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Displayed below are some selected recent viaLibri matches for books published in 1550

        I SETTE LIBRI DELL'ARTE DELLA GUERRA, di NICOLO MACHIAVELLI cittadino et secretario fiorentino.

      No place or printer, 1550.. 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 Machiavellis 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]
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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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        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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        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]
 15.   Check availability:     Biblio     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]
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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)]
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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]
 19.   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]
 20.   Check availability:     NVvA     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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        Die Statt Paris.

      Basilea 1550 - Pianta della città tratta dall'edizione tedesca della "Cosmographia" del Munster. Xilografia, finemente colorata a mano, in ottimo stato di conservazione. City plan from German edition of "Cosmographia" of Munster. Woodcut, fine hand colour, in excellent condition. Dimensioni 355 255mm

      [Bookseller: Libreria Antiquarius]
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        2 (ZWEI) Sammler-Alben für Notgeld-Scheinen, mit ca. 1550 überwiegend österreichischen, meist farbigen Notgeldscheinen der Jahre 1918-1922.

      von den ca. 1550 Scheinen sind mehr als 60% aus Niederösterreich, Rest Österreich, 4, Hardcover/Pappeinband Alben mit deutlichen Alterungsspuren, die Scheine sind mit den üblichen Briefmarkenklebefalzen eingeklebt, daher etwas fleckig, einzelne etwas beschädigt, insgesamt dennoch umfangreiche Sammlung österreichischen Notgeldes.

      [Bookseller: Antiquariat-Deinbacher]
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        Benedicti Lampridii, necnon Io. Bap. Amalthei Carmina.

      apud Gabrielem Iolitum de Ferrariis [Giolito], 1550. Collection of 39 Latin poems -- 24 odes in Pindaric meter, seven in Horatian meter, three letters in hexameter, and five epigrams -- by Benedetto Lampridio (1478-1539) in praise of illustrious friends. The Carmina was published posthumously together with the poems of G.B. Amalteo by the Venetian polygraph Ludovico Dolce (1508-68), who addresses the collection to Count Collatino da Collalto in not one but two dedications. Lampridio earned his scholarly reputation and his living as a personal tutor of Greek and Latin to the rich and famous, among others the sons of Pietro Bembo and Federico II Gonzaga. He was highly respected during his lifetime, especially among the Paduan humanists, and ultimately world-famous for being the => first to use Pindaric meter in modern poetry. Lampridio's poems herein emulate the style not only of Pindar, but also of Horace, and Amalteo's verses follow the style of Theocritus, Virgil, and Tibullus (Dolce naming these influences in his second dedication). The handsome title-page features the Giolito device. Historiated initials, well-inked and admirably detailed, begin each of the 39 carme, which are printed in italic with capitals for headlines and the beginnings of verses; these latter initials float in the margin just apart from the text. Provenance: 16th-century signature of Nicolai Pengrini(?) on the title-page.Later in the library of American collector Albert A. Howard (sans indicia).

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        Evangeliorum etepistolarum dominicalium, itenque praecipuorum festorum enchiridion Graecum.

      No printer or year (app. 1550) of print. Can be seen in München Bayerische Staatsbibliothek litur 318. 191 sheets pp. Grec language,. Bound in a contemporary or little later half calf with raised bands and very rich golddecoration on soien , with goldtext. Boards in vellum, only smaller wear. Samll size 7x9x3 cm. First Edition. 17051118

      [Bookseller: Andersens Antikvariat]
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        Tre muse con un putto che suona la lira

      1550 - Bulino. Da un soggetto di Francesco Primaticcio, e copia della stampa di Giorgio Ghisi. Magnifica prova, impressa su carta vergata coeva, rifilata alla linea marginale, in ottimo stato di conservazione. Rara. Dimensioni 165 290mm

      [Bookseller: Libreria Antiquarius]
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        Rovine del Palazzo dei Cesari

