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

        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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        Cyprus insula

      Basilea 1550 - Carta geografica dell'isola tratta dall'edizione latina della "Cosmographiae Universalis" di Sebastian Muenster. Xilografia, in ottimo stato di conservazione. From the latin edition of 1550 of Muenster's "Cosmographiae Universalis". Woodcut, in very good condition. A. & J. Stylianou, "The History Of The Cartography of Cyprus", 18; L. Navari, "Maps of Cyprus", p. 42, 6 Dimensioni

      [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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        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

      [Bookseller: Libreria Antiquarius]
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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]

      [Bookseller: Libreria Antiquarius]
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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]

      [Bookseller: Libreria Antiquarius]
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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

      [Bookseller: Libreria Antiquarius]
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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]

      [Bookseller: Libreria Antiquarius]
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        L’adorazione dei Magi

      1550 - Chiaroscuro in due legni, monogrammato e datato in lastra in basso a sinistra. Esemplare nel secondo stato di due con il monogramma di Andrea Andreani, e la data 1605. Bellissima prova, impressa su carta vergata coeva priva di filigrana, completa della linea marginale, in ottimo stato di conservazione. La composizione riprende, seppure con notevoli differenze, un disegno del Parmigianino. Secondo altri studiosi si tratterebbe di una nuova tavola, non catalogata, eseguita dallo stesso Andreani (Mantova 1540 circa – 1623) in sostituzione di quella del Vicentino. Personalmente, ritengo che questa opera rappresenti il secondo stato della matrice. L'Andreani, celebratissimo in vita, fu invece severamente giudicato in seguito. La critica più grave che gli viene mossa è di aver fatto uso di alcuni chiaroscuri di Ugo da Carpi e dei suoi seguaci del primo Cinquecento, apponendo la sua sigla alle matrici originali e ristampandole per la vendita. Chiaroscuro woodcut, printed with three blocks, 1550 circa, after a subject of Parmigianino. Example in the second state of two, with the monogram of Andrea Andreani. Magnificent work, printed with two blocks on contemporary laid paper without watermark, with margins, small restoration perfectly executed along the marginal left line, in very good conditions. Vicentino measured himself with the technique of chiaroscuro, invented and patented by Ugo da Carpi in 1516, with great success. His subjects were very often taken from the works of Parmigianino. In the first state of this particular work the artist put the initials FP as homage to the artist that inspired the composition. The examples in the second state, like this one, have the monogram of Andreani and the year 1605. Andrea Andreani (Mantova 1541 – Rome 1623) was one of the most important a representatives of this complex technique; he might have probably bought the plate and re-published the subject with his monogram, as he used to do. Usually, all the editions of the second state have been realized just with two blocks; examples like this one, realized with three, can be considered extremely rare. Excellent work. Bartsch, Chiroscuro Woodcuts, volume XII, p. 26, 2; Gori Gandellini, Notizie degli intagliatori, p. 170, xxxi; A. Petrucci, Il "chiaroscuro" italiano, in L'Italia letteraria,VIII (1932); Le Blanc I, 42, 6; I Maestri della Natività 27. Dimensioni 240 162mm

      [Bookseller: Libreria Antiquarius]
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        MISCELLANCY OF GEOMANCY; attributed to ABRAHAM IBN EZRA and others, illustrated manuscript on paper, in Hebrew

      SMALL, NEATLY WRITTEN MANUSRIPT ON DIVINATION, OR GEOMANCY, INCLUDING THEE TEXTS ATTRIBUTED TO THE GREAT BIBLICAL COMMENTATOR, POET, PHILOSOPHER, AND ASTRONOMER, ABRAHAM IBN EZRA. Illustrated manuscript on paper. Italy (Northern?), c. 1550-1575. Dimensions, paper size, 212 x 133 mm; binding, 220 x 135 mm. 74 folios on paper, watermarks, modern foliation in pencil in Arabic numerals, gatherings of six leaves, apparently complete, modern side sewing makes accurate collation impossible, in brown ink, CATCHWORDS at the end of gatherings written within pen-drawings of animals or squiggles, DIAGRAMS on folios. BINDING: Modern vellum binding over half boards, paper pastedowns and flyleaves (rebound since 2004).TEXT: First introduced into West European intellectual life in the eleventh century, when numerous Arabic texts were translated, geomancy is a medieval Islamic form of divination that became popular in the West in the thirteenth century. Like many other medieval Islamic sciences, geomancy as a method quickly was assimilated into Jewish culture. The famous poet, philosopher, and astronomer Abraham ibn Ezra (c. 1089-1164) composed at least one treatise on the subject. He may also have written another treatise attributed to him in some sources. The attribution in the present manuscripts of three of the texts attests to his association with the subject, although some of the attributions may be spurious. Although treatises on divination in Hebrew are not rare (300 to 350 manuscripts are extant), none of the works in the present manuscript is published. These texts can be found together in three other early manuscripts (all in public institutions), and appear to be related to the early manuscript tradition that predates the occasional printed editions. PROVENANCE: Probably made in Northern Italy, judging from the paper, the script, and the watermarks. It was in the private collection of Solomon Joachim Halberstam (1832-1900), a Polish Jewish scholar and bibliophile, the manuscript was then purchased by the Judith Lady Montefiore College in Ramsgate, England, between 1891-1896. More recently, it was placed on permanent loan with other Montefiore manuscripts at the Jews' College in London between 1898-2001. CONDITION: Some marginal worm-trails occasionally touching text, a few repaired, one worm hole in latter half affecting text, a few stains. Full description and photographs available.

