier and came into contact with many of the great leaders of the continental wars. He travelled in Italy in Scotland, where he accompanied Mary, Queen of Scots (then the widow of Francis II of France) in England, where he saw Elizabeth I (1561, 1579) in Morocco (1564) and in Spain and Portugal. De Bourdeille fought on the galleys of the Order of Malta, and accompanied his great friend, the French commander Filippo di Piero Strozzi (grandson of Filippo Strozzi the Younger), in his expedition against Terceira, in which Strozzi was killed (1582). During the French Wars of Religion under Charles IX of France, he fought for the Catholics (including at the Siege of La Rochelle (1572-1573), but he allowed himself to be won over temporarily by the ideas of the Huguenot reformers, and though he publicly separated himself from Protestantism, it had a marked effect on his mind. A fall from his horse compelled him to retire into private life about 1589, and he spent his last years in writing his Memoirs of the illustrious men and women whom he had known. His life was the subject of the historical drama film Dames galantes (1990) that focused on his relations with women. The lead role was played by Richard Bohringer. De Bourdeille can hardly be regarded as a historian proper, and his Memoirs cannot be accepted as a very trustworthy source of information. But he writes in a quaint conversational way, pouring forth his thoughts, observations or facts without order or system, and with the greatest frankness and naiveté. His works certainly gave an admirable picture of the general court-life of the time, with its unblushing and undisguised profligacy. There is not an homme illustre or a dame galante in all his gallery of portraits who hasn't engaged in what Medieval Christian prescriptions as well as the Victorian society would regard as sexual immorality and yet the whole is narrated with the most complete unconsciousness that there is anything objectionable in their conduct. Besides the general promiscuity of the characters, some parts of the work depict in a more or less detailed fashion the practices of homosexualism (almost exclusively lesbianism), cunnilingus, and, marginally, sado-masochism (although the persons engaging in these activities usually aren't identified by name). It also contains a rather long and explicit description of the female intimate parts in general, focusing on their diversity. (Wikipedia)

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        Aristotelis stagiritae Politicorum ad Nicomachum lib. Primus Raphaelis Volaterrani argumenta in eosdem. Leonardo Aretino interprete. Venezia, Geronimo Scoto, 1542. Unito con: Aristotelis stagiritae Oeconomicorum, seu de Re Familiari Libri duo. Bernardino Donato Veronensi interprete.

      Geronimo Scoto,, Venezia, 1540 - Due opere in un volume in 8

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        Historie di Nicolò Machiavelli, cittadino, et secretario fiorentino, al Santissimo et Beatissimo Padre Signore Nostro Clemente VII. Pon. Mas. Nuovamente con diligenza ristampate

      in casa de’ figliuoli di Aldo, 1540. 8vo (cm. 15,3), 4 cc.nn., 259 cc., 1 c.nn. Ancora aldina al frontis. ed al colophon. Legatura italiana del XVIII secolo in piena pergamena (segni di usura e bruniture) con fregi e titolo oro su tassello in marocchino rosso al ds. Tagli azzurri. Ottimi e freschissimi interni. Nel complesso, esemplare molto buono. Ex libris ‘J.M. Doble 1881’ al contropiatto, timbretto e firma di precedente appartenenza sulla prima carta bianca. Prima edizione aldina, rara. Renouard, 119/2; Br. Libr., p. 400; Innocenti-Rossi, n. 50, p. 148.

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        Winckelige-wyzer, van de sonnevolgen, of leeringe van de uytwerckinge des derden deels der sterrekunst van alderley sonnevolgen. Dat is, hemelsche circulen en uuren-linien, hoe men de selve aen de opgerechte plattingen of muren. afteyckenen en vertoonen zal.Amsterdam, Johannes van Ravesteyn, 1670. 4to. With a small woodcut device on title-page and 84 mostly engraved mathematical figures in the text. Modern grey paper boards.