      1550 - "Acquaforte, 1550, firmato in lastra, in basso a sinistra "H. Cock. F." In alto a sinistra Incerte cuisdam ruine prospectus". Bella prova, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Questa incisione appartiene alla celebre suite "Monimenta Praecipua Aliquot Romanae Antiquitatis Ruinarum Monumenta " edita ad Anversa nel 1551. Le stampe della serie riproducono delle vedute che Cock aveva disegnato a Roma (1546-1548) e, eventualmente, bozzetti di altri artisti. Il corpus comprende alcune delle rovine più grandi di Roma, la Basilica di Costantino, il Colosseo e il Palatino, ma nessuna è topograficamente accurata né strutturalmente precisa, al punto che il famoso archeologo famoso e topografo Christian Hulsen fu portato a concludere che la loro divergenza dai resti fisici li ha resi "senza valore". Tuttavia, la precisione archeologica non era l’obiettivo perseguito da Cock, dal momento che la sua finalità dichiarata era quella di fornire un repertorio di motivi architettonici ad uso degli artisti nordici che non potevano studiare le antichità di prima mano. La popolarità della serie fu tale da essere ristampata nel 1570, e la casa editrice di Cock produsse altri due compendi di rovine romane nel 1561 e il 1562. A differenza dei suoi contemporanei Antonio Lafreri e Antonio Salamanca che proposero le immagini ricostruite dei singoli edifici, Cock mostra in queste incisioni il suo gusto per le rovine inserite nei paesaggi." "Etching, 1550, signed on platea t lower left "H. Cock. F.". Inscribed at top left "Incerte cuisdam ruine prospectus". Good example, printed on contemporary laid paper, with margins, in very good condition. From the series Monimenta Praecipua Aliquot Romanae Antiquitatis Ruinarum Monumenta published in Antwerp in 1551. The prints of the series reproduces views that Cock had drawn in Rome (1546-48) and possibly sketches by other artists. The corpus comprised some of Rome's grandest ruins, the Basilica of Constantine, the Colosseum, and the Palatine, but none is topographically accurate nor structurally precise, causing the reversed celebrated archaeologist and topographer Christian Hulsen to conclude that their divergence from the physical remains made them "worthless." However, archaeological precision was not uppermost in Cock's mind, for his avowed intention was to provide a building repertoire of motifs for the use of northern artists unable to study the antiquities at first hand. The popularity of the prints was such that the Monumenta was reprinted in 1570, and Cock’s publishing house issued two other compendia of Roman ruins in 1561 and 1562. Unlike his contemporaries Antonio Lafreri and Antonio Salamanca who speculatively reconstructed individual buildings, Cock exhibited a taste for ruins in the landascape and the entrophy of the ruins themselves (which he the emphasized in the title print of the Monimenta with a poem by Cornelis Grapheus)." Barryte, p. 516 n. 114.1; Hollstein, 45. Dimensioni 280 204mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        San Pietro e San Giovanni guariscono uno storpio

