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        Arte subtilissima, por la qual se enseña a escrevir perfectamente, hecho y experimentado, y agora; de nuevo añadido

      Saragossa, Pedro Bernúz, 1550 (23 July). The Arte subtilissima is the revised second edition of the first calligraphy and handwriting manual published in Spain. The woodblocks of the first edition (1548) are re-employed, except for three; twenty-four "Tablas mas estudiadas y mas esmeradas que antes" are added, and these enlarge the book by two gatherings (sixteen leaves). One of the new blocks is dated 1547, seven are dated 1550, and sixteen are undated. J.P.R. Lyell's complaint that Iciar's writing books were "thumbed out of existence" is validated by modern bibliographical tools: ten copies of the 1548 first edition, some just fragments, are recorded in public collections worldwide. Our 1550 second edition is less rare, but equally difficult to find complete and in good condition: twelve copies are recorded public collections, of which at least four are incomplete. [img-2371-left-large_default] Fig. 1. A monument of the Spanish Renaissance ( height of binding 197 mm) Iciar, Juan de Durango (Viscaya) circa 1522-after 1572 Logroño? Arte subtilissima, por la qual se enseña a escrevir perfectamente, hech o y experimentado, y agora; de nuevo añadido. Saragossa, Pedro Bernúz, 1550 (23 July) quarto (194 × 133 mm), (86)ff. signed A 6 B-L 8 , not foliated or paginated. Woodcut compartment on title-page incorporating insignia of the dedicatee Philip (later Philip ii, King of Spain), fine woodcut portrait of the author aged 25 (folio A4 verso), each letterpress text page enclosed by a four-piece woodcut border (of which there are four designs), full-page woodcut writing samples (some cut white-on-black using criblé techniques), every block (or group of blocks) signed by the cutter Juan de Vingles either in full, with his mark of a sacred heart surmounted by a crown (in one design supported by the lion of Lyons), or his initials idv ; devices of the printers Jorge Coci and Pedro Bernúz on final leaf. 1 provenance Earls of Macclesfield, Shirburn Castle, embossed stamp on title-page and following two leaves, exlibris South Library dated 1860 on paste-down -- Sotheby's, 'The Library of the Earls of Macclesfield, Part Six: Science P-Z plus Addenda', London, 26 October 2005, lot 2237 Repaired when rebound in the eighteenth-century: title-leaf laid down, margins of folios F5 and F6 repaired, marginal paper repairs in other leaves (occasionally touching borders and signature letters), slight staining; however, for a book of this kind, in unusually fine state of preservation. binding eighteenth-century English calf; gilt frame on covers, spine gilt in compartments. The Arte subtilissima is the revised second edition of the first calligraphy and hand­writing manual published in Spain. Like the Italian manuals on which it is modelled, it shows a wide range of styles and alphabets, including the chancery italic, book hands (roman and italic), commercial hands, Roman capitals (including a set copied with few modifications from Dürer), the gothic script, the rotunda, capitals suitable for illumination, monograms and Greek and Hebrew alphabets. The work was an immediate success (six editions appeared before 1566) and continues to be esteemed to this day: 'There can be no doubt that Yciar's book has to be counted among the finest calligraphic copy-books to be found anywhere at any time'. 2 [img-2368-left-large_default] Fig. 2.LeftPortrait of the author cut by Juan de Vingles. Page height 194 mm The author, the Basque Juan de Iciar, worked from about 1547 until about 1573 at Saragossa, a centre of culture and the cradle of Spanish printing, as a teacher (of writing and arithmetic) and as a copyist, particularly of choir and service-books for church use, which he wrote in a gothic rotunda style (he is shown on the title-page writing a formal alphabet in a book with one hand and holding a choir book in the other). His aim was to teach children as well as adults, and in the instructions which accompany his specimens, Iciar - influenced by his fellow countrymen Juan Vives and Alejo Vanegas - considers various pedagogical problems, such as whether children should be taught reading before writing, or simultaneously (folios A5-6), and recommends as teaching aids sheets of tin ('hojas de Flandres', D5 verso - the idea is similar to that underlying the use of slate and chalk: the child rubs out mistakes with his fingers, and becomes less inhibited in his writ­ing) and alphabets carved in tablets of wood or metal ('una tablilla de box, o de metal muy lisa', L4 verso - an apparatus mentioned by Quintilian, endorsed by Erasmus and Palatino: the pupil moves a pen in grooves cut into the letters, until the shapes and movements become natural). The second edition, as befitted its new dedication, to the prince Philip, Regent of Spain, was revised as an elegant picture book. The author, or perhaps his printer, lightened the text: some instructions (notably the 'Trata de letra Aragonesa', on folio E8 verso in the 1548 edition) were abbreviated, some recipes ('para bermellon... para hazer tornasol... para hazer verde lino... agua gomada; y para destemper la clara del hueuo... para preparar la glossa', folios B6 recto-B8 verso in the 1548 edition) were excised, and the concluding 'Trato del modo como este libro se hizo', in which Iciar described how the blocks were made for his book (folio I7 in the 1548 edition), was deleted. A new 'Epistola Al Lector' and Latin verses in praise of the author by 'Blasij Spesij Doctoris Medici' are introduced. [img-2369-left-large_default] Fig. 3.LeftOne of the new blocks cut by Juan de Vingles for this second edition. RightA block reprinted from the first edition (1548). Page height 194 mm [img-2370-left-large_default] Fig. 4. 'Letras de Compas para Illvminadores', cut by Juan de Vingles. Page height 194 mm The woodblocks of the first edition are re-employed in the second edition, except for three (two models of a 'Letra Gotica Echada' and a 'Trata de la letra tratizada', folios D5 recto-D5 verso, D6 verso in the 1548 edition). To their number, twenty-four 'Tablas mas estudiadas y mas esmeradas que antes' ('Epistola Al Lector', A3 verso) were added, and these enlarge the book by two gatherings (sixteen leaves). One of the new blocks is dated 1547, seven are dated 1550, and sixteen are undated. 3 In the new prefatory letter, Iciar claims that certain mistakes ('algunas faltas') in the old blocks have been corrected, and that other blocks have been improved by the addition of flourishes ('muchos rasgos '). The corrections seem to be no more than several erasures of the date '1548' and substitution of '1550' (e.g. C2 recto, C2 verso). The alteration of old blocks to enhance their decorative effect was more systematic; a typical embellishment is the stippling of the background of blocks printed white-on-black (e.g. C6 verso, C7 recto, E6 verso, H3 recto, H3 verso). This work, together with the presentation of Iciar's text within broad frames of newly-cut border ornament (two pieces are dated 1550), and the introduction of an attractive sub-title (a block from the Jorge Coci-Pedro Bernúz stock, in use since 1548; see reproduction by Sánchez p.354), make this one of the most beautiful books of the Spanish Renaissance. Iciar's engraver was Juan de Vingles (1498-circa 1552), a son of the Lyonese printer Jean i de Vingles (active 1493-1513), whose device of the initials iv within a crowned heart he adopted. Juan is first recorded in Spain in 1534, when he cut a block for the printer Carlos Amorós of Barcelona; 4 in 1535, he was working at Saragossa for Pierre Hardouyn; in 1547-1550 he was collaborating with Juan de Iciar; and he is last heard of in 1552, working as a publisher at Pau in the south of France, in partnership with Henri Poivre. He took his inspiration from many sources, including Lyonese editions of Horae and Alciati's Emblems, printed in 1548. 5 The woodcut border enclosing the title is from the block utilised for the 1548 edition, printed by Bartholomé de Nágera 'a costas de Alonso de Frailla, y Iuan de Iciar, y Iuan de Vingles', on 22 August 1548 (Sánchez no. 278). The fine and highly original woodcut por­trait of Iciar also was cut for the first edition, and it reappears in Iciar's Arithmetica prac­tica printed at Saragossa by Pedro Bernúz 'a costa del auctor y de Miguel de Cepilla [Zapila] mercador d'libros', on 16 February 1549 (Sánchez no. 285). It seems that Miguel de Zapila was involved also in publishing the 1550 Arte subtilissima: the title-page of the copy reproduced by Cotarelo y Mori (pl. 72) has his imprint 'A costa de Miguel Cepilla mercader de libros' added in the lower margin. J.P.R. Lyell's complaint that Iciar's writing books were 'thumbed out of existence' 6 is vali­dated by modern bibliographical tools: perhaps ten copies of the 1548 first edition, some just fragments, are recorded in public collections worldwide. 7 Our 1550 second edition is less rare, but equally difficult to find complete and in good condition. These copies are known to the writer: ● Amsterdam, Universiteitsbibliotheek, OTM: KL 08-223 ● Avignon, Bibliothèque municipale, 8° 14227 ● Cambridge, ma, Harvard University, Houghton Library, Department of Printing & Graphic Arts, Typ W 560.50.460 8 ● Chicago, Newberry Library, Wing Collection, ZW 540 I.164 ('imperfect: t.-p. and many leaves mutilated, mended') ● Lisbon, Biblioteca Nacional de Portugal, RES. 5564 P ● London, British Library, C 31 h14 (lacking A1-2, A5-6, H4-5) ● Madrid, Biblioteca Nacional, R/31877 ('Ej. falto de las hoj. 12, 36 y 86') 9 ● Madrid, Universidad Complutense, B. Histórica-Fco. Guerra 3499 10 ● New York, New York Public Library, Spencer Collection (Baron Achille Seillière -- Robert Hoe copy, washed and rebound by Chambolle-Duru) 11 ● New York, Metropolitan Museum of Art 12 ● Oxford, Bodleian Library, Douce YY 13 (ff.1-50) ● Paris, Bibliothèque de l'Arsenal, Reserve 8- S- 14639 ● Paris, Bibliothèque nationale de France, Res-V-1463 (lacking B8, D8, E1-2, E7-8, F1-2, L8). Just four complete copies 13 have passed through the auction sale rooms in the last sixty years: ● the Stirling-Maxwell copy (sold by Christie's, London, 20 May 1958, lot 79: bound in old morocco gilt, £200 to W.H. Schab) ● Stanley Morison's copy (sold by Sotheby's, London, on 28 November 1961, lot 509a: margins of 28 leaves restored, pen facsimile on A3, bound in 19th-century half-morocco, £75; resold on 1 June 1977, lot 135: £850) ● the Richard Ford -- Otto Schäfer copy (sold by Sotheby's, New York, 1 November 1995, lot 124: leaves remargined, some restored with pen facsimile, $8000) ● the Hippolyte Destailleur -- Carl W. Jones -- Arthur & Charlotte Vershbow copy (sold by Christie's, New York, 9-10 April 2013, lot 232: 'Internal marginal tear on E5, some browning and spotting', bound in contemporary vellum, $37,500). references Juan M. Sánchez, Bibliografía aragonesa del sigloxvi (Madrid 1913-1914), no. 301; Emilio Cotarelo y Mori, Diccionario Biográfico y Bibliográfico de Calígrafos Españoles (Madrid 1914-1916), i, pp.356-357; Claudio Bonacini, Bibliografía delle arti scrittorie e della calligrafia (Florence 1953), no. 2074; Antonio Palau, Manual del librero hispano-americano (Barcelona 1954), no. 117834; Juan de Yciar: a facsímile [prepared from the Hofer-Harvard and Stanley Morison copies] of the 1550 edition of the Arte Subtilissima, with a translation by Evelyn Shuckburgh, introduction by Reynolds Stone (London 1960); Catalogo colectivo de obras impresas en los Siglosxvialxviiiexistentes en las bibliotecas españolas (Madrid 1975), I-52; A.S. Osley, Scribes and Sources (Boston 1980), pp.127-147; Iberian books: books published in Spanish or Portuguese or on the Iberian Peninsula before 1601, edited by Alexander S. Wilkinson (Leiden & Boston 2010), p.415 no. 10503 1. Francisco Vindel, Escudos y marcas de impresores y libreros en España (Barcelona & Madrid 1942-1950), nos. 149-150. 2. Alfred Fairbank and Berthold Wolpe, Renaissance Handwriting (London 1960), no. 78. 3. 1547: 'Letra redonda castellana', E1 recto; 1550: B8 verso, C1 recto, C3 verso, C4 recto, D5 recto, I4 verso, I5 recto); undated: C8 verso, D1 recto, D1 verso, D2 recto, D3 verso, D4 recto, D4 verso, E4 verso, E5 recto, E7 recto, G8 verso, H1 recto, H1 verso, H2 recto, H2 verso, I5 verso. 4. Antonio Gallego, Historia del grabado en España (Madrid 1979), p.97. 5. Henry Thomas, 'Juan de Vingles: a sixteenth-century book illustrator' in The Library, fourth series, 18 (1937), pp.121-176, figs.1-6. 6. J.P.R. Lyell, Early book illustration in Spain (London 1926), p.145. 7. ● Cambridge, University Libraries, Td.56.1 ● Cambridge, ma, Harvard University Libraries, TypW 560.48.460 ● London, British Library, C.31.h.9 ● Madrid, Real Academia de la Historia, 2/1495 ● Madrid, Biblioteca Nacional de España, R/8611 ● Munich, Bayerische Staatsbibliothek, Res/4 Graph. 98 (Fugger copy; see Kulturkosmos der Renaissance: die Gründung der Bayerischen Staatsbibliothek, catalogue of an exhibition in the Staatsbibliothek, Munich, 7 March-1 June 2008, Wiesbaden 2008, pp.234-235 no. 84) ● Oxford, Bodleian Library, Johnson p 209 (19 ff. only) ● Vilanova i la Geltrú, Biblioteca Museu Victor Balaguer, 1 "B" XVI-A/33 (defective). Wilkinson, op. cit., p.415 no. 10501, cites two further copies which we have not independently verified: New York, Hispanic Society of America; Palma de Mallorca, Biblioteca Pública del Estado. 8. David Becker, The Practice of Letters: the Hofer Collection of Writing Manuals, 1514-1800 (Cambridge, ma 1997), pp.17-18 no. 36. 9. Catálogo colectivo de obras impresas en los siglos xvi al xviii existentes en las bibliotecas expañolas (Madrid 1975), I-44. 10. Una biblioteca ejemplar: tesoros de la colección Francisco Guerra en la Biblioteca Complutense, edited by Marta Torres Santo Domingo (Madrid 2007), pp.45-47, 267 no. 2 (two reproductions). 11. Entered in the Library's Dictionary Catalog 1911-1971 (Boston 1979), volume 363, p.408 (also in the National Union Catalog, volume 263, p.339), but not in the local online catalogue (catnyp). 12. W.M. Ivins, Jr., 'A Gift of Writing Books' in The Metropolitan Museum of Art Bulletin 23 (1928), p.298. 13. A copy lacking three leaves, restored with pen facsimile, was sold by Sotheby's, New York, 4 December 1996, lot 257 ($3500); a fragment (60 of 86 leaves) was offered by Librairie Sourget, 'Catalogue 34: Manuscrits enluminés et livres précieux', Chartres 2007, item 13 (€11,500); and a copy with leaves lacking and in facsimile, in a nineteenth-century half-vellum binding, was sold by Alde, 'Livres anciens et modernes', Paris, 1 June 2011, lot 210 (€1,800).

