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

        La Circe

      appresso Lorenzo Torrentino a di XXII de Maggio 1550 In fine: stampato in Fiorenza appresso Lorenzo Torrentino, a di XXII de Maggio, 1550. In 16mo; pp. 224. Bel frontespizio silografato, al verso ritratto dell?autore. Lievi tracce d?umido. Pergamena coeva, titolo calligrafato al dorso. Gamba, 492: ?Questa rara edizione, vieppiù corretta della prima (1549), e ritoccata qua e là con pregevoli cangiamenti di lezione, volevasi per ogni verso citata dalla Crusca?; Moreni, Annali tipografia Torrentino, pp. 96-97; S.T.C., pag. 293.

      [Bookseller: Studio Bibliografico Casella]
 1.   Check availability:     maremagnum.com     Link/Print  


        Statuti della Honoranda Universit? de Mercatanti della inclita Citt? di Bologna Riformati l'Anno MDL.

      Subject: (Bologna - Economia). Bologna, per Anselmo Giaccarello, 1550, in-folio, pergamena coeva, dorso (a tre snodi) rinforzato sempre all'epoca e con titolo manoscritto, grande marca tipografica al frontespizio, pp. (8)-(252) in cc. numerate 1/126. Sorbelli, 101. ( . sulle lettere di cambio, .. sensali, vendita e distrattione delli pegni, ecc. ecc.)

      [Bookseller: LIBRERIA PIANI]
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        I SETTE LIBRI DELL'ARTE DELLA GUERRA, di NICOLO MACHIAVELLI cittadino et secretario fiorentino

      No place or printer, 1550.. 1550, small 4to, approximately 210 x 145 mm, 8¼ x 5¾ inches, vignette portrait of the author on title page, at the rear are 7 double page plans of battles and encampments, Italian text, pages: 185 plus 18 unnumbered, 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 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]
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        De subtilitate Libri XXI

      Iohan Petreium [John Petreius], Norimbergae [Nuremberg] 1550 - Rare 1550, 1st ed, Norimbergae ed. In fill contemporary calf, double ruled boxed tooling, gilt decorative corners, some marks, blind tooling to edges, some repairs to tips. New spine to style, raised bands, blind and gilt tooling, no title. Internally, contemp ink notes to fpd, lacking titlepage, begins Aii, with a small oval stamp at base, [32], [2], 371 pp, [1], numerous illustrations, printers devices, professional repair to 1 leaf in index, last 5 leafs with repair to edges, name and title to text block edge by hand, occasional underlining, some very light browning at page edges. A lovely copy! Uncommon in any form. (Osler 2238 later ed. Baudrier 173. Adams C668). Gerolamo (or Girolamo, or Geronimo) Cardano (French: Jérôme Cardan; Latin: Hieronymus Cardanus) was an Italian Renaissance mathematician, physician, astrologer and gambler.[1] He wrote more than 200 works on medicine, mathematics, physics, philosophy, religion, and music.[2] His gambling led him to formulate elementary rules in probability, making him one of the founders of the field. His popular fame was based largely on books dealing with scientific and philosophical questions, especially De subtilitate rerum (¿The Subtlety of Things¿), a collection of physical experiments and inventions, interspersed with anecdotes. Wiki. [Attributes: First Edition; Hard Cover]

      [Bookseller: Madoc Books]
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        Historia Hugonis Falcandi Siculi de rebus gestis in Siciliae regno

      apud Mathurinum Dupuys, excudebat Guil. Morelius, 1550 Historia Hugonis Falcandi Siculi de rebus gestis in Siciliae regno, iam primum typis excusa, studio et beneficio Reverendi D. Domini Matthaei Longogei Suessionù pontificis et regni Galliae ab interiore ac penitore consilio. Parisis, apud Mathurinum Dupuys, excudebat Guil. Morelius, 1550. In 8vo; cc. 16n.nn., pp.191, 1 n.nn. con il colophon. Pergamena molle. Fori da tarlo al front. Edizione originale. Adams F, 123; Giustiniani, Bibl. Storica, pag. 135: ?L?autore scrisse il periodo della storia di Sicilia dal 1146 al 1169, che comprende il regno di Guglielmo I e parte di Guglielmo II?. Notizie sulle industrie manifatturiere e agricole dell?isola. Mira I, pag.335; Narbone I, 173.

      [Bookseller: Studio Bibliografico Casella]
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        De mensuris et ponderibus Romanorum atque Graecorum; De externis mensuris et ponderibus; Ad ea, quae Andreas Alciatus denuo disputavit? brevis defensio; De mensuris, quibus intervalla metimur; De restituendis ponderibus atque mensuris; De precio metallorum et monetis

      Basilea, Froben, 1550. 1550 In folio, c.nn. 4, p. 340, c.nn. 8. Edizione definitiva, di molto ampliata rispetto alla prima (del 1533). Le ultime tre parti sono qui in prima edizione. Grandi marchi tipografici al frontespizio e al verso dell'ultima carta. Ottimo esemplare. Perfettamente restaurato il margine inferiore del frontespizio. Legatura in pergamena coeva. (Adams, A 344).

      [Bookseller: Studio Bibliografico Marisa Meroni]
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        L'ETHICA D'ARISTOTILE TRADOTTA IN LINGUA VULGARE FIORENTINA ET COMENTATA PER BERNARDO SEGNI

      In Firenze, Lorenzo Torrentino, 1550.. FIRST ITALIAN TRANSLATION, 1550, Italian text, small 4to, 225 x 150 mm, 9 x 6 inches, title within woodcut pictorial architectural border with the Medici arms at the top and a small view of florence at the bottom, large historiated initial to each of ten books, some diagrams in the text, a few full page, pages: 1-547, (13), occasional misnumbering of pages, errata on verso 547, 9 pages of index, colophon on verso (9), final leaf is a blank, collation: a-z4, A-Zz4, AA4, aii signed aiii in error. Bound in full contemporary limp vellum, old hand lettering virtually disappeared. Spine darkened, diagonal crack across spine, 50 mm (2") crack to top of upper hinge, lower cover wrinkled, slightly spotted and with small crack to fore-edge, front pastedown missing, Spanish inscription dated 1672 on front endpaper, rear endpaper missing, a little pale staining to margins of title page and to lowest section with imprint, this lowest stain persisting in the lower margin to page 40, the previous owner has written his surname unobtrusively in a couple of margins, very occasional small stains to margins, mostly very clean, closed tear to margin of Gg1, another across lower margin of Tt4, both neatly repaired. Binding tight and firm, a very good copy. Bernardo Segni (1504-1558) was a humanist scholar and diplomat born in Florence. He translated several of Aristotle's works into Italian. This translation is dedicated to his patron Cosimo de' Medici. Brunet, Volume I, 467; Adams, Volume I, No. 1837 (listing only the second edition published in Venice in 1551). MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        Bibel - Alt und new testament nach dem text in der hailigen Kirchen gebraucht durch Doctor Johann Ecken mit fleiss auf hochteutsch Verdolmetscht