      [Bookseller: Les Enluminures ]
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        Vita Christi. 2 in einem Band.

      Fol. Mit 3 farb. ausgemalten goldgehöhten Initialen. Durchg. rubriziert u. mit zahlr. eingemalten Initialen in Rot u. Blau. 209 nn. 206 Bll. (Got. Typ., 2 Kol., 60 Zeilen), Etw. späterer blindgepr. Schweinsldr.-Bd. (um 1550) über Holzdeckeln a. 4 Bünden m. goldgepr. Rückenschild, mont. goldgepr. Wappensupralibros im Zentrum der Deckeln, dreiseitigem Farbschnitt u. 2 Schließen. Seltene frühe Ausgabe des erstmals 1474 erschienenen Werkes. Der Verfasser dieser berühmten, im 15. und 16. Jahrhundert wiederholt aufgelegten Beschreibung des Lebens Jesu, der Karthäusermönch Ludolf von Sachsen (gest. 1377 in Straßburg), wirkte als Prior in Koblenz, ging darauf nach Mainz und schließlich wieder nach Straßburg. Sein Hauptwerk, die Vita Jesu Christi, aus den vier Evangelien, den Kirchenvätern und Kirchenlehrern und eigenen frommen Erwägungen in schlicht erbaulicher Sprache geschickt und lehrreich zusammengesetzt, gehört zu den besten und beliebtesten Erbauungsbüchern des Mittelalters (Buchberger, Kirchenlexikon). - Einband etw. berieben u. bestoßen. Rücken u. Vorderdeckel m. Bibl.-Nummernschildchen. Vorsatzbl. m. altem Titel-, das erste Bl. m. altem Besitzvermerk. Das erste Bl. ausgeschnitten u. alt montiert. Zu Beginn einige Bll. angefalzt. Vereinzelt zeitgen. Marginalien. Ein Bl. m. Randeinriß. Durchg. etw. gebräunt u. fleckig (vereinzelt tintenfleckig) u. vereinzelt etw. wasserrandig. Kopfsteg etw. knapp beschnitten (ganz vereinzelt die Kapitelüberschriften angeschnitten). Möglicherweise fehlt im ersten Teil ein weißes Blatt. - GW M19206 Hain/Cop./Reichl 10289 BMC VI, 742 Goff L 345 IGI 5875 Panzer II, 95, 591 Polain 4584 Proctor 5910 Madsen 2547 Mendes, Lisboa 781 ISTC il00345000.

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Dialogi del modo del conservare la sanita. Nuovamente dalla lingua latina nella volgar italiana tradotto. Aggiuntovi un Trattato di Arnaldo di Villa nuova, del modo di conservar la giouentu, & ritardar la vecchiezza. 2 parts in 1 volume.

      Venezia, Valgrisi, 1550. - 8°, circa 17,5 x 12 cm. 144 pp., title with woodcut printer s device Half-vellum with gilt spine (around 1800) IT\ICCU\BVEE\006501; Thorndike VI, 399 ff.; Wellcome 5008; Simon, Bibl. Bacch. II, 503 (for the chapter about wine). Rare first Italian translation of two popular medical treatises, both with larger chapters on food and drink. The first, on the preservation of health is by the professor of medicine Georg Pictorius from Villingen (c.1500- 1569; german name: Georg Maler) who practised as a physician in Ensisheim (Alsace). His dialogues between Teofrasto and Polilogo were first published the previous year in Latin (Tuendae sanitatis ratio; Basel 1549). They contain dicussions about the importance of food with details about several kinds of meat, wine, vegetables etc. They also consider sleep, exercise, vacations etc. - The second part on the preservation of youth and retarding old age is by the famous Catalan 13th century physician and religious reformer Arnaldus de Vilanova (c.1240-1311). It again contains chapters about bread, wine, meat, fish etc. - The translator is a so-called Pamphilo Fiorembene who added a dedication to Mavlise Grimani. - Title-page with an old ownership inscription by a Gio. Antonio Ferrer dated 1563. Later (18th. cent.) inscriptions on the endpapers by Michele Angelo Ferrero and Domenico Cardino. On the title a Joseph Rubeus has then crossed out the first owner and put his name. Last endpaper with calculations in ink. Minor browning, only few leaves at the beginning and end with some light marginal staining, else mostly clean and fine. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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        Le Vite de più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino à tempi nostri: descritte in lingua Toscana, da Giorgio Vasari. - Pittore aretino. Con una sua utile & necessaria introduzzione a le arti loro.