      [Bookseller: Robin Halwas | Rare Books]
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        Septentrionales regiones

      1550. Woodcut, mm 250x340, colored. Very attractive early map of Scandinavia. Second state of Munster's map, published first in 1545, based upon the Olaus Magnus map of 1539. Good condition, some water stains in bottom margin. From a latin edition of "Cosmographia universalis", a milestone in cartography, first published in 1544, the earliest German description of the world. About 40 editions of the Cosmographia appeared between 1544 and 1628.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        De asse, et partibus eius, libri V.Lione, apud Sebastianum Griphium , 1550.

      Lione, apud Sebastianum Griphium 1550 - Cm. 17,5, pp. 815 (81) + 1 c.b. Graziosi marchi tip. a frontespizio e colophon. Leg. coeva in piena perg. molle. Minime mancanze di perg. al margine esterno del piatto posteriore e alla parte bassa del dorso, qualche alone sparso, perlopiù marginale. Esemplare peraltro nel complesso genuino e ben conservato. Ben conservato. Guillaume Budé (1467-1540), celebre umanista parigino, va annoverato anche fra i principali esponenti dell'umanesimo giuridico. Budé ricoprì numerose cariche pubbliche, partecipò al movimento della Riforma umanistica e diede un decisivo contributo alla creazione del Collège de France e del patrimonio librario della Biblioteca Nazionale. Oltre alle celebri opere giuridiche, Budé scrisse anche importanti commentari sulla lingua greca e soprattutto il De asse, trattato sulle monete e sulle misure antiche, reputato uno dei più autorevoli contributi cinquecenteschi sul tema. Cfr. Kvk; non in Einaudi che menziona altre edizioni. [Attributes: Hard Cover]

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        Septentrionales regiones

      Basilea 1550 - Woodcut, mm 250x340, colored. Very attractive early map of Scandinavia. Second state of Munster's map, published first in 1545, based upon the Olaus Magnus map of 1539. Good condition, some water stains in bottom margin. From a latin edition of ìCosmographia universalisî, a milestone in cartography, first published in 1544, the earliest German description of the world. About 40 editions of the Cosmographia appeared between 1544 and 1628. cartografia.

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        Venedig

      Basilea 1550 - Veduta a volo d’uccello di Venezia, tratta dalla "Cosmographiae Universalis." edizione in tedesco, Basilea fine del XVI secolo. Taken from Meunster's "Cosmographia Universalis ", german edition of the second half of the XVI century. G. Moretto (a cura di) "Venetia - Le immagini della Repubblica", s. 13 Dimensioni 410 345mm

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        Manuscript Crown Revenue Survey during the Reign of Boy King Edward VI - Son of Henry VIII