      - Bierens de Haan 4267; Poggendorf II, col. 883; Sotheran, Second Suppl. 4207; Zinner, Astron. Instrumente, pp. 532-533. First edition of the Dutch translation of a well-known work on sundials by the German astronomer Bartholomäus Schultz (1540-1614). The original German, entitled Gnomonice de Solariis . Von allerley Solarien, dast ist, Himmlischen Circuln und Uhren. was first published in 1572 at Leipzig. Schultz discusses sundials on flat surfaces, on the insides of cubes, prisms (six-sided ones) and pyramids, and, finally, on the insides of spheres, cones and cylinders. According to Sotheran, the work is especially interesting for Scultetus's transversal division on the circle, which was afterwards applied by Tycho Brahe on his quadrant. The engraved illustrations were made especially for the present Dutch translation, the German edition was illustrated with woodcuts. With a few faint, marginal water stains, otherwise in very good condition.

      [Bookseller: ASHER Rare Books]
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        Handschritflicher Kaufvertrag von Land und Besitz auf Pergament mit Wachssiegel. Ausstellungsdatum 19.April 1540.

      England 1540, 16 x 32 cm (gefaltet in Schatulle)Versand D: 2,00 EUR

      [Bookseller: Antiquariat Michael Solder]
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        Orbis breviarium fide compendio ordineque captu ac memoratu facillimum felix andamp gratus legitoandnbsp

      

      [Bookseller: Maggs Bros. Ltd.]
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        Liber de febre pestilentiali, ac de pestichiis, morbillis, variolis, & apostematibus pestilentialibus...

      Venice: Francesco Bindoni & Maffeo Pasini, 1540. 1st Edition. Hardcover. 4to (211 x 154 mm). Signatures: A-T4, 76 leaves, foliated. Roman letter. [Colophon:] Venetiis, apud Franciscum Bindonem, & Maphaeum Pasinum maxima diligentia excussum. Mense Iulii. Anno a Virgineo Partu. M. D. XL. Modern marbled paper binding with gilt lettering piece to spine, original free endpapers preserved. Contemporary manuscript title on lower page edges. Light browning internally, light dampstains to fore-margin (first three leaves stronger). Provenance: Early inscription "Ad Baptista Zucculii usum" on title-page and in probably the same hand "Costo [undeciphered] 25. bononie 1579 die 21 januarii [undeciphered] 327" on free end-paper; later signature "Genesii Soncini[?] M.D." on rear free endpaper; circular censor's stamp "Prof Pietro Tonelli Censore Stati Estensi" on title and a similar stamp (name illegible), dated Regio, 1839; Walter Pagel library (paperslip pasted on flyleaf). ----EDITI6 CNCE 23345; NLM/Durling 2988; Wellcome I, 4105. - First edition. "Another edition was printed in 1555 (some copies dated 1556). This work on infectious diseases includes an early description of the typhus epidemics that occurred in the first half of the century. It was only in 1546 that Fracastoro, in his De contagione, properly distinguished between plague and typhus (Castiglione, trs Krumbhaar, History of Medicine, 1947, p. 467)." (R. Gaskell, Books from the Library of Walter Pagel, Pt. I, 71). Very Good.

      [Bookseller: Milestones of Science Books]
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        Commentario della origine de Turchi et imperio della casa ottomana

      

      [Bookseller: Maggs Bros. Ltd.]
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        Hibernia et Albion, Europae Tabula I. Continet haec tabula insulas Britannicae [.]".

      [Basel, Henricpetri, um 1540]. - Frühe und seltene Karte der Britischen Inseln aus der von Sebastian Münster edierten „Geographia universalis" des Claudius Ptolemaeus (1540ff.). - Rückseitig mit einer schönen figürl. Holzschn.-Bordüre und lateinischem Text (durch entsprechenden Passepartout-Ausschnitt auf der Rückseite sichtbar). - Karte mit wenigen schwachen Knickspuren u. min. gebräunt bzw. fleckig. Am oberen Rand im Falz zwei kleine ausgebesserte Wurmspuren. - Shirley, Maps of the British Isles I, 27; Burmeister, Sebastian Münster 166ff. la Gewicht in Gramm: 3000 Doppelblattgr. Holzschnitt-Karte mit lateinischer Beschreibung. Verglast u. gerahmt (Passepartout-Ausschnitt 29 x 38 cm; Rahmen 44 x 53 cm). [Attributes: First Edition]

      [Bookseller: Antiquariat Wolfgang Friebes]
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        „Hibernia et Albion, Europae Tabula I. Continet haec tabula insulas Britannicae [...]“.