      1550 - Acquaforte e bulino, 1550-60 circa, firmato in basso al centro "dominicus v." Da un soggetto di Raffaello. Primo stato di due, avanti l’indirizzo di Giacomo Lauro. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana "ancora nel cerchio", rifilata al rame, in ottimo sttao id conservazione. L’incisione riproduce, in controparte, un’acquaforte di Giovanni Battista Franco che traduce in stampa uno studio preparatorio, se non addirittura il modello, oggi perduto, realizzato da Raffaello per uno dei cartoni commissionati da papa Leone X per gli arazzi della Cappella Sistina, raffigurante Pietro e Giovanni guariscono un paralitico. Il soggetto ispirò anche un’acquaforte del Parmigianino. La scena mostra al centro Pietro che afferra il braccio di un uomo zoppo al quale cordina di alzarsi e camminare. L'uomo viene così miracolosamente immediatamente guarito e torna a camminare di nuovo. Accanto a Pietro è la figura di Giovanni Evangelista che osserva il miracolo. Le colonne di un tempio hanno l’effetto di scomporre la scena in e di conferire profondità. Ai lati della scena centrale, sono raffigurate delle donne che vengono a purificarsi dopo aver dato alla luce dei bimbi maschi. Opera molto rara nel primo stato edito da Domenico Vito. Sconosciuta ai principali repertori. Engraving, 1550-60, inscribed lower left 'rafael invenctor' in centre 'dominicus v'. After Raphael. First state, of two, before Giacomo Lauro’s publisher address. Good impression, printed on contemporary laid paper, with "anchor in a circle" watermark, just worn on the left, otherwise in very good condition. This print, published by Domenico Vitus, is a copy in reverse of an etching by Giovanni Battista Franco, based on the composition of Raphael's for one of the cartoons commissioned by Pope Leo X for tapestries in the Sistine Chapel at the Vatican Palace. The composition was also etched by Parmigianino. The Healing of the Lame Man refers to Peters first miracle among the Jews. Raphael's composition shows Peter, centre-stage, grasping the arm of a lame man who he orders to rise and walk. The man is instantly cured and is able to walk again. Next to Peter is the figure of John the Evangelist who looks on and is witness to this miracle. The columns of a Temple dissect the scene and on each side women, who have given birth to male children, come to purify themselves. A very rare work, non listed in the repertories. Bartsch XVI.124.15; Evans-Brown, Raphael: Cartoons and Tapestries for the Sistine Chapel, p. 83, under n. 3. Dimensioni 375 246mm

      [Bookseller: Libreria Antiquarius]
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        Beyde Stett Basel mit dem fürfliessenden Rhein und allen fürnemmen Gebewen

      Münster, 1550. Map. Woodblock engraving with hand coloring. Image measures 11" x 13.5" This bird's-eye view of Basel shows the city as it is structured around the Rhine River. A key in the lower left lists prominent locations according to letters scattered on the map. The generalized style of many of the buildings allow finer architectural detail in churches, fountains, and city walls to stand out. A few outsized figures and animals can be seen throughout, working in the fields and rowing down the quickly flowing Rhine. The map is from the 1550 edition of Sebastian Munster's "Cosmographia," a text that, when first published in 1544, was the earliest German description of the world. It quickly became one of the most successful books of the 16th century and was published in 24 editions. On the back is an elaborate title for "Die Statt Basell" and descriptive text with some small pictures. Basel, in fact, was Munster's home city as of 1529, when he moved there to work as a Professor of Hebrew at Basel University. This history makes this map of Basel of particular historical significance beyond its appealing aesthetics. The map is in excellent condition with no tears and wide margins as issued. Fine impression. Small chip to lower left corner not affecting the image. Sebastian Munster (1488--1552) was a German cartographer, cosmographer, and Hebrew scholar famed for participating in the revival of geographic thought in 16th-century Europe. Hans Rudolf Manuel (1525-1571) was a painter, designer and poet whose topographical views of cities for "Cosmographia" were greatly acclaimed. This map is a fine edition of this piece of history.

      [Bookseller: Argosy Book Store]
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        De tota Graecia libri decem. editi Abrahamo Loeschero interprete.

      Basel, Oporinus, 1550. - Folio, circa 35,3 x 23 cm. 6 Bll., 438 SS., 25 Bll., mit Holzschnitt-Druckermarke am Schluss und einigen Initialen "Blindgeprägter Kalbsleder d. Zt., Schnitt mit altem Titel in schwarzer Tinte "Pausanias" "VD 16, P 1075; Adams P 523; Hoffmann III, 206; Schweiger I, 225; Ebert 16058: "Löscher benutzte bei seiner sehr treuen Übersetzung ein Ms." Lateinische Übersetzung der Beschreibung Griechenlands, von dem Übersetzer Loescher Johann Jacob Fugger gewidmet. Die Ausgabe findet sich teils auch zusammengebunden mit dem Werk "Pro declaratione picturae", das jedoch ein separater Druck ist (VD 16, G 1452) und hier nicht vorliegt. - Auf beide Vorsätze ist hier jeweils ein grosses Blatt aus einer Pergament-Handschrift des 14. Jahrhunderts montiert. Text gut erhalten, nicht verwischt, klar lesbar. " "- Über grössere Teile hinweg matt waserrandig, Titel mit zwei alten Besitzvermerken, etwas berieben, aber sehr dekorativ.