      Ingolstadt: Alexander und Samuel Weissenhorn Gebruder, 1550. Livre. Bon. Cuir. In-folio. Ingolstadt, Alexander und Samuel Weissenhorn gebruder, 1550. 31 x 20 cm (R), format in-folio ([1]6, *4,a-z6, A-Z6, AA-ZZ6,Aaa-Ooo6,AAa-XXx6,YYy8), 10 ff. n. ch. (dont titre frontispice, préfaces et table) - 498 ff. foliotés I à CCCCXCVIII - 1 f. n. ch. (titre de la deuxième partie, avec le même encadrement gravé que le premier titre) - 133 ff. foliotés I à CXXXIII - 1 f. n. ch. - 2 ff. bl., nombreuses lettrines et figures gravées sur bois dans le texte, reliure allemande de l'époque en plein veau brun sur ais de bois, chaque plat décoré de quatre écoinçons et d'un ombilic en laiton, filets en encadrement et en diagonale estampés à froids et fleurons en rosette répétés, dos à 4 nerfs, chaque entre-nerfs étant orné de trois rosettes à froid, fermoirs, clous sur les coupes. Deuxième tirage de cette Bible catholique publiée une première fois, également à Ingolstadt, en 1537. Ce tirage ne diffère avec la première édition que par la date imprimée au titre. La Bible de Luther, dont la publication commença en 1522 et s'acheva en 1534, appela une riposte de la part de l'Eglise catholique. On connaît trois séries de Bibles "catholiques" allemandes rédigées par des biblistes et polémistes contemporains adversaires de Luther : celle de Hieronymus Emser (Dresde, 1527), celle de Johann Dietenberger (Mayence, 1534) et celle-ci (qui connut trois éditions identiques à Ingolstadt en 1537, 1550 et 1558), qui est une révision de celle de Emser, pour ce qui concerne le Nouveau Testament (BTT, 5, p. 213). Les deux derniers feuillets blancs comportent divers ex-libris et ex-dono d'époque. Des trous de vers au premier plat et dans les mors, 4 clous remplacés récemment, 7 boulons élimés, quelques mouillures angulaires claires, une vingtaine de feuillets rognés un peu court avec parfois de petites pertes de lettre dans les annotations marginales, une déchirure angulaire à un feuillet avec perte de texte, quelques restaurations, dont le titre remonté et le colophon remonté avec des pertes de lettre complétées à la plume. Ces menus défauts ne doivent pas faire oublier que cette bible est dans l'ensemble en bel état. Sa reliure d'époque bien conservée rend cette édition importante fort désirable. (GRAESSE, I, 378).

      [Bookseller: Des livres autour (Julien Mannoni)]
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        LA MOGLIE

      1550: GABRIEL GIOLITO DE FERRARI e fratelli, This is the first edittion, first printing of the comedy in miniature which was later published and bound with many other works of the same author. Volume contains 43 leaves [i.e., 86 pages] with title leaf and terminal leaf bearing woodcut design of the printer's; measures approx 5.5" tall x 3.25" wide. Quite a find and a very worthy acquisition indeed. With many wignettes throughout the book, bound in modern decorated paper wraps; light cover wear, old ink spotting to two facing pages, clean internally. A scarce find ! This important 16th century treatise was written by Giovanni Maria Cecchi [also Giovan Maria Cecchi] and printed by Gabriel Giolito de Ferrari e fratelli, Venice, Italy. Published during author's lifetime, the present text contains the comedy "La Moglie" [i.e., "The Wife"], one of his principal works. Giovan Maria Cecchi (1517-1587) was the most prolific and popular of the 16th century Florentine dramatists. His work did much to revive theater during the Italian Renaissance. We could not locate another obtainable copy. [Adams 1218].. First Edition FIRST PRINTING. Printer Wrapper. Very Good. 24mo - over 5" - 5¾" tall.

      [Bookseller: erlich, kramer & associates Antiquarians]
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        Examen ordinandorum. Ad quaestiones sacrorum ordinum, candidatis in dioecesi Mogu(n)tinesi proponi consuetas,

      Mainz, Franz Behem 1550.. kl.-8°. 60 Bll. Pgmt. d. Zt. über Holzdeckel. Im Fußsteg durchgehend braunrandig. EA VD 16, W 2950.; ADB VI, 721f. - Johann F. Ferus (eigtl. Johann Wild) geb. 1494 in Mainz - 1554, berühmter franziskan. Prediger und Exeget. Die vorl. "Skrutinien" waren Prüfgespräche zur Priesterweihe in der Erzdiözese Mainz.

      [Bookseller: Antiquariat Burgverlag]
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        Emillio probo de gli huomini illustri di Grecia. Tradotto per Remigio Fiorentino

      Vinegia: Gabriel Giolito dè Ferrari e Fratelli. [Giolito-Prima Edizione] (cm.17) buon cartonato policromo decorato a stampo sec. XVIII.-- cc. 4 nn., cc. 72. Elegante corsivo e molti bei capolettera figurati. Marca tipografica al frontis e in fine. La dedica a M. Pietro di Domenico Buoninsegni è datata 26 giugno 1550. Edizione originale della prima traduzione in Italiano e la prima in qualsiasi lingua volgare. L' opera non è di E. Probo ma di Cornelio Nepote come attestano le ampie note nelle varie bibliografie che citiamo. Questa traduzione del Remigio resta la migliore nonostante ve ne siano state altre nel '700 e '800. Alcune noticine a lapis ai margini bianchi, moderati aloni a varie carte peraltro ottimo esemplare fresco e ben marginato.[f56] . ottimo. Rilegato. prima edizione. 1550.

      [Bookseller: Libri antichi e rari Francesco e Claudia]
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        I SETTE LIBRI DELL'ARTE DELLA GUERRA, di NICOLO MACHIAVELLI cittadino et secretario fiorentino

      No place or printer, 1550.. 1550, small 4to, 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 185 plus 18 unumbered, 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 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.  POSTAGE AT COST.