      Firenze, (L. Torretino), 1550. - 3 Teile in 2 Bänden. Gr.-8° (ca. 126 x 201 mm). 994, (2) S. (ohne Register). Mit 2 Holzschnitt-Titelbl. Halblederbände des 19. Jahrhunderts mit Rückvergoldung und 5 Bünden und marmorierten Pappdeckeln (berieben und bestossen). Adams, V, 295. - Brunet V, 1096. Cicognara 2390. - Erste Ausgabe dieses seltenen Werkes der Kunstgeschichte. Ästhetisch und typographisch hervorragender Druck. Giorgio Vasari (1511-1574) aus Arezzo, war neben seiner Tätigkeit als Maler und Architekt auch erfolgreicher Kunstschriftsteller. Trotz einiger Ungenauigkeiten wurden seine "Vite" wichtige Quellen für die Kunstgeschichte Italiens, vom 13. Jahrhundert bis zum Erscheinen dieses Werkes. Neben seinen schriftlichen Quellen für das Werk sammelte er auch während seiner häufigen Reisen durch Italien mündliche Nachrichten und Überlieferungen. Seine zahlreichen Künstlerbiographien sind reich an ausgeschmückten Anekdoten. - Es fehlen die 22 Blatt Register. Mit einem kleineren und einem grösseren Besitzerstempel "J.P.R." und "DSA". - Der erste Titelholzschnitt knapp beschnitten. Durchgehend nur minim fleckig. [Attributes: First Edition; Hard Cover]

      [Bookseller: EOS Buchantiquariat Benz]
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        Der Dritte Teil || der Buecher des Ehrnwirdigen || herrn doctoris Martini Lutheri/ darin zusamen || gebracht sind christliche vnd troestliche Erklerung vnd auslegung der furnemesten Psalmen/ die durch jn selb/ durch Gottes gnad/ deudsch geschrieben/ vnd etli||che durch andere aus dem Latin in deudsche sprach gebracht sind/ seer nuetzlich zu rechtem vnd klarem verstand Christlicher Lere....

      Wittenberg, Hans Lufft, 1550 4°, zweifarbiges Titelblatt mit Holzschnitt, 7 Bl., 276 Bl.; 318 Bl., zahlreiche Holzschnitt-Initialen., Schweinslederband der Zeit, blindgeprägt, ohne Schliessen., Handschriftliches Bibliotheksschild a. Rücken, Deckel min wurmstichig, Vorsätze etwas fleckig u kleinen Randläsuren. innen sauber, Marginalien von alter Hand. VD16 L 3312. Namenszug a. Titelblatt Johannes Minnenius [Dank an die Frau Kollegin Oberacker-Pilick für die Uebersetzung.] Vorwort von Philipp Melanchthon. Dritter Band der ersten deutschen Gesamtausgabe von Luthers Schriften (Wittenberger Ausgabe). die noch von Luther selbst begonnen wurde (1548-1573). Der Titelholzschnitt. Luther u. Kurfürst Johann Friedrich von Sachsen. neben dem Kruzifix kniend. ist eine Kopie nach Lucas Cranach d. J. An der Herausgabe waren u. a. Kaspar Creutziger. Georg Maior u. Georg Rörer beteiligt. Philipp Melanchthon schrieb Vorreden zu 8 Bänden. Versand D: 20,00 EUR Alte Drucke - bis 1550 Religion - reformiert

      [Bookseller: Antiquariat Peter Petrej]
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        Quaestiones defensionum in quattuor libris sententiarum Thomae de Aquino. [Herausgegeben von Thomas de Sancto Germano]. Bde. 1, 2 u. 4 (von 4) in 3 Bänden.