      [Bookseller: Antiquariat Thomas Rezek]
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        La Vergine, il Bambino e San Giovannino

      1550 - Acquaforte e bulino, circa 1540/50, privo di data ed elementi editoriali. Da un soggetto di Luca Penni o Rosso Fiorentino. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L’opera, molto rara, è attribuita al Boyvin da Robert-Dumesnil che non chiarisce se derivi da un disegno del Penni o del Rosso. Renè Boyvin è incisore, acquafortista e disegnatore francese. Vasari, nella sua Vita di Marcantonio Raimondi, dice che "dopo la morte di Rosso [Fiorentino], assistiamo all’arrivo dalla Francia di tutte incisioni dei suoi lavori". Vasari attribuì questa abbondanza di riproduzioni "all’incisore in rame René", ovvero René Boyvin. Questi si trasferì a Parigi nel 1545 circa da Agers, dove incontrò Antonio Fantuzzi e dove si dice abbia rinnovato il contratto di servizio con l’incisore Pierre Milan nel 1549. Successivamente, aprì il suo studio presso il quale lavorò anche Lorenzo Penni, figlio di Luca. Boyvin visse a lungo, malgrado la prigionia a cui venne costretto a causa del suo credo Calvinista. Etching and engraving, circa 1540/50, without any details. After Luca Penni or Rosso Fiorentino. A great impression, printed on contemporary laid paper, trimmed to the platemark, in very good conditions. The work, very rare, is attributed to Boyvin by Robert-Dumesnil who does not clarify if it derives from a drawing of Penni or Rosso Fiorentino. Renè Boyvin is a French engraver, etcher and draftsma. Vasari, in his Life of Marcantonio Raimondi, says that "dopo la morte di Rosso [Fiorentino], assistiamo all’arrivo dalla Francia di tutte incisioni dei suoi lavori". Vasari attributed this abundance of reproductions "all’incisore in rame René", or René Boyvin. They moved to Paris in 1545 to about Agers, where he met Antonio Fantuzzi and where it is said to have renewed his contract of service with the engraver Pierre Milan in 1549. Later, he opened his own office where he also worked Lorenzo Penni, son of Luca. Boyvin lived a long time, in spite of the imprisonment to which he was forced to because of its Calvinistic creed. Robert-Dumesnil, Le Peintre-Graveur Français, VIII.20.8. Dimensioni 243 191mm

      [Bookseller: Libreria Antiquarius]
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        Costumen, usantien pollitien ende stijl van procederen der stadt jurisdictie, en[de] vrijheyt va[n] Utrecht gheapprobeert en[de] ghedecreteert, . . .[Colophon:] Amsterdam, printed by Willem Jacobsz. and sold at Utrecht by Jan van Gelre, 1550. 4to. With the title and the arms of the city of Utrecht in red and black in a 4-piece woodcut frame with figures and decoration, the arms repeated below the red and black colophon with the publisher's authenticating signature in dark brown ink; 3 different woodcut coats of arms for the Habsburg Holy Roman Emperor Charles V, each with a different bearing: 2 small in the text, with his motto "plus oultre", and a full-page one on the verso of the last leaf. Late 18th-century boards, marbled paper sides.

      - BMC STC Dutch, p. 217; Moes & Burger 169; STCN (8 copies, incl. 2 incomplete); Typ. Batava 5825 (10 copies, incl. some incomplete). First edition of the laws of the city and province of Utrecht, promulgated in 1550. The text includes a description of the duties of the officials at court, the procedures, and the crimes and penalties. This copy comes from the library of Peter Bonham (1727-1800), professor of law at Utrecht and legal historian. It is extensively annotated, especially in several sections concerning marriage, divorce, inheritance and the transfer of money, so that parts of the margins are nearly full.Some copies have a single leaf of errata inserted after D4, not present in this copy. In very good condition, with the upper part of one bifolium detached from the sewing and the corner of one leaf torn off with no loss of text.