      A significant document from young Edward's Reformation with details of revenues earned by the vast confiscation of monasteries, taxing clergy, and feudal exploitation, as well as monies controlled and embezzled by William Cavendish, this document being the fateful audit that led to his conviction. Westminster, circa 1736-1758. Manuscript fair copy of the Royal Revenue Survey, originally produced for young King Edward VI in 1552, subsequently copied in manuscript and bound in leather two centuries later, most conceivably by the Exchequer's Clerk of the Pell Office which at the time was Sir Edward Walpole (1706-1784). Folio. 85 pages in a fine manuscript hand, on Dutch made laid paper with watermark initials LV and LGV, and a crown motif. Half calf, seven raised bands to spine, marbled endpapers. Gilt title to front "Public Revenue Anno Quinto Regni Edwardi Sexto" and to spine "Survey of Royal Revenue Edward VI." With the special gift bookplate of the Constitutional Club Library, indicating the donor to be barrister, politician and member of the Club, Reginald Charles Edward Abbot (1842-1919), 3rd Baron Colchester. Volume measures approximately 27 x 42 x 3 cm. A singular and fascinating document revealing a pivotal work performed by the leading financial administrators of the King's court. The Beinecke Rare Book and Manuscript Library, Yale University, holds a similar volume from the year 1607, else they are exceedingly scarce. While the dates of the actual revenue survey (30 Sept 1550 - 29 Sept 1551) and the original assessment report (10 December 1552) are revealed herein, the period in which the present manuscript copy was made is best be estimated by the paper on which it is penned. The leafs are laid paper of Dutch origin, featuring a regal crowned fleur-de-lys watermark with the initials LVG which may be for the renowned papermaker Lubertus Van Gerrivink [Gerrevink], and a countermark to the opposite side simply being the initials IV which was the mark of the esteemed paper maker Jean Villedary of Hattem, Holland. The watermark of papermaker Jean Villedary (1668-1758) was used from 1668-1758 during his lifetime, and posthumously until 1812. The name or initials of Jean Villedary as watermarks cover a period of 150 years. The initials IV of Jean Villedary appear on a number of books and manuscripts in the public archives and libraries of both England and Holland. They also appear with the names and watermarks of Lubertus or Lucas Van Gerrevink, C. and I. Honig, Adriaan Rogge, and Van der Ley. The initials I.V. and L.V.G. together have been found on paper dated as early as 1736. It is not known for certain whether Villedary worked in conjunction with the other Dutch paper makers, or whether they counterfeited his initials, which had become a hallmark of excellence. However, the likelihood of the King's court being swindled is slim, therefore these are most likely the genuine watermarks of Villedary and Gerrevink, working in collaboration, and so, dating the paper to 1736-1758. A book published in 1857, "The Literary Remains of King Edward the Sixth," states that a modern transcript was held in the Library of the Society of Antiquaries, possibly referring to the present work. Lubertus [Lubbert] Van Gerrivink was a Dutch paper maker, prominent in the period and also celebrated for his high quality paper, therefore a logical choice for the royal courts. He was associated with several English paper mill firms, and obtained patents for his distinct watermark in 1726 and 1727. ["LVG" was the watermark of three prominent papermakers of the period: Lubertus van Gerrevink of Egmond a/d Hoef, North Holland; his successor Lucas van Gerrevink of Alkmaar; and also L. van Groot (or Grooten). The paper on which in 1776 Thomas Jefferson penned his "First Ideas" for the Virginia Constitution was marked L.V.G. and also said to be of Dutch origin.] The official "Survey of Royal Revenue" commissioned in 1550 by young King Edward VI, through his Regency Council, facilitates an exceptional opportunity to learn of the finer details of the English monarchy's finances and some of the radical new policies established in the early years of the English Reformation, and also to scrutinize one notorious treasurer's embezzling schemes. An especially lengthy expense log was submitted by nobleman and courtier Sir William Cavendish (c. 1505-1557), Treasurer of the King's Chamber, who was found of fraud in 1553 after this audit. Profitability of various revenue courts are assessed, some of which had just recently installed by the king's predecessors, others that would soon to be abolished. A section pertaining to the Crown's monastic possessions, then recently acquired through the confiscation of Catholic churches and monasteries, illustrates the great monetary advantage to the crown and to a select few nobles to whom the lands and profits were granted, by reforming of the Church of England to Protestantism. Private expenditures made for the king include salaries for his physician, apothecary, guards, astronomer, entertainers, a dresser, and the like. Copied in the mid-1700s with the original vellum document in hand, the audit is very detailed and most assuredly contains information previously unknown. The monetary values, and specific calendar dates, remain somewhat cryptic and would be most interesting to decipher as they are written in a form of medieval stylized Roman numerals, of which there were many variants. There are few surviving documents which utilized such numbering systems, and even fewer scholars who possess the skill to unravel the italic lowercase substitutions. The document begins with an introductory certification, naming the parties who effected the survey. With embellished calligraphic capital letters subtly featuring wild deer which were hunted in the region, it states the contents as follows: "The Certificate of Thomas Lord Darcy of Chiche Lord Chamberlain to the Kings Majesty, Thomas [Thirlby] Bishop of Norwich, Sir Richard Cotton Knt. Comptroller of the King's most honorable household, Sir John Gate Knt. Vice-Chamberlain to his Majesty and Captain of his Highnesses guard [Gentlemen Pensioners Royal Guard], Sir Robert Bowes Master of the Rolles, and Walter Mildmay Knt. one of the Kings two Generall Surveyors commissioners appointed by the Kings commission under the Great Seal of England ... for the survey and examination of the state of all his Majesties Court of Revenue, as in the same commission bearing the date Westminster the [..23rd..] day March in the sixth year of the reign of our Sovereign Lord Edward the Sixth by the Grace of God King of England France and Ireland... .... present certificate being divided into two parts, doth in the first contain as well the whole Revenue in certaintys & royaltys answerable to his Majesty in the said courts also the payments allowances and deductions... for one full year ending at the Feast of Saint Micheal the Archangell in the fifth year of his Majesty's reign as by several certificates of the Officers of the same courts of Revenue... And in the second part divers and sundry notes and remembrances made by the said commissioners upon the examination of the state of the courts... ye officers of the same tending to the [...] of the Kings Revenues... his charges now born out of the same and the well assured yearly answering of the said Revenue... as hereafter ensueth." English courtier Thomas Lord Darcy, 1st Baron Darcy of Chiche KG (1506-1558) was officially created Baron Darcy of Chiche on 5 April 1551, to serve as Lord Chamberlain of the Household, and in this role he led a commission to reform the revenue courts. The Revenue Survey described in the present text was already underway at the time of his appointment, Darcy having been involved initially as Vice-Chamberlain of the Household (1550-1551). The results were recorded in March 1552, one year after his appointment, according to the present manuscript. Another notable who participated in the audit was English statesman Sir Walter Mildmay (circa 1523 - 1589), then as one of the two Surveyor Generals of the Court of Augmentation, and an appointed Commissioner to the Revenue Survey. He had previously been assigned by King Henry VIII to the dissolution of the chantries. Mildmay soon proved himself a skillful financier. In 1550 he was directed, together with the Earl of Warwick and Sir William Herbert, to examine the accounts of the King's mints, and in 1551 superintended the establishment of a new mint at York. In December 1551 he was a Commissioner to inspect the Courts which controlled the Crown lands. On 2 January 1552 he was commissioned to levy the King's debts; on 21 November to settle with the Crown accountants the effect of a fall in the value of money; and in December to audit the funds belonging to the king's officers. In 1552 and 1553 he superintended the receipt by the crown of plate, jewels, bells, and the like, surrendered by dissolved monasteries or chantries. For his services he received many grants of land in Gloucestershire, Berkshire, Cornwall, Essex, and London. He also served as Chancellor of the Exchequer of England under Queen Elizabeth I. And if a medieval document is to be valued in part by its connection to treachery or treason, this volume does not disappoint. The King's officer of finance, entrusted with the prestigious appointment "Treasurer of the Chamber," Sir William Cavendish was charged with embezzlement of royal revenues immediately after this audit was complete. The timing of this document is most remarkable in terms of Cavendish's charges of treason in the way of defrauding the king. As previously described, the present survey was made in 1550-1551, and the report completed in December 1552. Some time would have been required for the king's council to review the information, and within only a few months, in 1553, Cavendish was [for a second time] accused of embezzling a significant amount of money. "The Office of the Treasurer of the Kings Chamber, Sir William Cavendish, Knight, Treasurer: Payments in the said Office" is the heading for a long and detailed nine pages of expenses. Innumerable salaries are listed, some of which include the Officers of the Armoury, Officers of ye Jewell House, Dresser of ye King's Chamber, Officers of the Crossbows and Longbows, Keepers of beares and mastives, Players of Interludes, other "Keepers" of this and that, various "Artilicers" which included gardeners and many other labourers, and specifically for young King Edward VI himself - surgeons, footmen, watermen, yeomen, physician, apothecary, an astronomer, gunners serving in the tower of London, yeoman of the henchmen, the king's goldsmith and surveyor of his mints, and so forth. Administrative and other expenses included costs and expenses of messengers, posts, offerings and almes. Cavendish's embezzlement and creative accounting become evident in the vague contexts of certain entries, such as expenses claimed for "reparations," ambiguously described "rewards," "annuities paid to divers persons until ye King come to ye age of xviii years" and other annuities granted to "Strangers." A somewhat personal glimpse of the young king's daily life is also illustrated here, naming several musicians as his entertainers - a trumpet player, harper, bagpiper, violinist. Grooms cared for hounds, presumably for hunting, and one man looked after the "bears and "mastives." Sir William Cavendish (circa 1505 - 1557) was an English nobleman, politician, knight and courtier, appointed Treasurer of the Chamber for Edward VI from 1546 to 1553. Following his successful career as a financial expert holding public office in the Exchequer, which brought him much wealth, in 1530 he became one of Thomas Cromwell's "visitors of the monasteries" when King Henry VIII annexed the property of the Catholic Church, demanding the surrender of their property to the crown, and in that year seized the abbey at Sheen. At the end of the decade, he was further involved in the dissolution of the monasteries, and was accused of accumulating extra riches unfairly during the dissolution. In 1541 he was auditor of the Court of Augmentations, and received grants of land in Hertfordshire formerly belonging to the dissolved monasteries. In 1546 he became Treasurer of the King's Chamber, was knighted, and was sworn of the privy council. Edward VI showed as much affection for Cavendish as Henry VIII, continued him in his office and largely increased his landed property by fresh grants of monastic estates. In 1553 he was removed from his post on account of embezzlement. Although of ill-repute, he was evidently respected for his skills. Cavendish conformed under Mary, and was reappointed by her, as Treasurer of the Royal Chamber. This part of the document further mentions The Lord Marques, being William Parr, 1st Marquess of Northampton, 1st Earl of Essex and 1st Baron Parr, who was convicted of high treason and sentenced to death on 18 August 1553, whose life and title were also spared. He was Edward VI's 'beloved uncle' and one of the most important men at Edward's court, especially during John Dudley, 1st Duke of Northumberland's time as leader of the government. He was created Marquess of Northampton in 1547, and was convicted of high treason and sentenced to death on 18 August 1553 after the accession of Mary I. He was, however, released in the autumn. His titles were restored to him by Elizabeth I in 1559. True to the legacy of the reigns of young Edward VI and his father before him, the volume contains firsthand information on the dissolution of Catholic monasteries, and to whom the confiscated monies were appropriated, by way of the Court of Augmentations - the most important revenue court in Reformation England. Terming the procedure "Reversion of Lands Granted for Terme of Life," over 21 pages, the report identifies monies earned across the Kingdom including Hertfordshire, Cambridgeshire, Essex, Huntingtonshire, London, Kent, Surrey, Gloucestershire, Devon, Cronwall, Warwickshire, Yorkshire, Salop [Shropshire], Westmoreland, Richmond, the Isle of Man, North and South Wales, and yet more. Each location is assigned a "possession" value, which was ascertained by an auditor. A payment is made to the "forfeiter" after the calculation of the auditor's time, rent and stipends in place, decay [loss] of rents from the tenements, and any "reparations to the king." Occasionally there was a "Captain and Keeper" to pay as well. All parties hired by the King's court to complete the transaction were paid "fees and allowances" including a number of surveyors, one auditor and one court receiver per location, and sometimes other court officers and ministers. Numerous individuals are named. A summary further disperses annuities and pensions, fees and allowances to the officers and ministers of the Court of Augmentation, fees to "Divers persons" for keeping [maintaining and/or guarding] the king's retained lands including gardens, forests, etc. Founded in 1535-36 during the reign of Henry VIII, the Court of Augmentations was the most important of a number of financial courts instituted. Its purpose was to administer monastic properties and revenues confiscated by the crown at the dissolution of the monasteries. The court had its own chancellor, treasurer, lawyers, receivers and auditors. Monks were placed in positions elsewhere or granted pensions; debts owed by the monasteries had to be paid; and the monasteries' property itself was assessed and then disposed of by sale or lease. The confiscation of church property that had begun under Henry VIII, resumed under Edward VI - notably with the dissolution of the chantries. Church reform was therefore as much a political as a religious policy under Edward VI. By the end of his reign, the church had been financially ruined, with much of the property of the bishops transferred into lay hands. In this document, the establishment is called "Court of Changmentations & Revenues of the Kings Majestys Crowne." The auditor named is Thomas Mildmay, who was previously the Auditor of the Court of Augmentations for Henry VIII. He is the father of Sir Walter Mildmay, one of King Edward VI's Surveyor Generals and a key participant in the Revenue Survey. Replete with detail, this document outlines and tallies the finances of King Edward VI, ruler of the Kingdom of England and then only 13 years old, for the duration of one year in the fiscal calendar, ending specifically on the Feast of Saint Michael 1551, during the fifth regnal year of Edward VI. [The fifth regnal year was from 28 January 1551 to 27 January 1552]. Dissecting these dates and festivities identifies the financial period surveyed as spanning from 30 September 1550 to 29 September 1551. As well as the aforementioned, presented in the audit of the Court of Exchequer, revenues came from Fee Fermes (feudal farm rent and/or farming revenue tax), Ffines and Americaments, and Customs charged on imported goods. The obsolete term "ulnage" is used, being a fee for inspection or measurement taken at the farms, the measurement unit being ell(s). Customs are charged at ports such as Bridgwater, Ipswich, Newcastle, Sandwich in Kent, Yarmouth and others. Other charges were imposed for homage, "fellons goods seized by the sheriff", "forfeiture upon penal statute", and rent for the castle warden of Dover. Interesting notations from this court include a fee of the Master of the Kings Carriers. Several of the king's personal aids are named, including his armourer, wardrobe keeper, embroiderer, cup bearer, chief server, a carpenter in the Tower of London, the keeper at the palace at Westminster, the keeper of the jewells and robes in the palace of Westminster, the keeper of the writs and rolls in the common place, and many more. There are further audit reports for the Court of Wards and Liveries which was responsible for administering a system of feudal dues as well as wardship and livery issues; for the Duchy of Lancaster which provides a source of independent income to the Sovereign through assets; and the Court of the First Fruits and Tenths which was established in 1540 to collect from clerical benefices certain monies that had previously been sent to Rome. Clergy had to pay a portion of their first year's income (known as annates) and a tenth of their revenue annually thereafter. Originally, the money was paid to the papacy, but Henry VIII's 1534 statute diverted the money to the English Crown as part of his campaign to pressure the Pope into granting him an annulment of his marriage with Catherine of Aragon. In 1554, only two years after this audit was presented to the king, the latter Court was dissolved, and responsibility for administration of these revenues passed to the Office of First Fruits and Tenths, a department of the Exchequer. Other sources of royal revenue are numerous in the volume, for example, sales of wood, profit from coal mines, patent seals, customs and butlerage charged on wine. Expenses include a veritable plethora of staff, and everything from the king's clothing to shipwrecks. An interesting succinct list headed "Yearly Charges to be Considered" which have no value assigned , include the Admiralty, the Ordnance, the King's purse, New Year's gifts, charges of Ireland, charges from the Revenue Courts, and the King's Great Wardrobe. None too surprising, a 3-page balance sheet of sorts concludes with the statement, "And so the payments exceed the receipts this year, which is supplied from the Kings Majestys coffers of England [the Treasury]..." Finally, the volume concludes with 22 pages summarizing the role of each of the aforementioned courts, a section headed "Remembrance of things touching the Kings customs," a list of proposed fees for the work performed in making this survey, and a tally of "yearly allowances increased without the King's special license" reported at the Court of First Fruits and Tenths. Six names listed at the end as signors of the original document include Thomas Lord Darcy, Richard Sutton, Walter Mildmay, John Gatte, Thomas Bowring, and Robert Bowes. Miscellaneous notes on the medieval English fiscal system: The primitive financial institutions of early England centered around the king's household. In other words, royal revenue preceded the national economy in importance. Revenue dues collected by the king's agents, rents, or rather returns of produce from land, and special levies for emergencies formed the main elements of the royal income which gradually acquired greater regularity and consistency. There was little financial organisation until the 11th century, when the influence exercised from Normandy, which so powerfully affected the English rulers at this time, tended towards the creation of records of revenue claims as well as a central treasury. The "Dialogue of the Exchequer" (circa 1176) presented a comprehensive system which secured the receipt of royal income by providing a thorough audit of accounts - as is recorded in the present document. Through the descriptions of these financial institutions, it is possible to ascertain the forms of revenue held by the crown. Thus, the ingenuity expended on the Exchequer's administrative machinery had as its aim the increase of the king's resources, a subject in which all politically involved churchmen and lawyers were deeply involved. The records of the Exchequer were kept in the Pell Office, adjacent to Westminster Hall, until the 19th century. The office was named after the skins (then "pells" or pelts) from which the rolls were made. Here, the receipts and payments were entered upon two rolls of parchment, the one called the "introitta" which was the record of monies received, and the other the "exitus" or the record of monies issued. In 1552, under Edward VI, the "Declarations of the State of the Treasury" were deemed unreliable and were replaced by declarations made by the Clerk of the Pells - this after fraudster Treasurer William Cavendish "earned" exorbitant income while the king himself incurred a deficit. A statement of all moneys issued was subsequently entered by the 'Clerk of the Pells' on the issue roll. The foremost Clerks of the Pell are, John Uvedale from 1516-1549, unknown during the period of this survey 1549-1555, Edmund Cockerel from 1555-1560, etc.