      [Bookseller: Roger Middleton]
 12.   Check availability:     Biblio     Link/Print  


        Außlegung deß Evangelij, Marci: VIII. Am sibenden Sontag nach Trinitatis. Von der speysunge Christi

      Ulm, Varnier 1550. 21 cm. (62) S., ohne das letzte weiße Blatt. Neuer Buntpapier-Umschlag - VD16 S 4863 - Erste von insgesamt zwei Ausgaben. Auslegung "Von dreyen mirackeln der speysunge Christi, und, was sie haben bedeutet" (Einleitung). Blattränder stellenweise fleckig bzw. Feuchtigkeistränder -

      [Bookseller: Wenner Antiquariat]
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        Quadratnoten. Lateinische Notenhandschrift aus einem Chorbuch. Mit 1 Schmuck-Initiale "A" (10,5 x 7,5 cm) in Blau mit Verzierung und Ausschmückung in Rot. Text und Noten schwarz, abwechselnd mit 5-linigem rotem Notensystem

      Pergament um 1550. 77x58 cm. Blattgröße - Mit einer weiteren großen Initiale "T" in Schwarz. Notiert ist das Aleluja (Halleluja) mit Versanfang "Tu esua selemane". Beidseitig beschrieben. Etwas wellig, Notenlinien durch Feuchtigkeitseinfluß stellenweise verwischt. Unterer Rand materialbedingt unregelmäßig.

      [Bookseller: Wenner Antiquariat]
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        Quadratnoten. Lateinische Notenhandschrift aus einem Chorbuch. Mit 1 Schmuck-Initiale "D" (11 x 7 cm) in Rot mit Verzierung und Ausschmückung in Blau. Text und Noten schwarz, abwechselnd mit 5-linigem rotem Notensystem

      Pergament um 1550. 77x58 cm. Blattgröße - Text zur Initiale: "Diffusa est gratia ..." Beidseitig beschrieben. Auf der Rückseite weitere große Initiale "L" in Schwarz. Etwas wellig, Notenlinien durch Feuchtigkeitseinfluß stellenweise verwischt. Unterer Rand materialbedingt unregelmäßig.

      [Bookseller: Wenner Antiquariat]
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        Quadratnoten. Lateinische Notenhandschrift aus einem Chorbuch. Mit 1 Schmuck-Initiale "C" (11 x 7 cm) in Blau mit Verzierung und Ausschmückung in Rot. Text und Noten schwarz, abwechselnd mit 5-linigem rotem Notensystem

      Pergament um 1550. 77x58 cm. Blattgröße - Text zur Initiale: "Constitues eos principe ..." Beidseitig beschrieben. Auf der Rückseite weitere große Initiale "D" in Schwarz. Etwas wellig, auf der Rückseite Offsetspuren. Unterer Rand materialbedingt unregelmäßig.

      [Bookseller: Wenner Antiquariat]
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        Quadratnoten. Lateinische Notenhandschrift aus einem Chorbuch. Mit 1 Schmuck-Initiale "V" (11 x 7,5 cm) in Rot mit Verzierung und Ausschmückung in Blau. Text und Noten schwarz, abwechselnd mit 5-linigem rotem Notensystem

      Pergament um 1550. 77x57 cm. Blattgröße. - Text zur Initiale: "Veritas mea et misericordia ..." Beidseitig beschrieben. Auf der Rückseite weitere große Initiale "G" in Schwarz. Etwas wellig, im rechten Rand Einstiche aus alter Heftung. Unterer Rand materialbedingt unregelmäßig.

      [Bookseller: Wenner Antiquariat]
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        Quadratnoten. Lateinische Notenhandschrift aus einem Chorbuch. Mit 1 Schmuck-Initiale "F" (11 x 7,5 cm) in Rot mit Verzierung und Ausschmückung in Blau. Text und Noten schwarz, abwechselnd mit 5-linigem rotem Notensystem

      Pergament um 1550. 77x57 cm. Blattgröße - Text zur Initiale: "Fidelis servaet.." Beidseitig beschrieben. Rand links Einstichlöcher aus alter Heftung, in den Noten kleines Loch. Im Oberrand 5 cm Einriß. Unterer Rand materialbedingt unregelmäßig.

      [Bookseller: Wenner Antiquariat]
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        Quadratnoten. Lateinische Noten-Handschrift mit 1 Schmuckinitiale "B" (11 x 7 cm) in Rot mit Verzierung und Ausschmückung in Blau. Text schwarz mit roten Hervorhebungen, abwechselnd mit 5-linigem roten Notensystem

      Pergament um 1550. 73x55 cm. Blattgröße - Text zur Initiale: "Benedicta et venera ..." Beidseitig beschrieben. Rückseitig große Initiale "A" in Schwarz. Etwas wellig, rückseitiger Text durch Feuchtigkeitseinfluss etwas verwischt. Unterer Rand materialbedingt unregelmäßig.

      [Bookseller: Wenner Antiquariat]
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        Teutsche Speiszkammer: inn welcher du findest was gesunden vnnd kranken Menschen zur Leibs narung vnd desselben gepresten von nöten. Auch wie alle Speis vnd Dranck Gesunden vnd Krancken jeder Zeit zur Kost vnd artznei gereichet werden sollen

      Strassburg: Wendel Rihel, 1550. Very rare first edition of the botanist Hieronymus Bock’s gastronomic treatise, Teutsche Speizkammer, or German Larder, a theme the author asserts has never before been treated in German. Proclaiming both the history and practical application of numerous remedies and healthy foodstuffs, the book ranges in topic from wine (and some wine-snobbery), cheese, bread-baking (rye, wheat and barley), to herbs (ginger, pepper, cardamom, cloves, saffron and others, as well as alchemical and non-alchemical salts). Each section opens with a short description of the material, an assessment of the best kinds available, the names by which it has been known since antiquity, and its medicinal properties. The order in which they appear reflects logical pairings of foods that are commonly eaten together, or that are related, ie salt and bread, bread and wine, vinegar and oil.Bock notes Plautus’ view of common cooking salt as “the best spice on earth.” He also emphasizes its simplicity by repeating Diogenes’ tart rejoinder to a lavish dinner invitation—that he’d rather ‘lick salt in Athens.” Bock enumerates seven salts used by alchemists (presumably including the medicinally-inclined Paracelsus). These include normal table salt, as the “key” to alchemical experiments, among other compounds: an ammonia salt, an alkalai salt, a urine-based salt, a saltpeter and nitrate salt, a gemstone salt, and a “Tartarus” salt boiled from winestone, and finally, sea-salt (Arabs apparently endorsed the Adriatic variety). While alchemy could have medicinal applications, Bock mainly describes the internal and external cures effected by regular salt. These include salt in honey for gout or a scorpion sting.Lengthy sections on wine and oil are not limited to the liquids’ medicinal and culinary function, but also describe their uses for artists (oil) and overuse (wine). One of the external applications for oil is to bind the pigments used by painters and sculptors in coloring and varnishing their creations. The chapter on “Which is the Best Wine,” show’s Bock’s eminent pride in the golden “Traminer” (called Gewurtztraminer from the 19th century) produced by “We Germans.” The health benefits of this “sweet smelling and mellow-tasting” wine include the restoration of blood to the extremities. Bock is so pleased with German wine that he eschews the achievements of all other territories: “Italian and other lands may write and say what they will of the fame of their wine.” One of the earliest wine connoisseurs, Bock is also known as the first to mention Riesling—soon after the present publication (in his 1552 Latin Herbal).Other liquids required digressions, including the section on Ass’ Milk notes that Nero’s wife Pompeia was said to have salved her entire body in it after her bath as part of her beauty regime. A “Nota Bene” annotation in a later hand is appended to the next paragraph—which counters this decadence with the peasant alternative, an herb named “Ass’ head,” which was used to alleviate drunkenness. The final, lengthier chapter, “Von Pancketieren und Schlaff drünken” on overeating and drinking at night before bed also deals with this commonplace complaint. Bock was one of the foremost German botanists of the mid-sixteenth century, ranked with Brufels and Fuchs. Although he refers to Pliny and other classical authorities in the Teutsche Speisekammer, in his botanical classifications he was able to see connections in real specimens without relying on the classics.OCLC: BSBNUC: LC, U. Indiana (Lilly Library) Also in BL(1555) NY Academy of Medicine; U. Minnesota (Bio-Med); Wellcome. 4to. (19.3 x 15.5 cm) (14), cxv, cxv-cxix leaves. Bound in modern gilt-ruled calf, with several marginal annotations in a slightly later hand. Faded waterstaining to right margin, marginal repair to Aii and Jiii not affecting text, and one word abraded off page on Siii. Worming in lower margin near spine (Vi-Ciii). Generally a fresh and unwashed copy.