      [Basel, Henricpetri, um 1540]. Doppelblattgr. Holzschnitt-Karte mit lateinischer Beschreibung. Verglast u. gerahmt (Passepartout-Ausschnitt 29 x 38 cm; Rahmen 44 x 53 cm). Frühe und seltene Karte der Britischen Inseln aus der von Sebastian Münster edierten „Geographia universalis“ des Claudius Ptolemaeus (1540ff.). - Rückseitig mit einer schönen figürl. Holzschn.-Bordüre und lateinischem Text (durch entsprechenden Passepartout-Ausschnitt auf der Rückseite sichtbar). - Karte mit wenigen schwachen Knickspuren u. min. gebräunt bzw. fleckig. Am oberen Rand im Falz zwei kleine ausgebesserte Wurmspuren. - Shirley, Maps of the British Isles I, 27; Burmeister, Sebastian Münster 166ff. Versand D: 12,00 EUR Ptolemaeus, Münster, Hibernia et Albion, Europae Tabula I. Continet haec tabula insulas Britannicae, Karte, Karten, Landkarte, Landkarten, Großbritannien, England, Irland, Britische Inseln, Great Britain, Ireland

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Gliasolani Venice per Comin de Trino de Monferrato

      

      [Bookseller: Maggs Bros. Ltd. ]
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        La Vergine e il Bambin Gesù con i Santi

      1540. Acquaforte e bulino, 1540-1545 circa, monogrammato in lastra, in basso al centro, LD. Da un disegno perduto di Parmigianino. La scena raffigura la Madonna col Bambino sulle sue ginocchia che si protende in avanti per abbracciare S. Giovanni Battista; dietro di loro, a sinistra, S. Giovanni tiene un globo sormontato da un drago; sulla destra, un gruppo formato da due donne: Maria Maddalena che tiene un vaso, e S. Giuseppe sullo sfondo. Il gruppo centrale della scena, precedentemente attribuito al Parmigianino, recentemente è stato messo in relazione con un disegno di Lavinia Fontana conservato al Louvre. La figura di S. Giuseppe, sullo sfondo, è basata su un disegno del Parmigianino conservato al Louvre, inv. n. 6487/2 . (A. E. Popham, Catalogue of Drawings by Parmigianino, 1971, p. 156, no. 469). Come per tutte le incisioni di Davent, anche questa scena sacra è di estrema rarità. Splendida prova, impressa su carta vergata coeva, irregolarmente rifilata alla linea marginale, per il resto in ottimo stato di conservazione. Etching and engraving, 1540-1545 circa, signed on plate with monogram LD lower center. After Parmigianino. Sacred conversation: Virgin with child on her knees leaning forward to embrace St John the Baptist; behind them, on the left, St John holding a goblet surmounted by a dragon, and on the right, a group formed by two holy women, St Mary Magdalene holding a perfume vase, and St Joseph standing in the background. The central group has been previously attributed to Parmigianino, but has recently been connected to a drawing by Lavinia Fontana in the Louvre. The figure of Joseph in the background is related to a drawing by Parmigianino in the Louvre, inv. no. 6487/2 (A. E. Popham, Catalogue of Drawings by Parmigianino, 1971, p. 156, no. 469) A very rare work. A very good example, printed on contemporary laid paper, trimmed to the copperplate, otherwise in very good condition. Bartsch XVI.310.1; Zerner 1969, LD.5; Gnann, Parmigianino und sein Kreis.., 2007a, no. 43 178 236

      [Bookseller: Libreria Antiquarius]
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        Ioachimi Mynsingeri dentati a Frundeck, iureconsulti, Austriados libri duo.