      [Bookseller: Voyager Press Rare Books & Manuscripts]
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        PROCESSIONARIUS secundum ordinem Cisterciensem noviter impressus: correctus auctus et emendatus. Cum multis aliis additionibus nusque impressis.

      Caesar Augustae (Zaragoza), (à la fin:) Bartholomei a Nagera, 1550. - Petit in-8. 222ff. non chiffrés. Plein maroquin brun doublé, dos à nerfs orné, double filet doré sur les plats, doublure de maroquin havane guilloché à froid et encadré de filets et d'une guirlande dorée (reliure espagnole postérieure, vers 1950?). Précieuse édition de ce recueil des chants liturgiques qui étaient vocalisés pendant les processions des cisterciens espagnols. Elle fut imprimée à Saragosse avec la musique notée et peut être considérée comme la première édition complète du processionnal cistercien, car elle ne fut précédée que par un petit livret de 64 pages imprimé dans la même ville en 1516. Les processionnals sont des livres liturgiques contenant les paroles et la musique des chants qui accompagnaient les processions religieuses: essentiellement des répons, des antiennes et des hymnes. Il s'agit habituellement d'ouvrages manuscrits mais c'est principalement en Espagne, pays fortement attaché à la tradition des processions, que se développa au 16e siècle une activité éditoriale autour des processionnals. Le présent volume est rarissime. Nous n'avons pu en localiser que deux exemplaires complets (British Library et Washington University Pullman Library). En Espagne, les collections patrimoniales n'en répertorient que 4 exemplaires seulement, tous incomplets. Ordiozola, notamment, n'en connaissait aucun exemplaire complet. Belle impression gothique aux encres rouge et noire, avec la musique notée à chaque page. La gravure au verso du titre est légèrement épidermée avec d'infimes manques. Très bon exemplaire, malgré des marges un peu courtes par endroits. Palau, 238140. Odriozola, Catálogo de libros litúrgicos, españoles y portugueses impresos en los siglos XV y XVI (1996), 649 (ne connaissait aucun exemplaire complet). Sanchez, Bibliografía Aragonesa del siglo XVI, n°298 (décrivant un exemplaire incomplet du titre). [Attributes: Hard Cover]

      [Bookseller: Librería Comellas]
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        De bello pelopon-nensium libri octo

      J. Gennepaus, Koln 1550 - In folio, (4), 271 pp, rilegatura in mezzo vitello secolo XIX con marca al dorso, ristampa dell’edizione di Colonia edita da C.Heresbach(1476-1576) e stampata da E.Cervicornus nel 1527, traduzione in latino di Laurentius Valla (1452) apparsa per la prima volta nel 1483, minime bruniture, copia ben preservata 1 volume in folio, (4), 271 pp, half calf-leather binding of mid-nineteenth century with a mark on the back, reprint of the edition of Cologne edited by C. Heresbach (1476-1576) and printed by E. Cervicornus in 1527, Latin translation by Laurentius Valla (1452) first availability in 1483, minimal browning, very good copy. [Attributes: Hard Cover]

      [Bookseller: Redaelli Alberto]
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        La Natività

      1550. Acquaforte su ferro, monogrammata in lastra in alto al centro. Esemplare nel secondo stato di tre con il numero 12 aggiunto in alto a sinistra. Magnifica prova, particolarmente nitida e contrastata, impressa su carta vergata priva di filigrana, rifilata al rame o con sottilissimi margini, in ottimo stato di conservazione. Questo lavoro deriva dall'analogo capolavoro inciso al bulino dal Durer, rispetto al quale è in controparte. Timbro di collezione al verso non identificato. Etching on iron, monogrammed on plate at top centre. Example in the second state of three with the number 12 added at upper left. Magnificent proof, with good contrast and sharp details, on laid paper, no watermark, trimmed at the platemark or with very narrow margins, in very good conditions. This print derives from Durer's engraving bearing the same name, of which this work is a mirror-image. Unknown collector' stamp on verso. Bartsch, Hollstein 1, II/III. Dimensioni in mm. 158 X 223

      [Bookseller: Libreria Antiquarius]
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        Ercole e Nesso

      1550 - Bulino, 1550, datato e monogrammato il lastra, in basso a sinistra. Della serie "Le fatiche di Ercole". Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata alla linea marginale, in ottimo stato di conservazione. Nel margine inferiore iscrizione latina su due righe: Viribus evulsas manu tellure columnas. Nominis aeterni Chon monumeta ponit. La serie è basata sulle anonime silografie veneziane dell'inizio del '500, ispirate dai versi di Boccaccio, già fonte per Albrecht Durer e Giovanni Andrea Vavassore. Al verso, timbro di collezione d’Arenberg (Lugt 567). Engraving, 1550, dated and signed with monogram on a tablet lower left. In lower margin two lines Latin text: Viribus evulsas manu tellure columnas. Nominis aeterni Chon monumeta ponit Very good work printed on contemporary laid paper, trimmed on the marginal line, in excellent condition. The prototypes for the iconography of this series were taken from a series of anonymus Venetian woodcuts which Boccaccio's text asa a source. Collection's mark of Duke d’Arenberg on verso (Lugt 567). The New Hollstein, p. 93 n. 93 Dimensioni 70 107mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Il Petrarcha con l'espositione d'Alessandro Vellutello di novo ristampato con piu cose utili in varij luoghi aggiunte.In Venetia, al Segno della Speranza, 1550.

      In Venetia, al Segno della Speranza 1550 - Cm. 15, cc. (8) 316 (3). Carta bianca finale assente, alcuni errori nella numerazione delle pagine. Bel marchio tip. al frontespizio e alcuni graziosi capilettera xil. Testo inquadrato dal commento. Graziosa legatura sei-settecentesca in piena pergamena rigida con piccoli nervi passanti; fregi in oro al dorso e duplice filetto dorato ai piatti. Trascurabili segni del tempo alla legatura, lievi aloni (più marcati nelle ultime pagine), sporadiche fioriture, peraltro nel complesso esemplare ben conservato. Stimata edizione dell'opera di Petrarca con l'importante commento del lucchese Vellutello che commentò anche Dante, Servio e Virgilio. Il volume include canzoni, sonetti e trionfi. Cfr. Iccu; Gamba, 714; Fiske, 478. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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        Tutte le opere. divise in v. parti. et di nuovo con somma accuratezza ristampate. al santissimo e beatissimo padre signore nostro Clemente VII pont. mass.S.n.l., , 1550 (ma 1628-1632).

      S.n.l., 1550 (ma 1628-1632) - Cinque parti (ciascuna delle quali con autonomo frontespizio) in un volume di cm. 21, pp. (4) 8, 351 (1); (4) 116; 14 (2) 304; 168; 170 + 1 c.b. Bella legatura posteriore (inizi Ottocento) in mezza pelle; dorso a 5 nervi con titoli su tassello e ricchi fregi in oro al dorso. Tagli marmorizzati. Qualche trascurabile mancanza al dorso e cerniere rinforzate, sporadiche e minime fioriture, lieve alone limitato alla parte bassa delle ultime carte, peraltro esemplare ben conservato e di non comune freschezza (spesso infatti queste edizioni sono caratterizzate da carte molto brunite). Seconda tiratura (databile 1628-1632 ca.) della famosa "edizione della Testina", così nominata per il ritratto dell'A. inciso in legno che compare nei frontespizi. Della presente edizione si conoscono cinque tirature differenti per formato, carattere tipografico ed impaginazione. Le opere machiavelliane presenti sono: Le Historie Fiorentine; Il Principe; Discorsi sopra la prima deca di Tito Livio; Arte della guerre; Asino d'oro, Mandragola e Clizia. Cfr. Gamba, 623 (tiratura nr. 2); Brunet, III, 1274; Bertelli-Innocenti, 204; Iccu. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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        Giove e Proserpina

      1550 - Bulino, circa 1550, privo di firma. Della serie "Gli amori di Giove", da soggetti di Michile Coxie. Magnifica prova, impresse su carta vergata coeva con filigrana "mano con fiore e scritta Pinette" (Briquet 11314, Troyes metà del XVI secolo), rifilata al rame, in ottimo stato di conservazione. L'opera è parte di una serie di dieci incisioni tratta dai disegni di Michiel Coxie, attribuita per motivi stilistici a Corneli Bos. La serie completa, estremamente rara, si trova a Parigi, al British Museum di Londra ed al Rijks Museum di Amsterdam. Opera di grande rarità. Jupiter, in the form of a speckled serpent, making love to Proserpina. Engraving, 1550 circa, without signature. From the set called "The Loves of Jupiter", aftre Michiel Coxie. A fine impression, printed on contemporary laid paper with "hand with flower and the inscriptio Pinette" (Briquet 11314, Tryes half of XVI century), trimmed to the platemark, very good condition. This engraving is a part of set made aftre drawings by Michiel Coxie, today at the British Museum. They are ascribed to Cornelis Bos. A very rare work. Schéle, Cornelis Bos, doubtful attributions, 254-234. Dimensioni 135 175mm

      [Bookseller: Libreria Antiquarius]
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        [First five lines in Greek transliterated as] Anthologia diaphoron epigrammaton, archaiois suntetheimenon sophois, epi diaphorois hypothesesin, eis hepta tmemata dieremene. [then in Latin] Florilegium diversorum epigrammatum in septem libros distinctum, diligenti castigatione emendatum. Cui nonnulla nuper inventa in fine adiecta sunt, una cum indice tam rerum, guam auctorum copiosissimo.