      [Bookseller: Martayan Lan, Inc.]
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        Postill. Uber das Evangelium Johannis iij. Am Sonntage Trinitatis Von der Widergeburt. MDXLVII

      Ulm, Varnier 1550. 20 cm. (104, letzte weiß) Seiten, Buntpapier-Umschlag - BM STC German Books 802 - Schottenl. Bibl. 19688 (vgl.) - VD16 S 4948 - Mit Anhang (M2 - N4) von Johannes Sigmund Werner: Ain ander Sermon auffs Evangelium Johan: III. auß der Postill Johannis Werneri (vgl. VD16 W 2058). Am Schluß von Schwenckfelds Text (M1 vo.) ist der Verfassername gelöscht mit zeitgenöss. Vermerk "1579. Nil Christo triste recepto". Erste Blatt fingerfleckig, im Anfang und Schluß 15 Blatt im Rand restauriert -

      [Bookseller: Wenner Antiquariat]
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        DE MEDICINALI MATERIA LIBRI SEX

      Lvgdvni: Apud Balthazarem Arnolletum, 1550. Hardcover. A Splendid Copy in Contemporary Pigskin Of a 16th Century Edition of Dioscorides. 184 x 114 mm (7 1/4 x 4 1/2"). 16 p.l., 790 pp. (plus original blank and nine apparently later blank leaves at the end). Translated by Jean Ruel. SPLENDID CONTEMPORARY BLINDSTAMPED PIGSKIN, covers with blind-ruled frame and two roll tooled panel borders, the outermost with repeating panels featuring the initials "S. I." with a crown and stars above and a scallop shell below, inner frame with flower and leaf stamps enclosing a central panel with repeating botanical images (the date "1550" stamped above it on the upper cover), raised bands, spine panels tooled in blind, remnants of clasps, rear pastedown slightly(?) later. Woodcut printer's device on title page, decorative initials, and 365 WOODCUT ILLUSTRATIONS BY CLÉMENT BOUSSY (mostly botanical, but a few zoological) IN THE TEXT. Front pastedown with bookplate of the Horticultural Society of New York (Bequest of Kenneth K. Mackenzie) and their discreet embossed stamp on p. 71; later woodcut pasted over ink library ("Bibliothek") stamp on verso of title page. Wellcome I, 1789; Durling 1153; Pritzel 2306; Nissen BBI, 499; Baudrier X, 127. Minor stains and slight rubbing to covers, trivial imperfections internally, but A REMARKABLY FINE COPY, the excellent period binding tight and with no significant wear, and the text surprisingly clean, fresh, and bright. This is an extraordinarily pleasing copy, in a most appealing contemporary binding, of an early edition of one of the major texts in the history of botany. A Greek citizen of Cilicia, Dioscorides (fl. 50 A.D.) was a physician to the Roman legions, and in this capacity he travelled through many regions, collecting information on plants that he compiled into the present book, a work of great labor and research that was considered authoritative on both botany and medicine for no less a period than 16 centuries. During this long period, says E. L. Greene, Dioscorides "was looked up to as the sole authority, so that everything botanical began with him. Everyone who undertook the study of botany, or the identification of medicines swore by his words. Even as late as the beginning of the 17th century both the academic and private study of botany may almost be said to have begun and ended with Dioscorides." And even after it became a work of curiosity rather than utility, Dioscorides' "Materia Medica" became a valuable document "in drawing up a history of the state and progress of medicine." (Smith) The work consists of an account of the names and healing virtues of approximately 500 plants, and these descriptions served as the basis for the commentaries of many of the celebrated herbalists of the 16th and 17th centuries, including Mattioli, Dodoens, Fabio Colonna, and the Bauhins. Early editions of Dioscorides show up for sale, but, since his work has always been a frequently consulted text, these copies are normally found badly used. This is the fourth printing of the plant engravings by Boussy, to which Arnollet has added 12 zoological engravings that he had previously used in two different French "Descriptions of Animals," one by Aneau (1549) the other by Gueroult (1550). The translation from Greek to Latin by Jean Ruel (1479-1537), a French royal physician, was first printed in 1516 by Henri Étienne.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Tes Kaines Diathekes hapanta : Euangelion kata Matthaion. Kata Markon. Kata Loukan. Kata Ioannen. Praxeis ton Apostolon = Nouum IESU Christi D.N. Testamentum. Ex Bibliotheca Regia