      Fol. Mit 3 farb. ausgemalten Anfangs-Initialen. Durchg. rubriziert u. mit zahlr. eingemalten Initialen in Rot u. Blau. Am Ende jeweils die Holzschn.-Druckermarke in Rot. 358 (statt 360 es fehlen 2 weiße Bll.) 363 (statt 366 es fehlen 2 weiße Bll. sowie das letzte Bl. Registrum) 253 (statt 258 es fehlen die ersten vier Bll. [Tabule] sowie das darauf folgende weiße Bl.) nn. Bll. (Got. Typ., 2 Kol., 58-64 Zeilen), Etw. spätere blindgepr. Schweinsldr.-Bde. (um 1550) über Holzdeckeln a. 4 Bünden m. goldgepr. Rückenschildern, mont. goldgepr. Wappensupralibros auf beiden Deckeln, dreiseitigem Farbschnitt u. 2 Schließen. Erstausgabe dieses Kommentars des Dominikaners Johannes Capreolus zu Thomas von Aquin. Anstatt wie üblich die Sentenzen des Lombardus zu kommentieren, enthält der Text eine umfassende, als Verteidigung konzipierte Gesamtdarstellung des Werkes Thomas von Aquins. Dabei berücksichtigte Capreolus im Gegensatz zu den Kommentatoren des 16. Jahrhunderts, alle, auch die kleineren Werke von Thomas. Deshalb galt er jahrhundertelang als Prinzeps Thomistarum und noch Grabmann bezeichnete seine Defensiones als das geschichtlich bedeutsamste Werk, das die Thomistenschule zur Verteidigung des Aquinaten hervorgebracht hat. Von historischer Bedeutung ist insbesondere seine Auseinandersetzung mit Duns Scotus und den Nominalisten die Lehre von Thomas hätte ohne das Werk von Capreolus wohl nie das 15. Jahrhundert überlebt (BBKL). - Die dekorativen Einbände etw. berieben u. bestoßen sowie tlw. etw. fleckig u. mit kl. Wurmspuren. Rücken u. Vorderdeckeln m. Nummernschildchen. Rückenschilder tlw. m. kl. Randläsuren. Innendeckeln bzw. die ersten Bll. tlw. m. kl. alten Besitzvermerken. Zwei Bll. m. größerem Tintenfleck, zwei Bll. m. unterlegter Fehlstelle im unteren weißen Rand (ohne Textverlust) . Blattränder tlw. etw. angestaubt. Wenige Bll. m. kl. Wurmspuren bzw. Einrissen (zwei Bll. mit längerem Einriß, davon einer alt hinterlegt). Tlw. etw. gebräunt, stockfleckig bzw. wasserrandig (wenige Bll. etw. stärker). - Insgesamt schönes, über weite Teile annähernd fleckenfreies Exemplar. - GW 06032 Hain/C. 4410 IGI 2441 Pellechet 3234 BSB-Ink C-101 Proctor 4580 Madsen 1008 ISTC ic00129000.

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Geometrey. Von künstlichem Feldmessen, und absehen, Allerhandt Höhe, Fleche, Ebne, Weitte und Breyte: als Thürn, Kirchen, Bäuw, Bäum, Felder unnd Ecker, [et]c. Mit fast wercklich unnd künstlich zubereytem Jacobs Stab, philosophischen Spiegel, Schatten und Meßruten. Frankfurt a. M., Chr. Egenolff Erben 1578. 4° 39 num. Bll., 1w.Bl., mit Titelholzschnitt u. 53 Holzschnitten im Text.- Angeb.: Puehler Christoph, Ein kurtze und grundliche anlaytung zu dem rechten verstand Geometriae. . von newem beschriben. Dillingen, S. Mayer 1563. 8 Bll. (d.l.w.), 121 num. Bll., 1 w.Bl., mit zahlr. (3 ganzs.) Holzschnitten im Text.- Angeb.: Rensberger Nikolaus, Geometria, Das ist wie man recht und behend eines jeden dings höhe, lenge und breyte . abmessen soll

      - Sehr interessantes Sammelband mit vier Arbeiten zur Geometrie und Feldmessung: I) VD16 ZV 9061 - Benzing, Köbel 114 - Graesse IV, 37 - vgl. Zinner, Astronom. Instrumente 416 (Ausg 1550 u. 1593), schreibt die Holzschnitte Jost Amman zu.- Sehr seltene (achte) Ausgabe der erstmals 1535 erschienenen Abhandlung.- "Eine Überarbeitung der Köbelschen Schrift ,Von Ursprung und Teilung', die wohl in Frankfurt a. M. vorgenommen wurde. Es ist keine Darstellung der Geometrie im gewöhnlichen Sinne, sondern eine Feldmesserei" (Benzing).- Jakob Köbel (1470-1533) studierte mit Kopernikus in Krakau. Er war ein vielbegabter Mann und sehr erfolgreich als Rechenmeister, Drucker, Verleger sowie Stadtschreiber in Oppenheim. Besonders befasste er sich mit Problemen der Feldmesserei, Astrolabien, Sextanten u. dgl. (siehe Smith-M. S.100).- Die Holzschnitte zeigen geodätische Meßinstrumente und deren Anwendung.- II) VD16 P 5358 - Honeymann 2559 - Bucher, Dillingen 183 - Apponyi 1799 - Zinner, Astronom. Instrumente, 181 - Kästner I, 670-78.- Erste Ausgabe.- Bedeutendes Werk des Apian Freundes. Enthält u.a. eine äußerst frühe Auseinandersetzung mit der Kopernikanischen Theorie, die von der einschlägigen Literatur offensichtlich nicht beachtet wurde. "In mehr als einer Hinsicht verdienstlich, denn es enthält in seinem 9. Kapitel eine sehr deutliche Darlegung der astronomischen Sphärik, in seinem 44. die erste mit dem Namen einer wissenschaftlich zu belegenden Anleitung zur Bestimmung der Tiefe eines Wasserbeckens. In seinem 65. endlich eine bemerkenswerte Modifikation der uns bereits bekannten, von Werner und dem älteren Apian in Aufnahme gebrachten Methode der Längenbestimmung durch Monddistanzen" (Günther, Apian S.115).- Die Holzschnitte zeigen Aufbau u. Anwendung seines Torquetums sowie anderer mathematischer Instrumente.- III) VD 16 R 1148.- Ohne die beiden gefalt. Tafeln.- IV) VD16 ZV 9058 - Benzing, Köbel 114 - Honeyman 1852 - Graesse IV, 37 - Zinner, Astronom. Instrumente 416.- Dritte Ausgabe.- Tls. etw. gebräunt od. braunfleckig, Ebd. gering berieben.# Highly interesting Sammelband with four works on geometry and field measurement bound in contemporary blind-stamped pigskin over wooden boards with 2 clasps.- I) Very rare (eighth) edition of this frequently issued treatise first published in 1535.- Title printed in red and black and with vignette, woodcuts in text (by Jost Amman?), with final blank.- Jakob Köbel (1460-1533) studied at Cracow, where Copernicus was his fellow-student. He was a man of varied attainments, meeting with success as a Rechenmeister, printer, engraver, woodcarver, poet, and public official. Köbel wrote the geometry book toward the end of his life, but it was reprinted many times after his death. The book dealt primarily with measurement, showing its readers how to use various instruments to measure fields, determine heights of buildings, and perform various other necessary tasks.- Wodcuts show geodesic measuring instruments and their uses.- II) First edition of a scarce and early work on practical geometry.- With important contributions to astronomy and surveying methods, including the first scientific description of an instrument to determine the deapth of water. Chapter 67 deals with Copernicus' star tables and shows a tableworg (leaf 115v) which takes into account the great astronomers calculations. Puehler, of hungarian origin, studied in Vienna together with Peter Apian and later besame a friend of the latter`s son Philip. Nothing is known about his biography and it seems, that Puehler has been overseen by western research. Only Günther in his work on the Apians underlines his scientific discoveries and merits at lenght.- III) As usually without the two folded plates.- IV) Third edition; with 57 woodcuts (partly by Hans Beham).- [Attributes: Hard Cover]