      Apud Aldi filios. Third Aldine edition of the Greek anthology originally compiled by Maximus Planudes (ca. 1260 - ca. 1305) and edited by Andreas Joannes Lascaris (1445-1534). Hutton believes that this edition and that published by Nicolini in 1550 are virtually identical. He also notes that the ten leaves immediately after fol. 288 (and before the blank leaf preceding the final leaf with the printer's device) are printed in => Paolo Aldus's new Greek type, which is larger than the type of the main text. "The Greek anthology," as it is commonly known among Hellenists, contains poems, mostly in form of epigrams, spanning the Classical and Byzantine eras of Greek literature. It had its origins in the collection of epigrams that Constantine Cephalas compiled around 900, which in turn used compilations made by Meleager of Gadara (first century B.C.), Philip of Thessalonica (ca. A.D. 50), and Agathias of Myrina (A.D. 567/568). Those three sources are now lost. Next in the chain is the Palatine Anthology, the work of an unknown scholar, which expanded the number of epigrams to about 3700. Offered here is the "Plaundian" anthology that Byzantine monk Maximus Planudes produced ca. 1301: It is a reduced version of the Palatine Anthology, but does add some epigrams not included by the Palatine version. The Planudean Anthology was => the Greek anthology of the Renaissance and it exerted a huge influence. While the title-page gives the publication date as 1550, the colophon is dated 1551. Binding: Brown pigskin, top and bottom of round spine with a gilt hash design repeated on raised bands; compartments defined by gilt double-fillets and with a gilt center device of a flower. Covers framed with triple gilt fillets, each corner with a small blossom; board edges with gilt triangle-and-dot roll; turn-ins tooled in gilt using two different rolls separated by a single gilt fillet. Marbled endpapers of a French combed pattern and all edges gilt. A 19th-century hand has written in pencil on the verso of the front free endpaper: "Pigskin by Desseuil." Provenance: The Rev. H. Drury's copy: "Coll. per H. Drury Harroviae" at the top of front fly-leaf (and with five lines of his neat, small hand-written notes below that); his books were sold in 1841. English bookseller's catalogue entry pasted to verso of front free endpaper. 20th-century collation note by Quaritch on recto of rear free endpaper. Most recently in the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        La Vie de la Vierge

      1550 - Suite de 16 planches sur 17 gravées au burin en beau tirage ancien. In-4 en plein vélin à l’imitation des vélins estampés du XVIe siècle. La Vie de la Vierge a été gravée par Raimondi d’après les bois d’Albrecht Dürer (Bartsch, 621 à 637). Cette remarquable suite de 16 planches (sur 17, il manque la planche 8 représentant la Visitation) gravées au burin (environ 210 x 290 mm) en très beau tirage ancien a été montée dans un recueil in-4 en plein vélin à l’imitation des vélins estampés du XVIe siècle. Elles sont monogrammées et numérotées, légères rousseurs sur certaines d'entre elles, elles sont rognées au trait carré et montées sur un feuillet réglé à l'encre brune, chacun monté sur onglets. [Attributes: Hard Cover]

      [Bookseller: L'Oeil de Mercure]
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        La Natività

      1550 - Acquaforte su ferro, monogrammata in lastra in alto al centro. Esemplare nel secondo stato di tre con il numero 12 aggiunto in alto a sinistra. Magnifica prova, particolarmente nitida e contrastata, impressa su carta vergata priva di filigrana, rifilata al rame o con sottilissimi margini, in ottimo stato di conservazione. Questo lavoro deriva dall’analogo capolavoro inciso al bulino dal Durer, rispetto al quale è in controparte. Timbro di collezione al verso non identificato. Etching on iron, monogrammed on plate at top centre. Example in the second state of three with the number 12 added at upper left. Magnificent proof, with good contrast and sharp details, on laid paper, no watermark, trimmed at the platemark or with very narrow margins, in very good conditions. This print derives from Durer's engraving bearing the same name, of which this work is a mirror-image. Unknown collector' stamp on verso. Bartsch, Hollstein 1, II/III. Dimensioni 158 223mm [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        The moving of St Peter's obelisk

      One from a series of prints illustrating the moving of St Peter's obelisk carried out by the architect Domenico Fontana, showing the cross-section of the lifting machines. Lettered throughout the print, in key at bottom left 'Pianta de sito della piazza falta per alzaare ...' beneath 'Romae apud Bartholomaeu Grassium cum privilegio' bottom right 'Natalis Bonifacius Sibenicensis Fecit'. This plate might be a later state as long as a number has been added on the bottom right within the decorative frame in Roman letters: 'LII' Etching on laid paper with margins; plate mark: 499 x 366 mm; total: 568 x 438 mm; second state; tears long the margins, especially the top and the left; top and bottom right corners reinforced with paper, same for the fold in the middle; some soil along the margins; series discussed by Michael Bury, 'The Print in Italy 1550-1620', (London: The British Museum, 2001), no. 64.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        I SETTE LIBRI DELL'ARTE DELLA GUERRA, di NICOLO MACHIAVELLI cittadino et secretario fiorentino.

      1550, small 4to, approximately 210 x 145 mm, 8¼ x 5¾ inches, vignette portrait of the author on title page, at the rear are 7 double page plans of battles and encampments, Italian text, pages: 1-185 plus [18] Figura unnumbered, collation: a-aa4, bb6, bound in modern quarter blue morocco over marbled sides, raised bands, gilt motif in compartments and gilt lettering to spine, marbled endpapers and silk marker. Corners very slightly worn, a few pages lightly age-browned, an occasional small pale damp stain to margins. Binding tight and firm. A very good copy. The present work is Part IV of an edition of Machiavelli's writings entitled "Tutte le opere di Nicolo Machiauelli cittadino et secretario fiorentino, divise in 5. parti, et di nuouo con somma accuratezza ristampate", all the volumes of which are dated 1550 on the title page with no place or printer (see Adams M9). Although Adams accepts the date of 1550, others believe that this edition was printed circa 1620 and possibly in Geneva (see Copac, copy held by Warwick University with identical collation). The Art of War (1521), one of only a few works of Machiavelli to be published during his lifetime, is a dialogue set in the Orti Oricellari, a garden in Florence where humanists gathered to discuss philosophy and politics. The principal speaker is Fabrizio Colonna, a professional condottiere and Machiavelli's authority on the art of war. The basis for the book is the creation of a modern army. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        Register van resolutien, ordonnantien en sententien. [Middelburg, ca. 1762]. Manuscript.

      8°, gebonden in zeer fraaie geheel leren band met goudopdruk (van de Middelburgse binderij, door Storm van Leeuwen de Okkerman-binderij genoemd), rugversiering met 5 stempels van vogel op tak. Ca. 120 pag. C3221."Het register is alfabetisch gerangschikt op trefwoorden en geeft korte inhoudsopgaven van een aantal curieuze-scabreuze zaken uit Middelburgse registers van sententien e.d.: oud gulde register (15e eeuw); 2e ruijg register (ca. 1550), 3e ruijg register (begin 17e eeuw); 2e register ter vierschaar (midden 17e eeuw); register ten rade (17e eeuw); state notulen (17e eeuw); register civiel; secrete notulen, etc. Enkele voorbeelden van inschrijvingen:$Kaake: Janna de Bruyne met een koestaart om den hals aan de kaake gezet den 14 nov. 1689, vide regist. ter vierschaar.$Kerkdief: Leenard Lambregtsen wierd gesteld op de knape daar sijn regter oor wierd afgehouden ... omdat hij uyt een kerk gestoolen had ...$Kind verdoen: Francina Jacobs had haar kind verdaan, wierd eerst gewurgt dan verbrand, buyten de Dampoort aan een staak gezet ter exempel ...$Klooster uytloopen: B. Mautelion, 50 jaar gebannen omdat uyt het Franciscaner klooster was geloopen om gereformeerd te worden, den 9 mey 1596, vide 3e ruijg register$Sodomie: Bastiaan van Mierink levendig tot pulver verbrand met confiscatie van goed omdat hij met een koeije had te doen gehad. Alvorens moest de koeije in sijn bijwesen gedood werden en dan te gelijk met hem verbrand worden, den 4 maart 1604, 3e ruijg register$Schipafloopen: G. Hermansen onthoofd om dat hij op een Oostindies schip muiterij had gepleegt, dat veroverd en op vrijbuijt mee was gaan varen, den 12 mey 1616, vide 3e ruijg register."

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        (Medicina ‚Äì Ediz. ‚Äò500) FERNEL JEAN. JOANNIS FERNELII AMBIANI DE ABDITIS RERUS CAUSIS LIBRI DUO. Venezia, Andrea Arrivabene, 1550.

      (Medicina Edizione ò500) FERNELJEAN. JOANNIS FERNELII AMBIANI DEABDITIS RERUS CAUSIS LIBRI DUO. Venezia, Andrea Arrivabene,1550. In 16 (cm 15,2x10), pergamena molle coeva (restaurata in modoprofessionale, laccetti sostituiti). Pagine 40 non numerate + pagine 310 numerate.Due carte bianche allinizio (sulla prima antiche scritte di possesso), unacarta bianca alla fine. Marca di Arrivabene sul frontespizio. Buonaconservazione dellinterno eccetto tre macchiette dinchiostro al taglio dellepagine inferiori. Seconda edizione. Esemplare collazionato e completo. Lautore fucelebre medico con importanti contributi in medicina; ha introdotto nel lessicomedico i termini di fisiologia e patologia per descrivere lo studio delfunzionamento del corpo e delle sue malattie e fu il primo a descrivere ilcanale vertebrale. (Rif.D1416-454/65)

      [Bookseller: La Casa del Collezionista]
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        Gli otto libri di Thucydide Atheniese, delle guerre fatte tra popoli della Morea, et gli Atheniesi, nuovamente dal greco idioma, nella lingua thoscana, con ogni diligenza tradotto, per Francesco di Soldo Strozzi fiorentino. L'annotatione, & dichiaratione di tutti i luoghi difficili, con la tavola copiosissima di tutte le guerre, le paci, gli accordi, ... posti tutti per ordine dell'alphabeto

      (al segno del Laocoonte), 1550. in 8°, 16 cm, rilegatura di inizio 800 in mezza pelle, titolo e decorazioni floreali in oro al dorso, piatti marmorizzati, tagli colorati. c. (12), 440. Marca tipografica incisa al frontespizio e in fine a piena pagina: Laoconte con serpente, alcune belle iniziali animate. Qualche brunitura, rari e antichi appunti a penna, leggerissimi segni di tarlo alle prime 3 carte. Nell'assieme bell'esemplare

      [Bookseller: Studio Bibliografico Orfeo (ALAI-ILAB)]
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        Novum Iesu Christi D.N. Testamentum.; Edited by Robert Estienne (1503-1559)

      Paris: Robert Estienne, 1550. Two parts in one volume, folio (340 x 226 mm). Greek type: all three sizes of Claude Garamond's grecs du roi. Estienne's woodcut basilisk device on title (Schreiber B1) and olive tree device on final leaf (Schreiber 10), Eusebian canons within woodcut frames decorated with cherubs and architectural ornaments, woodcut foliate and grotesque Greek initials in two sizes, matching head-pieces, ruled in red. Contemporary French gold-tooled calf, double gilt-fillet borders on sides with corner ornaments and a central medallion, flat spine with leafy-sprays, edges gilt; cloth slipcase. Rebacked preserving original spine, front hinge cracked; stain on title from removal of early inscription on verso, ink stain on o5, some occasional pale spotting. Provenance: Bishop Atterbury (note by William Crawford noting purchase at Atterbury's sale in 1822); William Horatio Crawford of Lakelands (bookplate, inscription); John Gennadius (his sale Sotheby, Wilkinson & Hodge, 28 March 1895, lot 2815); purchased from John Fleming, 1965. The third and most important Estienne edition of the Greek New Testament and the first edition to contain a critical apparatus. Known as the "Editio Regia" for its elegant use of Greek type, this edition includes Estienne's marginal insertions of variant readings from 15 Greek manuscripts, as well as the Complutensian Polyglot. Although he omitted many further variants, his third edition shows the first steps towards modern textual criticism and remained the normative text of the Greek New Testament until the Oxford University Press edition of 1880. This work is most directly responsible for Robert Estienne's departure for Geneva, "following his final clash with the theologians of the Sorbonne, who saw in Estienne's marginal variant readings an instance of the most brazen heresy" (Schreiber). The "Editio Regia" is of great typographical importance, marking the first use of all three founts of grecs du roi in a single volume and the very first use of the largest size. Adams B-1661; Darlow & Moule 4622; Harvard/Mortimer French 78; Renouard Estiennes, p. 75, no.1; Scholderer Greek Printing Types, p. 10; Schreiber Estiennes 105. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
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        Gli otto libri di Thucydide Atheniese, delle guerre fatte tra popoli della Morea, et gli Atheniesi, nuovamente dal greco idioma, nella lingua thoscana, con ogni diligenza tradotto, per Francesco di Soldo Strozzi fiorentino. L'annotatione, & dichiaratione di tutti i luoghi difficili, con la tavola copiosissima di tutte le guerre, le paci, gli accordi, . posti tutti per ordine dell'alphabeto