      Lutetiae : Ex officina Roberti Stephani typographi Regii, Regiis typis, 1550. Third Greek New Testament published by Robert Etienne, 1550, all before "Nouum" in the title is in Greek type, Part 2 has title (in Greek type): Paulou tou Apostolou epistolai. Folio, approximately 330 x 220 mm, 13 x 8¾ inches, printer's basilisk device on each title page, large historiated initials, historiated architectural headpieces and columns to canons of Eusebius, other decorated headpieces, ruled in red throughout, pages: [32], 1-268 [268 misnumbered 272], 1-202, PART II LACKING PAGES 193/194 AND FINAL UNNUMBERED LEAF WITH ERRATA, COLOPHON AND PRINTER'S DEVICE, collation: *8, **8, a-q8, r6; A-M8, N6 (-N1 and N6), contents: title-leaf; preface by R. Stephanus, in Greek and Latin (1 leaf); "Hypomnema peri tou Euangeliou" by St John Chrysostom (Greek: 7 pages); canons of Eusebius (7 pages); "Pinax martyrion" (passages from the Old Testament: 5 leaves); Greek verses by H. Stephanus (1 leaf); Sophronius' life of Matthew, and "Prooimion" to Matthew by Theophylact (1 leaf); Greek text of Gospels and Acts (p. [1]-272); title-leaf to Part II and Greek text of epistles and Revelation (p. [1]-202). Rebound in old reverse calf, gilt ruled border to covers, gilt lettered leather label to upper cover, another to spine, raised bands, speckled edges. Binding worn, hinges mostly cracked, covers holding firmly, 30 mm (1¼") leather repair to head of spine, tail of spine slightly worn, edges and corners slightly worn, 1 corner repaired, a few stains to covers, spine darkened, label rubbed with loss of gilt, upper cover label rubbed, lettering still legible, 20th century armorial bookplate on front pastedown, rear pastedown missing, neat inscription at top of front endpaper, original endpaper carries on reverse the supposed signature of the great Cardinal Charles de Lorraine (1524-1574) with Latin notes in a 16th century hand below it, signature of La Curne in lower margin of title page (Jean-Baptiste de La Curne de Sainte-Palaye? (1697 – 1781) French historian, classicist, philologist and lexicographer), with a few words partially erased next to it, single tiny wormhole from original endpaper to a5, faint browning to a1, interlinear translation into Latin in a faint brown tiny hand on pages 1-21, intermittent faint browning to margins, 3 fore-edges expertly remargined, no loss of print, 10 mm (½") chip to lower edge of a4, faint damp staining to top margin of c3-c7, d7-e1, f2-f3, and M4 and N3, small rust mark to page 49 with loss of a couple of Greek characters, very occasional small mark or pale stain to margins, small light ink stain on page 14, no loss of legibility, otherwise a clean tight copy lacking 1 leaf of text and the colophon leaf. "The third and most important of R. Stephanus' editions, known as the Editio Regia. From this the 'Textus Receptus', found in ordinary Greek Testaments, is substantially derived ... In this third recension the text is more closely conformed to that of Erasmus ... The most interesting feature of this Testament is the critical apparatus, printed in the inner margin of the text, which gives various readings and additions from MSS. collated by H.Stephanus, and also from the Complutensian ... [The text is] printed in the large 'Royal' type." Darlow and Moule, Volume II Part II, 4622; Mortimer, Harvard, French 16th Century Books, Volume I, No. 78. The label on the upper cover reads: "Exemplaire ayant appartenu au Cardinal de Lorraine" (Copy which belonged to the Cardinal of Lorraine) however proof is lacking that the signature on the original front endpaper is that of the famous Cardinal, protector of Rabelais and Ronsard, founder of the cathedral of Rheims. The 16th century Latin note below the signature affirms that it is genuine, but claims unequivocally that the Latin translation on the first 21 pages is not in the hand of the very learned Cardinal, and complains that it spoils the elegance of the book. MORE IMAGES ATTACHED TO THIS LISTING. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        ALEXANDRI Ab ALEXANDRO, Iurisperiti Neapolitani, Genialivm Diervm Libri Sex, Varia ac Recondita Ervditione Referti, Accuratius & maiore side quˆm antehac vsquam impressi, cum duplici indice

      Parisiis [Paris]:: Apud Ioannem Roigny vi Iacobea, sub insigni Basilisci, & Quatuor Elementorum.. 1550.. Folio: a - e^6 f^8 A - 2H^6 [- 2H6, a blank]. 12-3/4" x 8-1/2". Early edition, 1st published in 1522. Not in Adams, though see entry 721 for a 1549 edition by Roigny. 76], 370 pp.. Contemporaneous binding, composed of waste vellum which shows a faint hint of manuscript lettering. Title hand-inked to spine, as well as text-block bottom edge. Cords visible. Remnants of leather ties to covers' 3 edges.. General soiling to binding. Wear to spine ends. Age-toning to. paper. Very minor worming to lower margin at rear of text block. A. solid VG copy.. Alexandro, Italian jurist of Naples, studied law at Naples and Rome, later practicing in both cities. Subsequently, he became dissatisfied with the corrupt administration of justice, quiting the bar & devoting himself to literary pursuits. & & His "Genial Days" discusses his growing disgust with pervasive injustice, ignorance & arbitrary disregard of the laws, citing several cases as examples. The work also touches on religious matters, government, grammar & textual criticism, superstition social customs, military affairs, history & philosophy, and even Roman antiquities. This work a popular one, and here we offer an early 16th C edition, in an interesting period binding, of the widely circulated title, which went through many editions during the 16th & 17th C., especially in Italy & France. . T.p. woodcut device, "Prelum Ascensianum".

      [Bookseller: Tavistock Books, ABAA]
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        Commentaria

      Venice: Heironymous Scotus, 1550-1551. Quarto. 75ff. Woodcut device on title page and last leaf, several geometrical text figures, two ten-line and two five-line initial capitals. A book of commentary by the sixth-century Greek philosopher Philiponus, who also went by the name John the Grammarian for his scholarship on language. This copy of Commentaria features a colorful binding of Italian decorated paper, likely from the eighteenth century, and an unusual pastepaper spine. Front and back covers each bear two repeated illustrations of architectural landmarks within oval frames, and these are surrounded by floral designs. One of the illustrations shows the famous bridge at Bassano designed by the great sixteenth-century Italian architect Palladio; the other is likely a depiction of La Rotonda in Vicenza, also designed by Palladio. Slight wear to lower extremity and upper corners, worm holes to bottom interior margins affecting about two-thirds of the leaves to varying degrees, else fine and bright. Bookplate.