      [Bookseller: Antiquariat Johannes Müller]
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        PROCESSIONARIUS secundum ordinem Cisterciensem noviter impressus: correctus auctus et emendatus. Cum multis aliis additionibus nusque impressis.

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

      [Bookseller: Librería Comellas]
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        Tutte le opere : I. Historie di Nicolo Machiavelli. II. Il Principe. La Vita di Castruccio Castracani da Lucca. Il Modo che tene il Duca Valentino. I Ritratti delle cose della Francia et della Alamagna. III. Discorsi. IV. I Sette Libre dell'arte della guerra. V. Dell'Asino d'oro. Capitolo dell' occasione. Capitolo di fortuna. Capitolo della ingratitvdine. Capitolo dell' ambitione. Decennale, cioè compendio delle coste fatte in X. anni in Italia. Novella piacevolissima. Mandragola, comedia

      - S.n. [Genève], S.l. 1550 (ca.1620), 16x22,5cm, (4) 441pp. et (4) 140pp. et 364pp. [i.e. 362] et 185pp. (14-1 bl.) (2f. Pl.) et (4) 189pp., 5 volumes reliés. - Una delle cinque edizioni chiamato "Alla testina" (a causa del ritratto di Machiavelli ripetuto in titoli), stampato a Ginevra agli inizi del XVII, intorno 1620. Questa è né il primo né il secondo numero dei quali caratteristiche sono noti, ma gli ultimi tre, che differisce spuntino. Leganti moderno cartone marrone punteggiati la bradel. indietro liscia. parti del titolo in marocchino rosso. Perfetto stato. Copia di freschezza. - [FRENCH VERSION FOLLOWS] Première des cinq éditions dite « alla testina » (en raison du portrait de Machiavel répété sur les titres), imprimée à Genève au début du XVIIème, vers 1620. Impression du texte en caractères italiques, typographie et mise en page typiques des éditions de la Renaissance italienne. Le matériel typographique proviendrait des caractères dessinés par Ludovico degli Arrighi, célèbre typographe mort en 1527. Cette première édition est la plus rare, on ne la trouve que très difficilement, contrairement aux suivantes. Une planche sur double page pour L'Arte della guerra. Les cinq éditions ont été répertoriées et chiffrées de A à E par Gerber, par ordre chronologique. Cette première édition « alla testina » serait la seule à ne pas avoir été éditée à Genève (elle est très repérable par sa collation qui diffère de toutes les autres), le lieu d'édition étant seulement une suggestion et une origine parisienne ne serait pas à exclure. Les éditeurs des autres éditions « alla testina » ont été retrouvés, et ils sont différents pour chacun des tirages (notamment Pierre Aubert ou Jacques Chouet). Voir : Philausone Répertoire des ouvrages en langue italienne, par Nicole Bingen, ou, George Bonnant : Les Impressions genevoises au XVIIème de l'édition dite de la Testina des

      [Bookseller: Librairie Le Feu Follet]
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        Descrittione di tutta Italia di F. Leandro Alberti Bolognese, nella quale si contiene il sito di essa, l’origine, & le signorie delle città, & delle castella, co i nomi antichi e moderni, . Et piu gli huomini famosi che l’hanno illustrata, i monti, i laghi, i fiumi, .