      (al segno del Laocoonte), In Vinetia 1550 - in 8°, 16 cm, rilegatura di inizio 800 in mezza pelle, titolo e decorazioni floreali in oro al dorso, piatti marmorizzati, tagli colorati. c. (12), 440. Marca tipografica incisa al frontespizio e in fine a piena pagina: Laoconte con serpente, alcune belle iniziali animate. Qualche brunitura, rari e antichi appunti a penna, leggerissimi segni di tarlo alle prime 3 carte. Nell'assieme bell'esemplare [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Orfeo (ALAI - ILAB)]
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        Novum Iesu Christi D.N. Testamentum.; Edited by Robert Estienne (1503-1559)

      Paris: Robert Estienne, 1550. From the Collection of Arthur & Charlotte Vershbow. Two parts in one volume, folio (340 x 226 mm). Greek type: all three sizes of Claude Garamond's grecs du roi. Estienne's woodcut basilisk device on title (Schreiber B1) and olive tree device on final leaf (Schreiber 10), Eusebian canons within woodcut frames decorated with cherubs and architectural ornaments, woodcut foliate and grotesque Greek initials in two sizes, matching head-pieces, ruled in red. Contemporary French gold-tooled calf, double gilt-fillet borders on sides with corner ornaments and a central medallion, flat spine with leafy-sprays, edges gilt; cloth slipcase. Rebacked preserving original spine, front hinge cracked; stain on title from removal of early inscription on verso, ink stain on o5, some occasional pale spotting. Provenance: Bishop Atterbury (note by William Crawford noting purchase at Atterbury's sale in 1822); William Horatio Crawford of Lakelands (bookplate, inscription); John Gennadius (his sale Sotheby, Wilkinson & Hodge, 28 March 1895, lot 2815); purchased from John Fleming, 1965. The third and most important Estienne edition of the Greek New Testament and the first edition to contain a critical apparatus. Known as the "Editio Regia" for its elegant use of Greek type, this edition includes Estienne's marginal insertions of variant readings from 15 Greek manuscripts, as well as the Complutensian Polyglot. Although he omitted many further variants, his third edition shows the first steps towards modern textual criticism and remained the normative text of the Greek New Testament until the Oxford University Press edition of 1880. This work is most directly responsible for Robert Estienne's departure for Geneva, "following his final clash with the theologians of the Sorbonne, who saw in Estienne's marginal variant readings an instance of the most brazen heresy" (Schreiber). The "Editio Regia" is of great typographical importance, marking the first use of all three founts of grecs du roi in a single volume and the very first use of the largest size. Adams B-1661; Darlow & Moule 4622; Harvard/Mortimer French 78; Renouard Estiennes, p. 75, no.1; Scholderer Greek Printing Types, p. 10; Schreiber Estiennes 105.

      [Bookseller: Riverrun Books & Manuscripts]
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        Ein Hauptstatt der Pfaltz am Rhein.

      - Holzschnitt v. Sebastian Münster aus "Cosmographia", um 1550, 25,4 x 72,4 cm. Der loblichen und weitbekanten Statt Heidelberg am Wasser Neccar gelegen. Von 2 Platten, mit Plattenrand in der Mitte, z.T. unterlegt und angerändert. Gut restauriert. JPEG-Bilder auf Anfrage möglich. Heidelberg.: A palatinate capital on the Rhine. Wood cut by Sebastian Muenster, from "Cosmographia", ca. 1550, 25,4 x 72,4 cm. JPEG pictures upon request. Der loblichen und weitbekanten Statt Heidelberg am Wasser Neccar gelegen. [The laudable and well-known town of Heidelberg near the Neckar waterside] From 2 plates, with plate margin in the middle, partially mounted and rimmed. Well restored.

      [Bookseller: Gertraud Bracker]
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        ILLUMINATED MANUSCRIPT ON VELLUM

      [west-central France, late-15th century and southern France circa 1550]. 175 x 110 mm. 194 leaves, COMPLETE, 18th-century ink pagination 1-386 followed here, 18 lines in various bookhands in black ink between 19 horizontals and two verticals ruled in pink, text justification: 80 x 50mm, rubrics in red, one-line initials alternately gold with black flourishing or blue with red, two- to four-line illuminated initials throughout, TWENTY-TWO LARGE MINIATURES and FORTY-FOUR PAGES WITH A LARGE BAS-DE-PAGE MINIATURE, all miniatures surrounded or within FULL-PAGE BORDERS OFTEN INCORPORATING FURTHER MARGINAL SCENES, the borders with fruit, flowers, birds and acanthus, some on grounds of liquid gold. 18th-century red morocco, gilt and gauffered edges; red morocco box. Some rubbing and repair to the binding; box worn and split. Slight thumbing of margin and lower corner of border of p.1, small losses from borders with gold grounds, more severe on p.96, occasional inconsequential marginal spotting or staining. This remarkable manuscript was purchased, completed and illuminated by Denis Faucher (1487-1562), and is made up of two distinct components: the first part, pages 1-318, is a Book of Hours written in the 15th century, while pages 320-386 were added around the middle of the 16th century. With, possibly, a few minor exceptions the entire manuscript was illuminated at the later date. The presence of Sts. Leodegar and Radegund in the Litany may indicate that the 15th-century unilluminated manuscript was intended for Poitiers (Vienne). Illumination: The historian Vincentius Barrali drew attention to Faucher's artistic skill and wrote, "among the foremost works of art of the aforementioned Denis is a book of hours written and delicately adorned with wondrous paintings by Denis' own hand." He goes on to quote the note dated 9 April 1554 of the present manuscript. It is quite evident that the principal part of the manuscript was written in the 15th-century and acquired by Faucher in an unillustrated and undecorated state. He set about correcting this, providing a cycle of illustrations and decoration of a wealth and variety unplanned by the original scribe. The eight arch-topped miniatures were all that were catered for in the layout, all the other miniatures and accompanying full-page borders fill the margins of this early section. The artist includes Benedictines among the protagonists of several miniatures but, not content with this, he wrote additional leaves with devotions of particular relevance to himself, his Abbey and his Order and furnished these with large and marginal miniatures and borders. The texts he added include the Suffrage to St Honoratus, founder of Lérins which he illustrated with both a large miniature of the enthroned saint and, in the border below, a view of the island and monastery of Lérins (p. 373). The richness and variety of the miniatures are matched by the borders: some echo 15th-century French illumination and combine naturalistic flowers with scrolling sprays of colored acanthus, others are thoroughly renaissance and Italianate with vases, candelabra and balusters, the richest are on gold grounds and most include birds, beasts and insects. Virtually all of them contain miniatures in the lower border and some have lateral scenes as well. On Calendar pages they usually include both the relevant zodiac sign at the top of the page while the occupation of the month, shown in contemporary and secular terms, is shown in the bas-de-page. Subjects of the large (mostly) arch-topped miniatures comprise: p. 96 Tree of Jesse; p. 97 Annunciation; p. 197 Crucifixion; p. 204 Pentecost and Moses in prayer; p. 210 Trinity; p. 216 St Martin; p. 225 David in prayer and David and Goliath; p. 265 Job on his dungheap. The remaining miniatures and borders are found on the following pages: 1, 3, 5, 7, 9, 11, 13, 15, 17, 19, 21, 23, 25, 27, 29, 31, 61, 72, 77, 82, 90, 127, 146, 152, 158, 163, 168, 177, 197, 225, 321, 345, 350, 351, 355, 356, 359, 360, 364, 367, 373, 374, 376, 377 and 380. Provenance: Denis Faucher (1487-1562) Benedictine monk, author, and poet of Lérins: his note on p. 386 recording his gift of the manuscript to his brother Jean Faucher on 9 April 1554, on condition that it remain in their family. A note on the following leaf records the continuous possession of the manuscript by the family until the 1731 marriage of its final surviving member, Marie Xavier Faucher, to Jacques de Viguier, marquis of Caseneuve, seigneur of Montroux and Peloux, and that the de Viguier family undertook to maintain the condition imposed by Faucher and to keep it in their family as a perpetual symbol of the joining of the two families. A note on the front flyleaf reveals that Marie Xavier survived her husband and left the Hours to Maria de Latour, who in 1802 gave the book to the priest Petro Gay; P. Desq of Lyon: his bookplate inside upper cover and no 39 in his sale, L. Potier, Paris 25 April 186; Ambroise Firmin Didot: his bookplate inside upper cover and no 25 in his sale Paris, June, 1884; purchased from the Boston Book Company, 1992. Denis Faucher's writings - including Latin verses, sermons and spiritual treatises - were collected and published in 1613 by Vincentius Barrali in his Chronologia Sanctorum et aliorum virorum illustrium ac abbatum sacrae insulae Lerinensis, part II, p.212 et seq. Barrali discusses the present manuscript and records its ownership by Jean Faucher's great-grandson François (pp. 223-24). Denis Faucher's life and literary output were also studied by Mariano Armellini in his Bibliotheca Benedictino Casinensis sive scriptorum Casinensis congregationis, 1731 (the present manuscript is described on p. 150). M. Mouan in his Études sur Denis Faucher, moine de Lérins (1847), also references the Book of Hours, transcribes the later note concerning the marriage of Marie Xavier Faucher into the de Viguier family, and identifies the manuscript's current owner as the abbé Mercier, curé of the parish of Tholonet. Content: Calendar pp. 1-24; Gospel Extracts pp.25-33; Obsecro te pp. 33-39; O Intemerata pp. 39-46; Prayer to be said before Mass, Summe sacerdos et vere pontifex pp.49-61; Mass of the Virgin pp. 61-72; Mass of the Cross pp. 72-76; Mass of the Holy Spirit pp. 77-81; Mass of the Trinity pp. 82-89; Mass of St. Martin pp. 90-95; Office of the Virgin, use of Rome pp. 96-190: matins p.96, lauds p. 127, prime p.146, terce p.152, sext p. 138, none p. 163, vespers p. 168, compline p. 177; Hours of the Cross pp. 197-203; Hours of the Holy Spirit pp. 204-209; Hours of the Trinity pp. 210-215; Hours of St. Martin pp. 216-224; Seven Penitential Psalms and Litany pp. 225-264; Office of the Dead pp. 265-318; blanks pp. 319-320; Psalm 118, Beati immaculati in via pp. 321-344; Passion of Christ according to John pp. 345-366; Seven Joys of the Virgin pp. 367-372; Suffrage to St. Honoratus pp. 372-373; St. Benedict pp. 374-376; St. Scholastica pp. 376; All Saints pp. 377-378; Prayers to be said before sleeping, before and after Communion, impetrandam pluviam and impetrandam serenitatem pp. 379-386.