      [Bookseller: Bromer Booksellers]
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        L'Archittetura.tradotta in lingua Fiorentina.con la aggiunta de Disegni

      Florence: Lorenzo Torrentino, 1550. Hardcover. Very Good. Folio - over 12 - 15" tall. Folio [33.5 x 21.5 cm], 404 pp., (12) ff., including architectural title, medallion portrait of Vasari on verso, and 83 woodcuts, of which 37 are full-page, plus 2 unsigned leaves which form upper extensions of the buildings pictured on A4v & Av5, bound following and preceding respective leaves (eg unmounted). Bound in 18th century half calf and patterned paper over boards, with calf corners, fore-edges marbled. Minor discoloration to small area of title. Ex libris of C.O. Riccati, most likely a relation of the mathematician Jacopo Francesco(1676-1754) on front end pastedown, and ownership inscription of the Jesuit college at Bologna on title. A few cuts printed to outer margin shaved. Pale waterstain to a few leaves, but generally a tall and fresh copy with good strikes of the cuts. Scarce, first illustrated edition and exceptionally fine copy of the first printed treatise on architecture (Latin editio princeps 1485), a learned amalgam of Vitruvius and 15th-century building practice generally regarded as establishing architecture as an independent subject. This is the second translation into Italian (first by Pietro Lauro, 1546), and its elegant Tuscan dialect and illustrations reflecting mid-sixteenth century building practice fundamentally fixed the text and its interpretation according to late Florentine Renaissance norms. Although the work's seminal place in the history of architectural theory has been unquestioned - "perhaps the most significant contribution ever made to the literature of architecture" (Krufft)--, the lack of illustrations severely hampered its practical usefulness as a building manual, a fault remedied for the first time by the present edition. "Bartoli was in the service of the Church and the Medici for the greater part of his life: his friendship with Vasari may have established his patterns of taste. His fortunate inheritance of a group of 15th-century manuscripts, among them the writings of Alberti and the Zibaldone of Buonaccorso Ghiberti, caused him to undertake one of his major enterprises - the translating of Alberti's De re aedificatoria, which despite its fame and probably because of its profundity, was seldom published. Bartoli's version is the first illustrated edition, and the second translation of his work.The illustrations with their emphasis on contemporary building practice, and their simple even derivative character reflect mid-century concerns on relating practice to theory. The translation would become the standard edition of Alberti's treatise and the source of the eighteenth century Leoni folio edition." - Wiebenson I-15. * Fowler 6; Mortimer Italian 12; Wiebenson I-15; Judith Bryce, Cosimo Bartoli (1503-72). The career of a Florentine Polymath (Geneva 1983); H.-W. Krufft, A History of Architectural Theory, p. 49.

      [Bookseller: Martayan Lan, Inc.]
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        Außlegung deß Evangelij, Luce: XVI. Amm ersten Sontag nach Trinitatis. Vom reichen Manne, und dem armen Lazarus. MDXLVII

      Ulm, Varnier 1550. 21 cm. (60, letzte 2 weiß) Seiten; Neuer Buntpapier-Umschlag - Hohenemser 3540 - VD16 S 4861 - In der Einleitung zählt der Verfasser 31 Punkte auf, die auf die in der Predigt besonders eingegangen wird, und a.: Von zweyerley reichen; Vom rechten brauch der leiblichen gütter und zeitlichen gaaben Gottes; Von der pein der verdampten in der hell; Von Abrahams zweyerley kinder ...; Vom Abstieg Christi zu den hellen ... - Blattränder stellenweise fingerfleckig bzw. Feuchtigkeitsränder -

      [Bookseller: Wenner Antiquariat]
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        Gregoriou tou Nazianzenou tou theologou Apanta, ta mechri nyn euriskomena, ... Tou autou bios, syngrapheis ypo Souida, Sophroniou, kai Gregoriou tou presbyterou. En Basileia : analomasi Ioannou tou erbagiou (En Basileia : analomasi Ioannou tou erbagiou, 1550 menì Boedromioni \15 IX-15 X!)

      pergamena. Esemplare completo, alcuni piccolissimi buchi nel frontespizio, alcune macchie nt. ma in generale esemplare più che buono. Con saltuarie annotazioni antiche a margine con lo stesso carattere greco correttive degli errori tipografici del testo.

      [Bookseller: Libreria Chiari]
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        Das ander alter der Werlt

      Una nuova carta del mondo fu preparata da Sebastian Muenster nel 1550, per la sua Cosmographia; la carta, intagliata da David Kandel (monogramma in basso a sinistra), sostituiva quella apparsa nelle precedenti edizioni della Geographia e poi della Cosmographia. La mappa è basata su diverse fonti cartografiche, e tiene conto delle recenti scoperte in America di Verrazano (1522-24) e Cartier (1534-35); le coste occidentali del nuovo continente appaiono curiosamente nella parte destra della carta. Il mappamondo del Muenster è inoltre la prima carta che nomina il ?Mare Pacificum?, mentre l?Australia è presente sebbene non nominata. La carta è riccamente decorata da una cornice ornamentale con 12 putti che simboleggiano i venti; una serie di mostri marini sono presenti nel basso oceano. Xilografia, finemente colorata a mano, lievi restauri alla piega centrale perfettamente eseguiti, in ottimo stato di conservazione. Edizione latina. Bibliografia: Shirley, The Mapping of the World, 92. Dimensioni 380x265. Decorative full colour example of Munster's map of the modern world. This example is from the second woodblock, which includes the engraver David Kandel's initials. The map is richly embellished with sea monsters and 12 windheads. The map first appeared in the 1554 edition of Munster's Cosmographia. The map is based upon a mix of information derived from Verrazano's explorations (1522-24), who mistook the Chesapeake for the Indian Ocean, and Cartier's voyages (1534-35) up the St. Lawrence in search of the Northwest Passage. The west coast of America appears on the right side of the map. This is also the first map to name the Pacific Ocean (Mare Pacificum). Munster is non-committal as to the continuity of North and South America, an unbroken Central America being implied but not clearly shown. Though unnamed, Terra Australis is present but small, only serving to form the Magellan Strait. All of North America is called Terra Florida. Munster here adds further to the current confusion over Taprobana and Ceylon, depicting a Sumatra-shaped Tapbana on the west side of the Indian subcontinent, and Java in the approximately correct size and position of Sri Lanka. Woodcut, fine hand colour, minor repairs on centre fold, otherwise in excellent condition. Latin edition. Basilea Basle Shirley, The Mapping of the World, 92. Dimensioni 380x265

      [Bookseller: Libreria Antiquarius]
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        Trofeo con donna con elmetto