      Per Anselmo Giaccarelli, In Bologna. 1550 - Esemplare scompleto, infatti mancano le pg da 466 a 469. Si tratta di un esemplare ricomposto privo del ritratto dell’A. e dei versi di Giovanni Philoteo Achillino nel v. del frontespizio, e con marca (Z495) a carta [ast]3r che precede i versi dedicati dal Giaccarelli "Herculil Atestio II illustriss. Ferrarien. duci IIII". Prima rara e ricercata edizione di questo libro a carattere geografico-etnologico-storico. Nel corso del ’500 vennero stampate numerose edizioni, a conferma dell’interesse suscitato da questa bella opera. Nel libro si trovano anche informazioni sulle bellezze delle contrade, sulle distanze, i costumi, le curiosita’ ed i piu’ importanti monumenti di citta’ e paesi. Alla fine del libro, un breve trattato sulla "molto magnifica citta’ di Vinegia". Insomma, una vera e propria guida per i viaggiatori! Effettivamente, a partire dall’edizione del 1568, l’Alberti includera’ anche la parte relativa a Sicilia, Sardegna, ecc. Formato: [4] [28] c., 466 p. (di cui le prime 7 in numeri romani e l’ottava bianca), 30 cm, perg. Esemplare medio con difetti marginali. Legatura coeva ma un pò consunta. Ex libris al frontespizio.

      [Bookseller: Studio Bibliografico Adige]
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        Pratique abrégée des jugements astrologiques sur les nativités.

      XVIIIe siècle. ____ Manuscrit d'une belle écriture ronde, très lisible, d'évidence de la main d'un copiste professionnel du XVIIIe siècle. Henri de Boulainvilliers, qui a compulsé plus de deux cents ouvrages pour rédiger son traité, a repris le titre et l'ordre du manuel d'astrologie d'Auger Ferrier de 1550, tout en tenant compte de la nouvelle place assignée au soleil, au centre des planètes. Le manuscrit s'achève par une traduction partielle du " Petit Ptolomée, par Argole", probablement le "Ptolomaeus parvus in genethliacis junctus Arabibus", d'Andea Argoli (1652). Le Comte de Boulainvilliers (1658-1722) a laissé une quantité de manuscrits, car il ne se souciait que fort peu de faire publier ses ouvrages; il en laissait volontiers ses amis en prendre copie. Il est célèbre pour ses recherches historiques, qui le conduisirent à déclarer que le système féodal est le chef-d'oeuvre de l'esprit humain. On lui attribue aussi des textes athéistes et anti-religieux. Celui-ci, sur l'astrologie, écrit en 1717, a circulé sous forme de manuscrit pendant plus de deux siècles. Il n'a été publié qu'en 1947 ! Il semble ne subsister de ce manuscrit que trois exemplaires dans les bibliothèques publiques (2 à la BN et un à la BM d'Angoulème). Charnières fendillées, manque à la coiffe supérieure. Bon exemplaire, très frais intérieurement. *****. In-4. [221 x 178 mm] Collation : (540) pp. Veau marbré, dos à nerfs orné, pièce de titre en basane rouge, tranches rouges. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        Der Dritte Teil || der Buecher des Ehrnwirdigen || herrn doctoris Martini Lutheri/ darin zusamen || gebracht sind christliche vnd troestliche Erklerung vnd auslegung der furnemesten Psalmen/ die durch jn selb/ durch Gottes gnad/ deudsch geschrieben/ vnd etli||che durch andere aus dem Latin in deudsche sprach gebracht sind/ seer nuetzlich zu rechtem vnd klarem verstand Christlicher Lere?.

      Wittenberg, Hans Lufft 1550 - 4°, zweifarbiges Titeblatt mit Holzschnitt, 7 Bl., 276 Bl.; 318 Bl., zahlreiche Holzschnitt-Initialen., Schweinslederband der Zeit, blindgeprägt, ohne Schliessen., Handschriftliches Bibliotheksschild a. Rücken, Deckel min wurmstichig, Vorsätze etwas fleckig u kleinen Randläsuren. innen sauber, Marginalien von alter Hand. VD16 L 3312. Namenszug a. Titelblatt Johannes Minnenius [Dank an die Frau Kollegin Oberacker-Pilick für die Uebersetzung.] Vorwort von Philipp Melanchthon. Dritter Band der ersten deutschen Gesamtausgabe von Luthers Schriften (Wittenberger Ausgabe), die noch von Luther selbst begonnen wurde (1548-1573). Der Titelholzschnitt, Luther u. Kurfürst Johann Friedrich von Sachsen, neben dem Kruzifix kniend, ist eine Kopie nach Lucas Cranach d. J. An der Herausgabe waren u. a. Kaspar Creutziger, Georg Maior u. Georg Rörer beteiligt. Philipp Melanchthon schrieb Vorreden zu 8 Bänden. 3600 gr. Schlagworte: Alte Drucke - bis 1550Religion - reformiert [Attributes: Hard Cover]