      [Bookseller: Riverrun Books & Manuscripts]
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        Photographic panorama of Sydney Harbour from North Sydney, circa 1880

      Sequence of five albumen print photographs laid down on contemporary board and within a late nineteenth century timber frame, total dimensions of the panorama 250 x 1550 mm (individual panels 250 x 310 mm), some small marks in the negative a short repaired tear near the left hand edge of the fourth panel (probably from original mounting process), the fifth panel and right side of the fourth panel somewhat faded, inevitable slight uneveness in the tones of the panels due to the fact that they were printed separately, contemporary calligraphic caption beneath image, overall in very good condition. The photographs making up this impressive, large scale panorama of Sydney Harbour were evidently taken very close to Bernard Holtermann's tower overlooking Lavender Bay, the vantage point from which Holtermann and Charles Bayliss photographed the most celebrated of photographic panoramas of Sydney in 1875. The present panorama does not have quite the same elevation as the Holtermann panorama, but the perspective is extremely similar. The first panel shows Lavender Bay, with St Leonard's School at far left; the second panel shows McMahon's Point in the foreground and looks over to Dawes Point in the distance; the third panel overlooks Blues Point, with Darling Harbour across the water; and Goat Island straddles the join between the third and fourth panels. Francis Whitfield Robinson commenced his career as a photographer in Melbourne around 1860, and a series of his photographic views of Melbourne taken from the Post Office tower was exhibited both at the 1866 Melbourne Intercolonial Exhibition and in the Victorian court at the 1867 Paris Universal Exhibition. He worked principally as a landscape photographer in Sydney from 1867 until 1882, and was noted for his views of Sydney and the harbour. A panorama of Sydney Harbour from North Sydney attributed to Robinson and dating to 1876 is held in the collection of the State Library of New South Wales (XV / 62). The present panorama appears to have been taken in a spot adjacent to the SLNSW panorama, but on the farther side of Blues Point Road and slightly closer to Lavender Bay. A rare and majestic photographic panorama of Sydney.

      [Bookseller: Douglas Stewart Fine Books]
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        Argonauticorum libri quatuor, nunc primum latinitate donati, atque in lucem editi. Ioanne Hartungo interprete. Acceßit locuples rerum & verborum memorabilium index.

      Basel, (Kolophon: Johannes Oporin, February 1550. - 8vo. (32), 226, (28) pp., l. bl. f. With 2 woodcut initials. Contemp. vellum with gold-stamped label to spine. First Latin edition, the first 16th c. Latin verse translation of the most important and only complete epic of Alexandrine hellenism in imitation of Homer. - The classicist J. Hartung (1505-79) received the Heidelberg Chair of Greek in 1537. in 1546 he followed a call as Professor of Greek and Hebrew in Freiburg/Breisgau, where he also taught Poetry. - With dedicatory poems by Joachim Mynsinger, Jacob Micyllus, and Balthasar Acanthius; these are followed by emendations of the Greek text, improving upon the Aldine and the Frankfurt edition, with Latin and - "quite uncommon!" (cf. Hieronymus) - German notes in Gothic type. - Somewhat browned throughout (occasionally stronger). Small stamp of the Bonclerici Library on t. p. VD 16, A 3132. IA 106.503. Hoffmann I, 215. Schweiger I, 38. Hieronymus, Griechischer Geist 188. Not in Adams or BM-STC German. Not in Dibdin or Moss. [Attributes: First Edition]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Comentari della Moscovia et partmente della Russia…

      Large woodcut Herberstein coat-of-arms on title, six full-page woodcuts, & a folding woodcut map by Jacopo Gastoldo. 12 p.l. (incl. the leaves with woodcuts), 86 numbered leaves. Small 4to, cont. limp vellum decorated by Cesare Vecellio with original drawings in ink, the front cover depicting a Russian in a fur hat holding a pelt, the back cover depicting sleds drawn by horses and skiers with mountains in the background, spine with scrolling decoration, pale pink edges. Venice: N. de Bascarini for G.B. Pedrezzano, 1550. First edition in Italian of the earliest account of Russia. A diplomat in the service of the Holy Roman Emperor, Herberstein (1486-1566), served twice as ambassador to Russia and spent considerable time there on numerous visits. His linguistic abilities contributed to his access and first-hand understanding of the society, its culture, habits and topography. His account arose from his observations and official reports, reworked and expanded to become the main source of European knowledge about Russia at that time. Herberstein was "without a doubt the best and most popular expert on Muscovy in sixteenth-century Europe…as a senior diplomat for the Hapsburgs, he was afforded audiences with the highest authorities."-Whittaker, Russia Engages the World, p. 12. The first edition of the work, in Latin, was printed in Vienna in 1549. Our edition is dedicated by Pedrezzano to Diego Hurtado de Mendoza. The woodcuts depict bridles and other equipment, arms and sleds and skiers and the final is a full-length portrait of Vasili (Basil) III, Grand Duke of Moscow. The fine map of Russia by Giacomo Gastoldo in our edition is larger and more detailed than the map appearing in the original edition. It depicts, for the first time, only one mountain range in central Russia, contravening the early tradition of a series of parallel mountain ranges. Binding: Remarkable 16th-century binding decorated by Cesare Vecellio with original drawings in ink. The front cover depicts a Russian in large coat and fur hat holding a sable or similar pelt, in front of a mountain landscape and cloudy sky. The back cover shows horse-drawn sleds and skiers on a frozen lake, with mountains in the background, echoing one of the woodcuts of the book. Ornamental scrolling decoration on spine, pale pink edges. The decoration is the work of Cesare Vecellio (1521-1601), a cousin and pupil of Titian, in whose studio Vecellio worked until Titian's death. Among Vecellio's major paintings is the altarpiece at Belluno Cathedral. In addition to the painted fore-edges executed for the Pillones, Vecellio also painted a room in the Palazzo Pillone with the Four Seasons and the Rape of the Sabines. In his famous book on costume and manners, De gli habiti antichi et moderni (Venice: 1590), Vecellio mentions the library and other collections of the Pillone family as well as their generous hospitality. For his imagery, Vecellio took each book's author or content, so there are a series of author portraits, as here, or scenes, maps and views. 172 volumes were decorated in this way, 154 with fore-edges painted by Vecellio and 21 with original drawings on their vellum covers by him and other artists. Provenance: 1. Odorico Pillone (1503-1593), Belluno; fore-edges. 2. Sir Thomas Brooke (1830-1908), Armitage Bridge, Yorkshire; bookplate; sold by his heirs in 1957 to 3. Pierre Berès (1913-2008), Paris. The Pillone Library has long been celebrated. Noted already in the 16th century as a library of "molti e diversi libri," it is celebrated among bibliophiles today for the remarkable painted decoration of its fore-edges and as a rare survival up to the modern day of a Renaissance library. The Pillone family, originally of Val Cadore, was prominent in the civic history of Belluno. Their library at Villa Casteldardo outside Belluno was primarily formed by the father and son, Antonio (1464-1533), and Odorico (1503-94), the former a soldier and diplomat, the latter a learned jurist. In the 1580s Odorico Pillone (or possibly his son Giorgio) commissioned Vecellio to decorate the fore-edges of a substantial portion of the best books in the library with paintings related to the contents. The 172 volumes decorated by Vecellio have had a remarkably stable existence over the next four centuries, which accounts in large measure for their almost uniformly excellent state of preservation. They remained together with other family collections until 1874 when the library was sold to the Venetian antiquarian Paolo Maresio Bazolle. The decorated volumes were then bought en bloc by the Yorkshire baronet Sir Thomas Brooke (1830-1908), and remained in his family until they were acquired and finally dispersed by Pierre Berès in 1957. Thanks to their unusual decoration and to the fact that the library remained intact until the 1950s, all of the Pillone books have been preserved in their original bindings. Fine copy. ❧ Berès, Bibliothèque Pillone, 145. Mortimer 229.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Bible. New Testament. Greek . NOVUM IESU CHRISTI D.N. TESTAMENTUM. 1550 Editio Regia; The Gosford Copy

      ROBERT ESTIENNE, Paris 1550 - Bible. New Testament. Greek . NOVUM IESU CHRISTI D.N. TESTAMENTUM. PARIS: ROBERT ESTIENNE, 1550 2 parts in one volume, folio (342 x 217mm.). Both iconic Estienne woodcut printer's devices: one (snake and tree) on title-page (and repeated on 273) and, on the final verso, man standing under an olive-tree. Woodcut initials and headpieces, woodcut borders for the canons, ruled in red. 504 pages: 32, 272 [i.e. 268], 204. Eighteenth-century red straight-grained morocco gilt, spine gilt in compartments, edges gilt, painted and gauffered (matching red and gold). The Gosford copy previously sold in 1884 and has been out of trade since. This is of course the great Editio Regia edition of Robert Estienne's Greek New Testament. This edition was widely reprinted for centuries as the "Textus Receptus" of the Greek New Testament, upon which later translations (including the King James) are based. This was also the first printed Greek New Testament with a critical apparatus. The book is additionally of enormous typographical significance. Robert Estienne held the office of royal printer and this is his masterpiece, a luxurious folio printed using all three sizes of Claude Garamond's fine Greek fonts. The main text is printed in Royal Garamond and production of the font was paid for by King Henry II. (Armstrong 52) Robert Proctor said of this Greek type that "it was, and is, by far the best type of its kind that has ever been cut.for evenness of colour, for precision of casting, and for the exactness of alignment and justification, these founts are unsurpassed." (Updike 237) The Gosford Castle library copy, truly lovely with only the following minor defects: title-page has a closed tear deep in the gutter (could be repaired but not necessary), a few spots of minor staining (but no foxing) on a few pages (and not in the text). Extremities rubbed consistent with an antique binding that has been used carefully -- boards showing a little at one corner and lightly here and there on the edges, but the binding is completely sound and flexible and without bumps or signs of misuse. This is a lovely copy, every page is complete and without edge tears or markings. Provenance: Archibald Acheson, 3rd earl of Gosford (1806-1864), morocco booklabel, sold at Puttick & Simpson, 22 April 1884, lot 340, £1-15s, to Stibbs; sold by Stibbs, "£2-10s, Stibbs" to William O'Brien (1832-1899), with his library bequest label dated 1899 and with a small accompanying library stamp on the title-page. Lovely copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Blue Sky Rare Books]
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        Aerisio abbandona Danae e Perseo nel Mar Egeo

      1550 - Acquaforte, 1550 circa, da un soggetto di Giulio Romano. Magnifica prova di questo rarissimo lavoro, attribuito dal Passavant al Torbido dal Moro. Impressa su carta vergata coeva con fiigrana "sole nel cerchio", rifilata dentro il segno del rame con perdita di parte incisa, in eccellente stato di conservazione. L'opera è conosciuta anche semplicemente con il titolo di "Donna in una barca con uomo e bambino". Etching, 1550 circa, after a subject by Giulio Romano. Magnificent example of an extremely rare work, ascribed to Torbido dal Moro by Passavant. Printed on contemporary laid paper with "sun in the circle" watermark, trimmed inside the plate sign with the loss of a part, in excellent condition. He work is also known with the name of "Woman on a boat with man and child". Passavant VI. P. 139, Meyer II, 41.15; Bellini (Ghisi) p.37, 3/1. Dimensioni 210 174mm

      [Bookseller: Libreria Antiquarius]
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        Tractatus iudiciarii ordinis in tres libros digestus, quorum primus prolegumena, altera causarum merita, tertius decisoria iudiciorum continet.

      8. 9 Bl., 521 S., 13 Bl., Pergamentband der Zeit auf drei Bünden mit Deckelblindprägung. Erste Ausgabe. - Schwartzenthaler, Jurist aus Wiener Neustadt, 1550 in, 1565 in Padua immatrikuliert, Dr.jur. , Professor an der jur. Fakultat in Wien bis mind. 1594, Syndicus der Landschaft unter der Enns, aus Osterreich emmigriert, 1503 Markgraflich brandenburgischer Rat und Reichshofrat. (vgl. http://thesaurus.cerl.org/record/cnp01094521). Einband etwas angeschmutzt. Reste eines Exlibris auf dem Innendeckel. Stellenweise verknickte Ecken. Insgesamt schönes und sauberes Exemplar.

      [Bookseller: erlesenes Antiquariat und Buchhandlung]
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        Hschn.- Karte, aus Seb. Münster, "Die Länder Asie nach ihrer gelegenheit biß in India/ werden in dieser Tafeln verzeichnet".

