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

        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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        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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        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)]
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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]
 28.   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]
 29.   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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        L’imperatore Traiano offre un sacrificio

      1550 - Acquaforte, 1550 circa, datata e monogrammata in lastra in basso a destra. Esemplare nel secondo stato di tre, con l’aggiunta della data e del nome dell’editore Antonio Lafrery in basso a destra. Bellissima prova, impressa su carta vergata coeva con filigrana "pellegrino nel cerchio", irregolarmente rifilata al rame o con sottilissimi margini, in ottimo stato di conservazione. Secondo Bartsch e Zerner, il soggetto deriva da un disegno del Primaticcio che riprende il fregio della colonna Antonina in Roma, dove però la figura dell’imperatore Traiano è rappresentata con la barba. Un disegno del Primaticcio conservato al Stadelsches Kunstinstitut di Francoforte, attinente alla colonna Traiana, dimostra invece che l’opera del Davent, sebbene presenti delle leggere modifiche, sia la traduzione in controparte di questo disegno. Il lavoro è una delle rare eccezioni di opera della scuola di Fointanebleau ristampata successivamente. Gli esemplari del secondo stato come questo, recano infatti la data 1565, e sono impressi a Roma dall’editore francese Lafrery. Etching, 1550 circa, dated and signed with monogram at lower right. Example in the second state of three, with date and name of the publisher Antonio Lafrery added on lower right. Magnificent work, printed on contemporary laid paper with "piligrim in the circle" watermark irregularly trimmed to the platemark or with thin borders, in excellent conditions. According to Bartsch and Zerner, this subject is after a drawing of Primaticcio, which has been inspired by the frieze on the Colonna Antonina in Rome, where the Emperor Trajan is however portrayed with the beard. A drawing of the trajan column by Primaticcio, guarded in the Stadelsches Kunstinstitut in Frankfurt, shows that Davent’s work is the transposition of this very drawing, even though with some small changes. This piece is a rare example of those works of the Fontainbleu School that had been reprinted subsequently. The examples of the second state, like this one, show the date 1565, and have been printed in Rome by the French publisher Lafrery. Bartsch vol. XVI, p. 314, 14; Zerner 39, Le Beau Style pp. 96/97, 39 Dimensioni 472 267mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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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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