      [Bookseller: antiquariat peter petrej]
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        1550 Italian Letters of Claudio Tolomei on Poetry Woodcut MAP Mount Argentario

      In Vinetia : Appresso Gabriel Giolito di Ferrarii e Fratelli, 1550. Second edition. Adams T786. - 1550 Italian Letters of Claudio Tolomei on Poetry Woodcut MAP Mount Argentario “A beautiful collection of Italian letters!” A fine edition of the letters on poetry and history by Claudio Tolomei printed by Gabriel Giolito. Giolito was the leading Venetian printer during his lifetime was the first to publish collection of individual authors in independent volumes! This book of letters includes a map of the west-coast of Italy, showing Mount Argentario. Many of the letters are addressed to famous men such as Bishop Gabriel Cesano and Italian poet Annibal Caro. Tolomei, an early 16th-century philologist, is not to be confused with the 2nd-century astronomer with the same name. Item number: #210 Price: $750 TOLOMEI, Claudio. Dele lettere di M. Claudio Tolomei libri sette. In Vinetia : Appresso Gabriel Giolito di Ferrarii e Fratelli, 1550. Second edition. Adams T786. Details: • Collation complete with all pages: 303, [1] • Superb vellum binding! • Language: Italian • Size: ~6.5in X 4in (16.5cm x 10cm) • We find this same title selling elsewhere for as much as $2,700 Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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        Illuminated Manuscript: Large Initial

      np: np, 1550. Grand initial "L" cut from a 16th century northern European antiphonal richly painted on parchment. Initial painted in gold on a black background with a gold design. Resting on top of initial is a large snail. Surrounding initial is a floral scene featuring bright finely painted flowers & leaves in pink, white, gray, red, green, and yellow. The scene is framed by a square painted in gold. Gold is partly peeling off initial and square. Initial is framed in a lovely gold frame with custom matting and UV protected glass.Frame Size: 8x10 inchesCutting: 116 x 101 mm. Very Good.

      [Bookseller: The Manhattan Rare Book Company]
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        Jerusalem Civitas Sancta

      1550. (HOLY LAND) MÜNSTER, Sebastian. Jerusalem Civitas Sancta, Olim Metropolis Regni Judaici, Hodie Vero Colonia Turcae. [Basle: Heinrichum Petri, circa 1550]. Single double-page sheet of laid paper (16 by 12-1/2 inches), window-framed (entire piece measures 18-1/2 by 15 inches). $2500.First or early impression of Münster’s striking woodcut bird’s-eye view of Jerusalem, translated, “Holy City of Jerusalem, once capital of the Jewish kingdom, today a colony of Turkey,” extracted from the an expanded 1550s edition of his famous Cosmographia Universalis.“Sebastian Münster’s Cosmographia was an immensely influential book that attempted to describe the entire world across all of human history and analyze its constituent elements of geography, history, ethnography, zoology and botany. First published in 1544 it went through 35 editions and was published in five languages, making it one of the most important books of the Reformation period” (Matthew McLean). Münster’s academic contemporaries thought of him as a Hebraist— there is no evidence that he ever taught geography or the mathematical sciences (see Burmeister). He attained a reputation as a geographer only after the publication of the definitive 1550 edition of his Cosmographia, which included a large number of additional town prospects, among them this splendid prospect of Jerusalem. “The central view is of the Temple Mount, seen from the east, from the Mount of Olives, with north to the right… Since the gate in the eastern wall known as the Golden Gate is depicted in ruins, this view may derive from ones earlier than 1538, when the Ottoman sultan, Suleiman the Magnificent, rebuilt the walls of Jerusalem in the manner we know them today” (Arnold vander Nat). Text in Latin and Hebrew. This view was first published in the 1550 edition in Latin of the Cosmographia, pages 1016-19. Latin editions were published in 1550, 1552, 1554, 1559, and 1572, but the 1572 edition was paginated differently (with the view of Jerusalem appeared on pages 1176-77), so this clearly comes from an edition from the 1550s. An early pencil note on the lower right corner of “1559” suggests that it may have been extracted from a volume published in that year. Tooley, Mapmakers, 26. See Shirley, Maps in the Atlases of the British Library T.MUN-1a through T.MUN-1i. Early paper repair to joining on verso, light embrowning. An extremely good copy.

      [Bookseller: Bauman Rare Books]
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        Repetitio Gulielmi Benedicti jurisconsulti clarissimi.