      - kol., um 1550, 25,5 x 34 Die erste europäische Asienkarte, hier aus einer deutschen Ausgabe der Cosmographie um 1550. Asien noch ohne Japan, welches auf der vergleichbaren Karte von Amerika abgebildet ist. Kleinere Restaurierungen, auf sehr dünnem Papier gedruckt.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Die poorte oft dore des eewighen levens, inhoudende seer schoone oeffeninghen vanden leven ende lijden ons Heeren Jesu Christi, ghedeelt op elcke[n] dach vander weken met uren ende tijden. Louvain, Anthonis Maria Bergaigne, 1551 (colophon: 5 March). Small 8vo (15 x 10 cm). With 42 woodcut miniatures in text (each about 5 x 4 cm) and one woodcut initial, all coloured by a contemporary hand. 19th-century tanned half goatskin.

      Belg. Typ. 4036; KVK & WorldCat (1 copy); Picarta (same copy); UniCat (1 copy); not in Adams; Bibl. Belg.; Bohatta, Livres d'heures; Lacombe, Livres d'heures; Machiels. Extremely rare first and only edition (third copy located) of a Dutch-language book of hours, printed by Anthonis Marie de Bergaigne, or Bergagne, in Louvain, who received permission to print it on 10 November 1550 and completed it on 5 March 1551. He was active until about 1562, mainly publishing religious works. The present book contains meditations on the canonical hours of the day. Monday morning starts with a meditation on the Creation, and the work finishes on Sunday night, contemplating Jesus's death. It is set in four sizes of textura type.With the final leaf G4 lacking, but apparently blank (the colophon appears at the foot of G3v). The foot of the title-page has been restored with the loss of a few words in the imprint. Otherwise in good condition, with the title-page somewhat dirty and quires B and C slightly browned.

      [Bookseller: Antiquariaat FORUM BV]
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        Ordini di cavalcare. Including: Scielta di notabili avvertimenti pertinenti a' cavalla, ?[Italy, ca. 1725?]. 2 parts in 1 volume. 4to (20 x 15 cm). Manuscript in Italian, in dark brown ink on paper in a steeply sloped Italian hand, with a full-page ink drawing of a horse, 50 full-page ink drawings of elaborate bits, each different, and 2 ink-drawn plans of training grounds. Further with 3 pen-drawn baroque decorated initials. Later 18th-century sheepskin parchment.

      For Grisone and the printed editions: Dejager, pp. 158-177; Podeschi 7. An 18th-century Italian manuscript copy of the first great manual of horsemanship since Xenophon, by Federico Grisone, first published in 1550 and here together with the second part, first published in 1571. It includes numerous illustrations, most notably the 50 full-page illustrations of elaborate bits, each different, discussed in the text. Part 1 is a detailed manual for breaking and training of horses, using methods now considered cruel, abusive and counterproductive. Part 2 is a handbook of equine veterinary medicine covering a wide variety of diseases and other ailments and their treatment. Each of the 60 numbered points marked on the illustration of a horse is associated with a named disease of other ailment. The ink has caused some browning and has sometimes eaten through the paper, resulting in some damage to the drawings of bits and leaving them fragile. Otherwise in good condition. A late manuscript copy of the first great manual of horsemanship since classical times.

      [Bookseller: Antiquariaat FORUM BV]
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        Der Statt Rom

      Basilea 1550 - Pianta della città tratta dall’edizione tedesca della Cosmographiae Universalis del Muenster. La pianta, incisa dal famoso intagliatore tedesco Christoph Stimmer - il cui monogramma appare in basso a sinistra - riproduce la città così come doveva apparire intorno al 1490, ed è ispirata al modello, ad oggi sconosciuto, realizzato probabilmente da Francesco Rosselli. Per la prima volta inserita nell'edizione latina del 1550 della Cosmografia. L'assenza piuttosto incredibile e curiosa del Colosseo, è spiegata dall'autore stesso alla lettera G della legenda, "per mancanza di spazio". Xilografia, in ottimo stato di conservazione. Testo tedesco al verso. A. P. Frutaz, "Le piante di Roma", XCVIII, tav. 170; C. Marigliani, "Le Piante di Roma delle collezioni private", tav. 14; M. Gori Sassoli (a cura di), "Roma Veduta" p. 140 s. 6 Dimensioni 360 240mm

      [Bookseller: Libreria Antiquarius]
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        De alchimia opuscula complura veterum philosophorum, quorum catalogum sequens pagella indicabit. (Dedication: Frankfurt, Cyriacus Jacob, 1550). Part 1 (of 2). Small 4to (19.5 x 15 cm). With a large woodcut illustration on title-page, hand coloured by an early hand, and Jacob's woodcut printer's device on the last otherwise blank page. 17th-century(?) limp sheepskin parchment.

      Duveen, p. 11 ("excessively rare"); Ferguson, Bib. chem. I, p. 18; MacPhail I, 20; for Ibn Sina: DSB XV, pp. 494-500. First edition of a collection of nine alchemical tracts, including De tinctura metallorum by Ibn Sina, known in Europe as Avicenna. Ibn Sina was one of the most significant thinkers and writers of the Islamic golden age and his bibliography comprises nearly 270 titles. "Ibn Sina studied the philosophical and scientific foundations of this subject [alchemy] and even undertook alchemical experiments. His conclusion regarding its validity, however, is negative" (DSB). It also includes two works by Raymond Lull, one of the most interesting scholars of the Middle Ages, one by Aristotle; and five anonymous ones. A second part was published in the same year containing only one work: the famous Rosarium philosophorum. It can be regarded as a separate publication and is not included here.With contemporary manuscript annotations in the margins, underscoring throughout, an early owner's inscription (struck through) and some other notes on the title-page. The annotations slightly shaved, somewhat browned throughout and waterstains in the first half of the book, but otherwise in good condition. Binding very good.

      [Bookseller: ASHER Rare Books (Since 1830)]
 37.   Check availability:     NVvA     Link/Print  


        Ordini di cavalcare.Including:Scielta di notabili avvertimenti pertinenti a' cavalla, [Italy, ca. 1725?]. 2 parts in 1 volume. 4to (20 x 15 cm). Manuscript in Italian, in dark brown ink on paper in a steeply sloped Italian hand, with a full-page ink drawing of a horse, 50 full-page ink drawings of elaborate bits, each different, and 2 ink-drawn plans of training grounds. Further with 3 pen-drawn baroque decorated initials. Later 18th-century sheepskin parchment.

      - For Grisone and the printed editions: Dejager, pp. 158-177; Podeschi 7. An 18th-century Italian manuscript copy of the first great manual of horsemanship since Xenophon, by Federico Grisone, first published in 1550 and here together with the second part, first published in 1571. It includes numerous illustrations, most notably the 50 full-page illustrations of elaborate bits, each different, discussed in the text. Part 1 is a detailed manual for breaking and training of horses, using methods now considered cruel, abusive and counterproductive. Part 2 is a handbook of equine veterinary medicine covering a wide variety of diseases and other ailments and their treatment. Each of the 60 numbered points marked on the illustration of a horse is associated with a named disease of other ailment. The ink has caused some browning and has sometimes eaten through the paper, resulting in some damage to the drawings of bits and leaving them fragile. Otherwise in good condition. A late manuscript copy of the first great manual of horsemanship since classical times.

      [Bookseller: Antiquariaat FORUM BV]
 38.   Check availability:     ZVAB     Link/Print  


        Ordini di cavalcare. Including: Scielta di notabili avvertimenti pertinenti a' cavalla, ...[Italy, ca. 1725?]. 2 parts in 1 volume. 4to (20 x 15 cm). Manuscript in Italian, in dark brown ink on paper in a steeply sloped Italian hand, with a full-page ink drawing of a horse, 50 full-page ink drawings of elaborate bits, each different, and 2 ink-drawn plans of training grounds. Further with 3 pen-drawn baroque decorated initials. Later 18th-century sheepskin parchment.

      For Grisone and the printed editions: Dejager, pp. 158-177; Podeschi 7. An 18th-century Italian manuscript copy of the first great manual of horsemanship since Xenophon, by Federico Grisone, first published in 1550 and here together with the second part, first published in 1571. It includes numerous illustrations, most notably the 50 full-page illustrations of elaborate bits, each different, discussed in the text. Part 1 is a detailed manual for breaking and training of horses, using methods now considered cruel, abusive and counterproductive. Part 2 is a handbook of equine veterinary medicine covering a wide variety of diseases and other ailments and their treatment. Each of the 60 numbered points marked on the illustration of a horse is associated with a named disease of other ailment. The ink has caused some browning and has sometimes eaten through the paper, resulting in some damage to the drawings of bits and leaving them fragile. Otherwise in good condition. A late manuscript copy of the first great manual of horsemanship since classical times.

      [Bookseller: Antiquariaat FORUM BV]
 39.   Check availability:     NVvA     Link/Print  


        Die poorte oft dore des eewighen levens, inhoudende seer schoone oeffeninghen vanden leven ende lijden ons Heeren Jesu Christi, ghedeelt op elcke[n] dach vander weken met uren ende tijden. Louvain, Anthonis Maria Bergaigne, 1551 (colophon: 5 March). Small 8vo (15 x 10 cm). With 42 woodcut miniatures in text (each about 5 x 4 cm) and one woodcut initial, all coloured by a contemporary hand. 19th-century tanned half goatskin.

      - Belg. Typ. 4036; KVK & WorldCat (1 copy); Picarta (same copy); UniCat (1 copy); not in Adams; Bibl. Belg.; Bohatta, Livres d'heures; Lacombe, Livres d'heures; Machiels. Extremely rare first and only edition (third copy located) of a Dutch-language book of hours, printed by Anthonis Marie de Bergaigne, or Bergagne, in Louvain, who received permission to print it on 10 November 1550 and completed it on 5 March 1551. He was active until about 1562, mainly publishing religious works. The present book contains meditations on the canonical hours of the day. Monday morning starts with a meditation on the Creation, and the work finishes on Sunday night, contemplating Jesus's death. It is set in four sizes of textura type.With the final leaf G4 lacking, but apparently blank (the colophon appears at the foot of G3v). The foot of the title-page has been restored with the loss of a few words in the imprint. Otherwise in good condition, with the title-page somewhat dirty and quires B and C slightly browned.

      [Bookseller: Antiquariaat FORUM BV]
 40.   Check availability:     AbeBooks     Link/Print  


        Tutte le opere di Nicolo Machiavelli cittadino et secretario fiorentino, divise in V. Parti, et di nuovo con somma accuratezza ristampate

      s.t, 1550. 4to (cm. 22), 8 pp., 320 pp., 2 cc.nn., 106 pp., 1 c.nn., 8 cc.nn., 280 pp., 152 pp., 158 pp. Oltre al frontespizio iniziale, altri quattro frontis. Schemi, diagrammi ed una illustrazione su doppia pagina. Ottima legatura ‘800 in piena pelle con nervi e titolo oro su tassello al ds. Tagli rossi. Antica firma ed una macchia bruna al frontis. (piccole mancanze marginali). Carte perlopiù ossidate, talora in maniera intensa. Strappo, senza alcuna perdita, a p. 67 dell’ Arte della guerra. Percorsi di tarlo marginali che toccano alcune lettere di testo senza comprometterne la leggibilità su circa 50 carte. Famosa edizione c.d. della Testina per le ripetute piccole immagini del busto dell’Autore sui diversi frontespizi. Gamba, 623, n. 2.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Adorazione dei pastori

      1550 - Bulino, circa 1550. Da un soggetto del Parmigianino. Ottima prova, impressa su carta vergata coeva con filigrana "cerchio con giglio", rifilata al rame, in perfetto stato di conservazione. Non descritta. Engraving, 1550 approx. After a subject of Parmigianino. Excellent work, printed on contemporary laid paper with " fleur-de-lys with circle" watermark, trimmed to platemark, in very good condition. Not described in the catalogues. Dimensioni 220 265mm

      [Bookseller: Libreria Antiquarius]
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