      [Bookseller: ASHER Rare Books]
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        Vera Antiqui Capitolii Descriptio

      Roma 1550 - Straordinaria ricostruzione fantastica del Campidoglio, stampata su tre lastre ed edita per la prima volta dal Salamanca circa nel 1550. L’esemplare che qui presentiamo reca l’indirizzo degli eredi di Claude Duchet (Duchetti) e la data 1591. Il Duchet era il nipote del Lafrery ed alla morte di questi, 1577, ereditò la tipografia. La composizione somiglia ai disegni modenesi del Marcanova, soprattutto nella ricostruzione del Campidoglio e nella raffigurazione dei palazzi di Cicerone e Crasso. Tuttavia i particolari dell’incisione dimostrano una conoscenza più matura dell’architettura antica. Bulino, impresso su carta vergata coeva con filigrana "scudo con lettera M e stella", rifilata irregolarmente al rame, lievi restauri perfettamente eseguiti nella parte superiore, nel complesso in ottimo stato di conservazione. Di grandissima rarità. Bibliografia: Huelsen p. 41; La Roma del Cinquecento nello Speculum Romanae Magnificentiae pp. 10, 135. Extraordinary imaginary view of the Camidoglio, realized on three sheets and printed for the first time by Salamanca in 1550. This particular example bears the address of Claude Duchet’s heirs (Duchetti) and the date of 1591. Duchet was Lafrery’s nephew/grandchild and when he died in 1577 he inherited his business. The composition recalls Marcanova’s drawings, especially the Campidoglio and the buildings of Cicerone and Crasso. However, the details show a deep and mature knowledge of antique architecture. Engraving, printed on contemporary laid paper with "shiled with letter M and star" watermark, irregularly trimmed to platemark, small repairs perfectly executed on the upper part, in general in good condition. Extremely rare. Huelsen p. 41; La Roma del Cinquecento nello Speculum Romanae Magnificentiae pp. 10, 135. Dimensioni 890 430mm

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        San Giorgio

      1550 - Xilografia, 1550, datata e monogrammata in tavola in basso. Magnifica prova, impressa su carta vergata coeva con filigrana non leggibile, completa della parte incisa, lieve piega di carta all’angolo superiore destro, per il resto in perfetto stato di conservazione. Matthias Gerung, nella vecchia letteratura Geron Mathias, è stato un pittore tedesco e incisore. Era probabilmente il figlio del violinista Matthias e allievo di Hans Schaufelin, sebbene qualcuno dica di Hans Burgkmair . Oltre ad essere un pittore, è anche conosciuto come maestro nell’intaglio silografico, soprattutto per l'illustrazione della Bibbia di Ottheinrich , che è uno dei più preziosi manoscritti miniati del mondo. Il Nagler gli attribuisce 23 lavori differenti, alcuni dei quali multipli, per la maggior parte a carattere religioso, non citando quest’opera. Sebbene priva della classica scena dell’uccisione del drago, questo lavoro sembrerebbe rappresentare San Giorgio, Santo - cavaliere che più di ogni altro ha rappresentato l’ideologia cavalleresca, difensore degli innocenti e antagonista vittorioso sul Male. Woodcut, 1550, dated and signed in the woodblock. A magnificent impression, printed on contemporary laid paper with watermark unreadable, showing the borderline. slight crease of paper upper right corner, otherwise in perfect condition. Matthias Gerung, in older literature Geron Mathias, was a German painter and printmaker. It was probably the son of the violinist Matthias and pupil of Han Schaufelin, although someone says Hans Burgkmair. In addition to being a painter, is also known as master of the woodcut, especially for the illustration of the Bible Ottheinrich, which is one of the most precious illuminated manuscripts in the world. Nagler gives him 23 different works, some of which are multiple, mostly of a religious nature, and citing this work. Although lacking the classic scene of the killing of the dragon, this work would appear to represent Saint George, Saint - more than any other rider who has represented the ideology of chivalry, a defender of the innocent and vanquishes the evil antagonist. Nagler, Die Monogrammisten, pp. 569/573, 1824. Dimensioni 270 310mm [Attributes: Signed Copy]