      1550 - In capitulum Raynutius de testamentis. In partes treis distincta, novissime ex ipsius authoris lucubrationibus recognita & emendata. 2 : Repetitionis capitulum Raynutius extra de testamentis. Pars secunda. Authore Gulielmo Benedicto jurisconsulto clarissimo. Quae particulae hujus capituli in hac secunda parte explicentur, indicat proxime sequens pagina. 3 : Repetitionis capitulum Raynutius extra de testamentis, pars tertia, Authore Gulielmo Benedicto jurisconsulto clarissimo novissime ex authoris ipsius lucubrationibus recognita et emendata. Quae particulae hujus capituli in tertia hac parte explicentur, indicat proxime sequens pagina. 4 : Index locupletissimus rerum, ac sententiarum in tribus tomis repetitionis capitulum Raynuntius, extra de testamento a Gulielmo Benedicto jursiconsulto clarissimo editae contentarum, tam facili ordine contextus, ut cujus facile sit reperire, quicquid in illis ipsis commentariis desideraverit. (Cz. 1 - 4 w 1 wol.) Lugduni 1550. Apud Antonium Vincentium. (35 x 23 cm), k. [8]. k. 235, [1]; k. 145, [1]; k. 54; k. [30], 5 drzeworyt

      [Bookseller: Antykwariat W]
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        DE TOTA GRAECIA LIBRI DECEM quibus non solum urbium situs, locorumq(ue) intervalla accurate est complexus, sed Regum etiam familias, bellorum causas & eventus, sacrorum ritus, Rerumpub. status copiose descripsit; hactenus a nemine in linguam latinam conversi, nuncque prim in lucem editi: Abrahamo Loeschero interprete. ANGEBUNDEN / BOUND WITH: Gerbelius, Nicolaus.

      Basel, Oporinus 1550 - Folio. 5 nn. leaves, 438 pp, 23 nn. leaves Index. Contemporary pigskin binding, the front fly is missing, the rear is partly splayed. Zeitgen

      [Bookseller: Antiquariat J.J. Heckenhauer e.K., ILAB]
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        Schriftsteller (1875-1955). Eigenh

      Pacific Palisades San Remo Drive 16 IX (19)47 Format: 214 x 137 cm 1 Seite Mit eigenh

      [Bookseller: Antiquariat ABATON oHG]
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        A treatise of schemes & tropes very profytable for the better understanding of good authors, gathered out of the best grammarians & oratours.Whereunto is added a declamacion, that chyldren even strapt fro their infancie should be well and gently broughte up in learnynge. Written fyrst in Latin by the most excellent and famous clearke, Erasmus of Roterodame

      imprynted at London by Iohn Day dwellinge ouer Aldersgate, beneth saint Martyns. And are to be sold at his shop by the litle conduit in Chepesyde at the sygne of the Resurrection, [London 1550 - First edition, small 8vo (139 x 86mm), ff. [116], collating A-O P ; printed in Black Letter throughout; woodcut initials; later vellum-backed marbled boards; title leaf torn at the top margin (no loss); the binding lightly rubbed. Early ownership signature of Thomas Ferrar on the title page; ex-Earls of Macclesfield, with their North Library bookplate on the front pastedown and their blindstamp at the top of the title page. Part of this is a translation of the De civilitate morum puerilium. libellus of Desiderius Erasmus, which was regularly reprinted throughout the 16th century. Rare: ESTC records only 6 copies of this translation, only the Huntington and Yale in the U.S. STC 22484; Alston VI, 8. Sherry's work "is a mirror of one variation of rhetoric which came to be called the rhetoric of style. As a representative of this stylistic school.it carries forward the medieval concept that ornateness in communication is desirable; it suggests that figures [of speech] are tools for achieving this ornateness; it supplies examples of ornateness to be imitated in writing and speaking; it supports knowing the figures in order to understand both secular and religious writings; it proposes that clarity is found in the figures. In short, the work assisted Englishmen to understand eloquence as well as to create i" (Herbert W. Hildebrandt in his introduction to the 1977 facsimile reprint). [Attributes: Hard Cover]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        Le Risposte Cavalleresche del Mutio Iustinopolitano

      1550 - In Vinegia a Ppresso Gabriel Giolito de Ferrari e Fratelli. MDL ( 1550). En 8º menor. Encuadernación siglo XVIII en plena piel, cortes marmoleados, 121 folios 1 h. con marca del impresor. Buen ejemplar. [Attributes: Hard Cover]

      [Bookseller: C.M.Garrido]
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        Contrasehtung der fürnemen Statt Venedig/sampt den umbligenden Inseln 1550 Early Bird's Eye View of Venice Italy (Renaissance Era)

      Heinrich Petri, Basel 1550 - This beautiful 1550 bird's-eye view of Venice depicts the historic city of Venice within the Venetian Lagoon. Rendered beautifully to contrast the calm shallow lagoon with the turbulent seas beyond the sand banks, the view depicts the sestiere of Venice and includes two text blocks describing the city and its history. The generalized style of many of the buildings allow finer architectural detail in churches, buildings, and city walls to stand out. A few sail boats can be seen in the waters.This 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. In good condition with minor wear along the original centerfold. Some foxing and staining at places. Overall age toning. Closed verso repairs along top margin. Original plate mark is visible.Professor Sebastian Munster (1488-1552) was a German cosmographer, humanist, theologian and scholar. His seminal work "Cosmographia" was published in numerous languages and is considered the most popular book of the 16th century. Furthermore, Munster is also credited with contributing to a revival of geography in Germany. Wonderful black and white example. Map. Uncolored woodcut. Sheet measures 14" x 16.5".

      [Bookseller: Argosy Book Store, ABAA, ILAB]
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