      Michael Isengrin, 1540. In 12° (mm 195x132), pp. (12), 75, (1). Segnatura: a6 A-H4 I6. Marca editoriale al frontespizio: palma incorniciata, tra i cui rami si intravede una pietra. Ai lati del tronco: &ldquo,Palma Ising&rdquo, (J147). Iniziali istoriate. Legatura in cartonato posteriore, con numero identificativo del volume manoscritto su tassello al dorso. Lievi aloni su diverse pagine, ma nel complesso ottima copia. Sottolineature e annotazioni manoscritte su diverse pagine. RARA EDIZIONE ORIGINALE, dedicata a Ferdinando d'Austria. Mynsinger fu giurista, cancelliere del ducato di Brunswick-Wolfenbuttel, nonché autore di numerose poesie neolatine. La presente opera, un poema epico che celebra la grandezza degli Asburgo, rimane la sua opera più significativa. Fu ristampata nel 1585 nella raccolta di tutta l'opera poetica del Mysinger edita da Heinrich Meibom (cfr. K. Zippelius, Ein Juristenleben im 16. Jahrhundert: Jochim Mynsinger von Frundeck, in: &ldquo,Melanges Fritz Sturm&rdquo,, Liège, 1999, pp. 959-970). VD16, M-7422.

      [Bookseller: Libreria Govi Alberto]
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        Italia mit den Dreien Furnemsten Inseln Corsica, Sardinia und Sicilia

      1540. Bella e affascinante carta dell'Italia che mostra anche la Sardegna, la Sicilia e la Corsica. L'orografia è prospettica, rappresentata da piccoli coni di talpa associati ed allineati, senza ombreggiature; l'idrografia con una doppia linea; la superficie dei laghi è tratteggiata; i centri sono indicati con casette. Esemplare pubblicato nell'edizione tedesca della Comosgrahia di Sebastian Münster, Cosmographey oder beschreibung aller Länder, edita a Basilea nel 1574 da Heinrich Petri. Il legno di questa mappa è lo stesso utilizzato per l'edizione della Geographia di Tolomeo curata da Münster nel 1540. Xilografia, finemente acquarellata, in ottimo stato di conservazione. Early woodcut map of Italy by Sebastian Münster. Showing Italy with the Islands Sardinia, Sicily and Corsica. With Dalmatia in the East. The map shows the rivers, lakes, mountain ranges and major cities.The title on verso is surrounded by a beautiful woodcut border. From the German edition of Sebastian Münster's Cosmography, titled Cosmographey oder beschreibung aller Länder, published 1574 by Heinrich Petri in Basel. The woodblock of this map was used first in Münster's Geographia Universalis in 1540 Basilea Basle Borri, R.: L'Italia nell'Antica Cartografia 1477-1799, No. 26. 335 250

      [Bookseller: Libreria Antiquarius]
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        Pietà

      1540. "Bulino, 1540 circa, in basso a sinistra l'indirizzo di Antonio Salamanca 'Ant. Sala. Excudebat', e a destra "M.A. invetor". Da un disegno di Michelangelo. Stato unico. La Vergine assistita da tre Angeli sorregge il corpo di Gesù adagiato su una pietra. Probabilmente l'incisione è basata sul disegno che Michelangelo realizzò per la Pietà di Ubeda dipinta da Sebastiano del Piombo intorno al 1539. Splendida prova, impressa su carta vergata coeva con filigrana ""aquila nel cerchio"", rifilata alla linea marginale, in ottimo stato di conservazione. Molto rara." "Engraving, 1540 circa, inscribed with publisher's address lower right: 'Ant. Sala. Excudebat' and lettered at right: 'M.A. inuetor'. Only state. The dead Christ is seated on a rock, supported by the Virgin and two angels. Probably related to the drawing by Michelangelo made for Sebastiano del Piombo's Ubeda Pieta, painted around 1533. Good example, printed on contemporary laid paper, with watermark ""eagle in a circle"", trimmed close to the platemark, in very good condition. A very rare work." Heinecken 1786, vol. 1, p. 391, no. 26; Passavant VI.105.8; Bury 1990, n. 8. 270 205

      [Bookseller: Libreria Antiquarius]
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        La vittoria di Scipione sui cartaginesi