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        San Girolamo nel deserto

      1550 - Acquaforte su ferro, firmata in lastra al centro. Da un soggetto di Albrecht Dürer. Esemplare nel primo stato di due, avanti il numero. Bellissima prova, impressa su carta vergata coeva con filigrana "piccolo stemma araldico", rifilata al rame, in ottimo stato di conservazione. La composizione deriva dall’analoga incisione di Dürer, databile al 1496 circa, realizzata al ritorno dal suo primo viaggio in Italia. In precedenza, l’iconografia classica del Santo nel Nord Europa non contemplava la sua raffigurazione nel deserto. San Girolamo trascorse quattro anni nel deserto siriano da eremita, praticando un rigoroso ascetismo e percuotendosi il petto per sfuggire alle tentazioni. La pietra con la quale si percuote è un’invenzione posteriore, mentre il leone e il Crocifisso sono due degli elementi ricorrenti nell’iconografia. Nell’incisione sono presenti alcune macchiette, soprattutto nei bordi, dovute all’ossidazione della lastra di ferro. Contrariamente agli altri maestri del bulino attivi a Norimberga, Hieronimus Hopfer era solito realizzare le proprie incisioni all’acquaforte e su lastra di ferro anziché di rame. Esemplari di primo stato sono assolutamente rari. Ex collezione G. Usslaub (Lugt 1221) Etching on iron, signed on plate in the center. After Albrecht Dürer. Example in the first state of two, before the number. A beautiful impression, printed on contemporary laid paper with watermark "small coat of arms", trimmed on copperplate, in excellent condition. The composition derives from the analogous engraving by Dürer, dated to about 1496, made after his return from his first trip to Italy. Previously, the classic iconography of the saint in Northern Europe did not provide for its representation in the desert. St. Jerome spent four years as a hermit in the Syrian desert, practicing a strict asceticism and beating their breasts in order to escape temptation. The stone with which it strikes is a later invention, while the lion and the Crucifix are two of the recurring iconography. In the plate are present some specks, especially in the edges, due to oxidation of the iron plate. Unlike other masters of the burin active in Nuremberg, Hieronymus Hopfer was usually realize their etchings on iron instead of copper. Example of the first state are absolutely rare. Ex-collection G. Usslaub (Lugt 1221) Bartsch 19; Hollstein 22 I/II. Dimensioni 148 231mm [Attributes: Signed Copy]