      Bulino, 1550 circa. Da un soggetto di Polidoro da Caravaggio. Buona prova, impressa su carta vergata coeva, con sottili margini, applicata su antico supporto di collezione, in buono stato di conservazione. L?opera appartiene ad una serie che è catalogata nell?indice delle stampe di Antonio Lafrery del 1573 sotto il nome di Libro de Trofei cavati da disegni di Polidoro ad imitazione de gli Antichi. Alla morte del Lafrery (1577), le lastre passarono al nipote Claudio Duchetti e quindi a Paolo Graziani e Pietro de? Nobili. Nell?inventario di quest?ultimo, risalente al 1584, la serie risulta essere di sedici stampe. Tuttavia le lastre risalgono al periodo 1550/53 e sono il frutto della rivalità prima, e fusione poi, delle tipografie di Antonio Salamanca e Antonio Lafrery. Bartsch attribuisce le incisioni ad Enea Vico. Rara. Engraving, about 1550. After Polidoro da Caravaggio. Good impression, printed on contemporary laid paper, with thin margins, laid down an antique mounting, in good condition. This work belong to a series that is listed in the index of prints by Antonio Lafrery of 1573 under the name of Libro de Trofei cavati da disegni di Polidoro ad imitazione de gli Antichi. On the death of Lafrery (1577), the plates passed to his nephew Claudio Duchetti and then to Paul Graziani and Pietro de 'Nobili. In the inventory of the latter dating back to 1584, the series turns out to be sixteen prints. However, the plates back to the period 1550/53 and are the result of the rivalry before, and then merging, printing works of Antonio Salamanca and Antonio Lafrery. Bartsch gives the incisions to Enea Vico. Rare. Bartsch 438, 442, 447; Bury, The Print in Italy, pp. 60/2, 38. Dimensioni 165x243 circa.

      [Bookseller: Libreria Yelets]
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        ANATOMIA DELLI VITII

      In Firenze 1550Sottotitolo:Nuovamente composta,per il R.M. Laurentio Davidico Sacerdote, et feruente Predicatore di Giesu' Christo Crocifisso, e della cattolica verita' - Anno di edizione:1550 - Lingua:Italiano - Pagine:368 - Larghezza cm:10 - Altezza cm:16 - Condizioni del prodotto:Ottime - Tipo copertina:Brossura - Segni particolari:RARO - Pos:ANT01 - Rarissima opera completa divisa in tre parti , pagine 336 + dialogo fra san Pietro e l'autore del disprezzo del mondo , de la mirabile autorita' e podesta' del Papa e della gloria del Paradiso pp 32 Totale pagine 368

      [Bookseller: Librinpiazza.com]
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        Annotatione sopra la Lettione della Spera (sic) del Sacrobosco. - (Colophon:)

      Firenze, (Torrentino), 1550.Small 4to. Contemp. vellum. Several ornamental initials and numerous text woodcuts (3 full-page): globes, stars, planets, scientific instruments, etc. 219 pp.; light dampstain on some leaves but a good copy. First edition of Mauro?s new translation of the 'Sphaera' and of his annotations and commentaries which include theological and Neo-Platonic interpretations. It reveals Mauro?s compliance with the Church?s opposition to Copernicus which induced him to suppress the remarks on the new discoveries which were in his 1537 Italian version. «This book represents the first step of the Roman Church in the beginning struggle against Copernicus? revolutionary theory» (Weil). Houzeau & L.1668. Moreni, Torrentino, 85-87. Riccardi II, 138: «Bella edizione». Prima edizione della nuova traduzione della 'Sphaera' ampliata da testi filosofici e neoplatonici. Varie figure di sfere, globi e strumenti scientifici incise in legno, 3 a piena pagina Lieve alone d'umidità su alcuni fogli ma buon esemplare rilegato in pergamena coeva.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Sacra Tuscia

      Bulino, circa 1550, senza firma né data. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana ?due frecce con stella?, rifilata al rame e con margini coevi aggiunti, in perfetto stato di conservazione.La prima rappresentazione a stampa della Toscana è dovuta al nobile senese Girolamo Bellarmati, architetto militare, ingegnere e matematico che diede alle stampe, nel 1536, una grande carta in 4 fogli con matrice silografica. La mappa ebbe un successo incredibile e venne subito ripresa da Matteo Pagano, che ne fece una riduzione a Venezia nel 1550 circa. Allo stesso periodo risale questa ristampa romana, priva di data ed editore, ma stilisticamente attribuibile alla tipografia di Antonio Salamanca. L?opera appare come una riduzione del rilievo del Bellarmati, ma più appetibile dal punto di vista commerciale, date le misure ridotte e la migliore resa visiva dell?incisione in rame rispetto alla xilografia. La mappa conserva la forma trapezioidale tipica delle tavole tolemaiche, e presente nell?originale del Bellarmati, ed è caratterizzata da un cartiglio con il titolo, curioso, per la calcografia romana del tempo. La carta risulta simile a quella del 1558 edita da Lafrery, rispetto alla quale tuttavia crediamo sia anteriore. Una successiva versione di questa mappa, impressa dalla tipografia Salamanca & Lafrery, venne alla luce verso il 1560. Probabile che la Sacra Tuscia sia riconducibile al periodo immediatamente precedente al 1553, anno nel quale il Salamanca decise di associarsi con il Lafrery dopo svariati anni di accesa rivalità. Rara e desiderabile carta, uno dei migliori esempi della cartografia italiana del XVI secolo. "Engraving, about 1550, without signature or date. Magnificent proof, with rich tone, printed on contemporary laid paper with watermark ""two arrows with star"", and with margins trimmed to contemporary copper added, in perfect condition. The first printed representation of Tuscany is due to Girolamo Bellarmati Sienese nobleman, military architect, engineer and mathematician, he published, in 1536, a large map in 4 sheets silografica matrix. The map was a huge success and was immediately taken by Matteo Pagano, who made a reduction in Venice around 1550. At the same time dates this reissue Roman, undated and publisher, but stylistically attributable to the typography of Antonio Salamanca. The work appears as a reduction in the relief of the Bellarmati, but more attractive from the commercial point of view, given the reduced size, and the best visual rendering of the incision in copper than woodcut. The map preserves the typical trapezoidal shape of the Ptolemaic tables, and present in the original Bellarmati, and is characterized by a scroll with the title, curious, for the Roman intaglio time. The paper is similar to that of 1558, published by Lafrery, with respect to which, however, we believe is the earlier. A later version of this map, printed by the printing & Lafrery Salamanca, was born around 1560. Likely that the Holy Tuscia is attributable to the period immediately prior to 1553, the year in which the Salamanca decided to partner with Lafrery after several years of bitter rivalry. Rare and desirable paper, one of the best examples of Italian maps of the sixteenth century." Roma Rome Tooley, Italian Atlases, 578; Pellegrini, Il territorio senese nella cartografia antica, p. 18, 11; Borroni Salvadori, Raccolte, 50. Almagià, Monumenta Italiae Cartographica, p. 20, E. Dimensioni 554x383.