      1540. Bulino, 1540, in basso al centro 'R/P COR SCIPIONIS VICTORIA. Primo stato, avanti i ritocchi. La scena raffigura Scipione che attacca Cartagine, narrata da Livio (14,15). L'incisione è basata su uno dei 23 arazzi del ciclo Gesta di Scipione, il cui il petit patron è conservato al Louvre. La serie completa di arazzi legata alla figura di Scipione è formata da due serie distinte: 13 rappresentazioni delle Gesta di Scipione, che hanno quale 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. Di questa serie si conservano 5 "petit patron", tutti conservati al Louvre, da cui sono stati tradotti in incisione. Tradizionalmente sono attribuiti a Gianfrancesco Penni, ma probabilmente le composizioni furono realizzate da Giulio Romano. L'incisione, però, sembra non dipendere direttamente dal disegno preparatorio per l'arazzo, rispetto al quale si discosta per diversi particolari, ma da una copia che ne fu realizzata in Italia. La stampa è catalogata dal Bartsch come anonima, e la tesi è condivisa anche da Cirillo Archer, mentre Passavant, seguito poi dalla Massari, ne ascrivono l'incisione a Marco Dente. Splendida impressione, su carta vergata coeva, rifilata irregolarmente ai margini, con parziale perdita della parte incisa, anche nella parte inferiore dove era la data e l'excudit di Salamanca 1540 "EXCVDEB ANT. SALAMANCA 1540', restauri ben eseguiti al verso, nel complesso in buono stato di conservazione. Opera non comune. Engraving, 1540, inscribed lower centre: 'R/P COR SCIPIONIS VICTORIA. First state before significant reworking. The plate represents the Scipio's campaign against the Carthaginians, described in Livio (14, 15). The print reproduces one of the 23 tapestries representing the Deeds of Scipio, commissioned by Francis I in 1532. 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.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 preparatory drawings for these had been attributed to Giovanni Francesco Penni, but Giulio Romano may have been their ultimate source. The 'petit patron' for this section of the tapestry is preserved in the Louvre, inv. no. 3721. Giulio Romano's model for the print is also in the Louvre, inv. no. Bb 14b, H103149. This print was perhaps based on a copy after the original design which was kept in Italy . Bartsch, correctly according to Cirillo Archer, listed it as anonymous. Passavant gave this print to Marco Dente, and so Massari. Strong impression, printed on contemporary laid paper, trimmed at margings, affecting the image, loss of inscription on bottom margin, where was the date and Salamanca excudit "EXCVDEB ANT. SALAMANCA 1540", some restorations on verso, otherwise in good condition. Rare. TIB, 2801.033.S2; Raphael Invenit, p. 237, no. X.6; Passavant VI.72.64 535 380

      [Bookseller: Libreria Antiquarius]
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        Hapanta]. Operum Xenophontis Pars Secunda-[Tertia]. [Edited by Eufrosino Bonini]