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        Melancolia I

      1550 - Bulino, non datato e privo di dati editoriali. Copia in controparte dell’omonima incisione Albrecht Dürer. Bellissima prova, impressa su carta vergata coeva, rifilata al margine, tracce di colla al verso, in ottimo stato di conservazione. Si tratta di una pregevole e rara copia, in controparte, della celeberrima Melencolia I del Dürer. Non è stato identificato l’incisore anonimo; tra l'altro si tratta di una derivazione priva del monogramma di Dürer. La straordinaria importanza di questa opera nella storia dell’arte è dimostata dagli innumerevoli studi che sono stati effettuati. Per meglio capire il simbolismo espresso dal lavoro bisogna contestualiazzarlo temporalmente. Il capolavoro è stato realizzato nel 1514, in un momento storico e personale particolarissimo. La madre di Durer era appena morta, gettando il pittore nello sconforto, mentre già numerose nubi si profilavano all’orizzonte. La peste mieteva vittime in tutta Europa, tanto che l’artista era stato costretto a lasciare Norimberga qualche tempo prima. Mancavano meno di tre anni all’inizio della rivoluzione protestante e ovunque serpeggiavano i malumori e le tensioni che avrebbero precipitato gli stati in lotte sanguinosissime. Nel 1499, Stoeffler e Pfaum avevano pubblicato un Almanacco nel quale i due matematici e astrologi facevano una previsione terrificante: la straordinaria congiunzione di Saturno, Giove e Marte, avrebbe provocato un raffreddamento generale dell’atmosfera, piogge eccezionali e un nuovo diluvio a flagello del mondo. Il soggetto è basato su uno dei quattro temperamenti umani, la malinconia, di maggiore interesse per gli umanisti nel Rinascimento. Secondo il Panosfsky, l’opera del Durer traduce il concetto espresso da Marsilio Ficino, maggiore studioso del tema del tempo, nel celebre De Vita Triplici, edito a Firenze nel 1489. Il significato del titolo è legato all’identificazione data dagli studiosi all’umore malinconico, associato al temperamento saturnino a sua volta proprio del talento artistico. Appare quindi indiscutibile che la Melencolia sia l’allegoria della vita e dell’ispirazione artistica. Particolare assolutamente curioso dell’opera è la presenza del quadrato magico in alto a destra; nell’ultima riga in basso, al centro, i numeri 15 e 14 che formano l’anno in cui l’artista realizza la lastra. La somma dei numeri del quadrato di ogni riga, colonna e diagonale è il numero 34, chiamato costante magica. Questa costante vale anche per i 4 numeri in centro e se si scompone il quadrato in quattro più piccoli. Engraving, without any details. A mirror image copy of the Dürer's masterpiece. A fine impression, printed on contemporary laid paper, trimmed at the platemark, in good conditions. A fine and rare copy, by an unknown German engraver, without the Dürer's monogram. This work is really important in the history of art, as the many essays written on it evince. To better understand the symbolism of this print, it is necessary to go back in time. The masterpiece has been realized in 1514, an extremely particular moment in Dürer’s private life. His mother had just died, leaving him in sorrow and despair; the historical moment was really bad, due also to the Black Death that was killing many people in Europe, forcing Dürer to abandon Nuremberg. That happened three years before the Protestant Reform, but he could already feel the uneasiness and the tensions that would have led to mortal fights in Europe. In 1499, Stoeffler and Pfaum had published an Almanac in which the two astrologers made a terrific prediction: the exceptional conjunction of Saturn, Jupiter and Mars would have caused an atmospheric cooling, extraordinary rain and a second Flood. This subject depicts one of the four human temperaments, melancholy, the closest one to the Man of Renaissance. According to Panosfsky, Dürer’s work depicts the ideas of Marsilio Ficino, the main expert on that issue at the time, in his De Vita Triplici, printed in Florence in 1489. The meaning of the ti

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        Ritratto di Giovanni de Medici

      1550 - Bulino, 1550, firmato in lastra in alto al centro e datato in lastra in basso a destra. Esemplare del primo stato di due, avanti l’indirizzo di Lafrery in basso a destra. Bellissima prova di questa rara incisione, impressa su carta vergata coeva recante la filigrana "balestra in un cerchio sormontato dal giglio" (Briquet 760 databile alla prima metà del XVI secolo), rifilata al rame, piccolissimi restauri perfettamente eseguiti, tracce di piega di carta al centro, nel complesso in eccellente stato di conservazione. Giovanni de’Medici, figlio di Lorenzo il Magnifico, fu eletto Papa nel 1513 con il nome di Leone X. Come dimostrato dalla dedica posta in alto, il ritratto fu commissionato al Vico, abilissimo ritrattista, da Cosimo II de’Medici. Engraving, 1550, signed at the upper center and dated at the lower right. Example of the first state of two, before the Lafrery’s address at lower right corner. A very good impression of this rare work, printed on contemporary laid paper with "Arch in the circle with fleur-de-lis" (Briquet 760), trimmed to the platemark, traces of central folds, generally in very good condition. Giovanni de Medici, son of Lorenzo The Magnificent, was elected pope in 1513 with the name of Leone X. The portrait was commissioned to Vico by Cosimo II de Medici, as the dedication demonstrates. Bartsch 254 (stato unico). Dimensioni 304 472mm [Attributes: Signed Copy]

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