      - Printed in Greek. Parts II & III (of 3). 1 p.l., [425]-983 leaves, one blank leaf. Thick small 8vo, cont. blind-stamped panelled calf over wooden boards, two orig. catches. [Halle, Petrus Brubach, 1540]. A remarkable discovery: Conrad Gesner's heavily annotated copy of the 1540 Halle edition of Xenophon. Our copy bears Gesner's characteristic ownership inscription on the title-page -"Sum Conradi Gesneri Tigurini" - and contains numerous annotations in Greek and Latin in his neat hand on more than 400 pages. This copy is referred to in Gesner's own annotated copy of his Bibliotheca Universalis (1545) with his handwritten note concerning this edition: "editio?illa, nihilo melior vel emendatior mihi videtur, quam Basiliensis Brylingeri, quam habeo cum latina versione?" ("?seems to me a better or corrected edition than that of Brylinger's, of Basel, which I have with the Latin version"). Gesner had a great interest in Xenophon, judging from the density of annotations in our copy and from the fact he also owned two Basel editions of the author's works, 1534 (printed by Cratander) and 1545 (printed by Brylinger), both now in the Zentralbibliothek Zürich. Our annotated edition is previously unknown and an important addition to our knowledge of the scholarly activities and library of Conrad Gesner (1516-65), the "father of bibliography" and one of the greatest polymaths of the Renaissance. The great scholar Henri Estienne II (1531-98), chose his friend Gesner's translation of Xenophon's Epistolarum Fragmenta to be included in his own edition of Xenophon of 1561. As mentioned above, Gesner must have been particularly interested in Xenophon. Our copy has been copiously annotated, both in Greek and Latin, on more than four hundred pages. This copy is hitherto unrecorded and totally unstudied by the scholarly world. Regarding Gesner's known library holdings, "39 of 90 philological titles (including 9 poetical and rhetorical works) belong to the special field of Greek language and literature [this was nearly a quarter of his known library]. Gesner knew German, Latin and Greek very well and also learned Hebrew, Flemish, French and Italian, Spanish and perhaps Arabic, but he was especially attached to the Greek language?From 1537 to 1540 he was professor of Greek at the new founded Academy in Lausanne. After that he translated numerous Greek authors into Latin."-Leu, Keller, & Weidmann, Conrad Gessner's Private Library, p. 16. Our copy lacks the first part and the first three leaves of the third part, which were never bound in. In their place, Gesner had added in manuscript a ten-line table of contents on a blank leaf at the end of Part II. In fine condition. With the early signature of "Janus Morellius" on the free front endpaper. This was most probably Jean Morély (ca. 1524-94), French Protestant theologian who criticized the Huguenot ecclesiastical structure and incited the first internal conflict of major scale in the French Reformed movement. With a contemporary inscription on the free front endpaper: "Cosj' vol la mia ventura o'uer mio fallo" ("So will my fate, or my mistake"), from Arcadia, a pastoral romance written by Italian humanist Jacopo Sannazaro (1458-1530) from Naples (with thanks to Lino Mioni for this). Books with annotations by Gesner are very rare on the market. [Attributes: Hard Cover]

      [Bookseller: Jonathan A. Hill, Bookseller Inc.]
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        Johannis Cuspinianis Viri Clarissimi, poetae et medici, ac divi Maximiliani Augusti oratoris, De Caesaribus atque Imperatoribus Romanis opus insigne. Dedicatio operis ad Invictissimum Imperatorem Carolum Quintum, per Christophorum Scheurle I. V. D. Vita Johannis Cuspiniani, et de utilitate huius histoire, per D. Nicolaum Gerbelium Iureconsultum

      Strasburgo. Mylius. 1540. Cm. 32x21; pp. (16), DCCLXII, (6). Bella legatura coeva in piena pergamena floscia dipinta in nero, dorso a soffietto, alette. Numerosi ritratti xilografici degli imperatori nel testo. Due belle marche tipografiche al frontespizio e all'ultima pagina. Ex libris manoscritto al frontespizio (dei Conti d'Emilei). Qualche velato alone e fioritura, qualche mancanza alla legatura, ma esemplare molto bello. Prima edizione assoluta, uscita postuma. 779/P

      [Bookseller: Galleria La Stampa Antica]
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        Descizione di Cere antica. Ed in particolare del monumento sepolcrale scoperto nell'anno MDCCCXXXVI da Vincenzo Galassi, Alessandro Regulini per servire di preliminare illustrazione degli Oggetti in esso rinvenuti e collocati nel nuovo Museo Gregoriano del Vaticano.

      Fol. (35,8 x 24,8 cm). Mit 10 doppelblattgr. Kupfertafeln. 95 S., Ppbd. d. Zt. Erstausgabe. - Die am Tyrrhenischen Meer gelegene Handelsmetropole Cere (Caere bzw. Cerveteri) war mit drei Häfen eine der bedeutendsten etruskischen Städte und Mitglied im Zwölfstädtebund mit engen Verbindungen zu Griechenland. - Die schönen Kupfertafeln mit Plänen sowie Darstellungen von Grabstätten usw. - Einband beschabt, bestoßen u. etw. fleckig. Vorderdeckel m. Nummernschild. Innendeckel u. Titelbl. gestempelt. Etw. stockfleckig, die Tafeln jedoch weitgehend sauber. Breitrandiges Exemplar. - Brunet I, 1540 Graesse II, 95 Vinet 1685.

      [Bookseller: Antiquariat Wolfgang Friebes]
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