      [Bookseller: Libreria Antiquarius]
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        (Duomo e Torrazzo a Cremona)

      Magnifica e rarissima opera che, sebbene con elementi di fantasia, raffigura la piazza del Comune a Cremona, prima delle modifiche rinascimentali. Il foglio era contenuto, insieme a quello che presentiamo nel catalogo al numero IT36146, in una raccolta dello Speculum Romanae Magnificentia, celebre raccolta di vedute ed antichità ideata da Antonio Lafrery; il volume in questione conteneva, oltre ai lavori dell?editore francese, opere edite da Salamanca, Tramezzino, Giulio de Musi, Duchetti, Bertelli, stampate a Roma, quasi tutte, e Venezia tra il 1540 e il 1585. Per affinità stilistiche e tipo di carta (entrambi sono stampati su carta vergata con filigrana ?cerchio con lettere IA?, di probabile origine veneta databile alla metà del XVI secolo), i due lavori, entrambi di fantasia, sono ascrivibili alla stessa mano. Le due opere sono sconosciute alla catalogazione di Huelsen, non sono elencate nell?unica copia conosciuta del catalogo di Lafrery che si trova presso la Biblioteca Marucelliana di Firenze e non compaiono nel successivo Indice delle Stampe delle tipografia De Rossi, nella quale confluirono la maggior parte delle lastre prodotte a Roma. Questa analisi, oltre alla filigrana, riconduce il luogo di stampa a Venezia, probabilmente alla tipografia di Francesco e Michele Tramezzino, editori nativi di Venezia ma attivi in entrambe le città tra il 1526 ed il 1576. Il Duomo o cattedrale di S. Maria Assunta è un vasto tempio romanico, iniziato nel 1107, continuamente riadattato con elementi gotici, rinascimentali e barocchi. Gli interventi rinascimentali riguardano soprattutto la parte superiore della facciata; Alberto Maffiolo da Carrara, nel 1491 vi innalza un attico con quattro nicchie. A partire dal 1553 il Battistero fu interessato da interventi di adattamento e modifica che tuttavia s'inserirono con intelligente discrezione nell'originaria struttura medievale. Il Torrazzo di Cremona, situato accanto al duomo, è uno dei simboli della città lombarda. Si tratta del campanile più alto d'Italia e una delle torri campanarie in materiale laterizio più alte del mondo. Nel Torrazzo, al quarto piano, è stato in seguito incastonato l'orologio astronomico più grande del mondo. Costruito da Francesco e Giovan Battista Divizioli tra gli anni 1583-1588, l'orologio rappresenta la volta celeste con le costellazioni zodiacali attraversate dal moto del Sole e della Luna. Incisione in rame, con inusuali ampli margini, in eccellente stato di conservazione. Rarissimo documento. Dimensioni 295x355 Magnificent end very rare work. Notwithstanding the imaginary elements, it depicts the Town Hall of Cremona, before the changes realized in the Renaissance. This work was included, together with the work we present in this catalogue at number IT36146, in the Speculum Romanae Magnificentia, a famous collection of views and antiquities created by Antonio Lafrery; this volume, in particular contained also works realized by Salamanca, Tramezzino, Giulio De Musi, Duchetti, Bertelli, mainly printed in Rome, and some of them published in Venice between 1540 and 1585. Due to stylistic similarities and the kind of paper (they are both printed on laid paper with ?circle with letters IA? watermark, very likely dated around the second half of the XVI century), these two imaginary works can be ascribed to the same author. Huelsen did not list them in his catalogue, and they cannot be found in the only known copy of Lafrery?s catalogue, kept in the Biblioteca Marucelliana of Firenze, not even in the following Indice delle Stempe realized by De Rossi. This leads us to believe the works have been printed in Venice, very likely in the typography of Francesco and Michele Tramezzino, Venetian publihsers who worked in both cities. The Cathedral of St. Maria Assunta is a huge romanic temple, built in 1107 and subsequently modified with gothic, renaissance and baroque elements. The changes realized during the Renaissane concern mainly the façade; Alberto Maffiolo from Carrara, in 1491 realized an attico with four nichel. Starting from 1553, the Baptistery was constantly modified, even though its medieval structure has been kept almost as it was. The Torrazzo of Cremona, closet o the cathedral, is one of the symbols of the city. It is the tallest tower bell in Italy and one of the tallest brick-towers in the world. In the Torrazzo, in the fourth floor, there is the biggest astronimic watch of the world, built by Francesco and Giovan Battista Divizioli between 1583 and 1588. The watch represents the vault of heaven with the constellations and the zodiac, and the motion of the Sun and the Moon. Copper engraving, with uncommon wide margins, in excellent condition. A rare document. Venezia Venice 295 255

      [Bookseller: Libreria Antiquarius]
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        Vera Antiqui Capitolii Descriptio

      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. Roma Rome Huelsen p. 41; La Roma del Cinquecento nello Speculum Romanae Magnificentiae pp. 10, 135. 890 430

      [Bookseller: Libreria Antiquarius]
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        San Giorgio

      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. 270 310

      [Bookseller: Supergulp di Rem Srl]
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        Theatrum sive Coliseum Romanum

      Bulino, circa 1550/1560, privo di firma e data. Esemplare nel primo stato di tre, edito dalla tipografia Lafrery o Salamanca. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana ?scala nel cerchio con stella?, rifilata al rame, in eccellente stato di conservazione. Parte dello Speculum Romanae Magnificentiae di Antonio Lafrery. L?opera raffigura una fedele ricostruzione del Colosseo, ed è attribuita al Beatrizet da Huelsen, per motivi stilistici. Magnifico esemplare. Engraving, about 1550/1560, no signature and date. Example in the first state of three, published by typography Lafrery or Salamanca. Magnificent proof, rich tone, printed on contemporary laid paper with watermark "scale in the circle with star", trimmed to the copperplate, in excellent condition. Part of the Speculum Romanae Magnificentiae by Antonio Lafrery. The work represents a faithful reconstruction of the Colosseum, and is attributed to Beatrizet from Huelsen, for reasons of style. Magnificent specimen. Huelsen 18a; Marigliani, La Roma del Cinquecento nello Speculum Romanae Magnificentiae p. 134. Dimensioni 575x417.

      [Bookseller: Libreria Yelets]
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        Tutte le opere [...] divise in V parti, et di nuovo con somma accuratezza ristampate.

      U.o., 1550 [=1600-talets första hälft]. 4:o. (4),8,1-351,(1 blank,4),1-116,1-14,(2 blanka),1-304,1-168,1-170 s. Med författarens porträtt som träsnittsvinjett på titelsidan och med en träsnittsillustration på s. 124-25 i den femte pagineringsföljden. Samtida pergamentbd med handskriven ryggtitel. Pergamentet saknas överst på främre pärmen efter vad som tycks vara ett musangrepp. En bra och delvis ouppskuren inlaga med enstaka småskavanker, såsom en del mindre hål i yttermarginalen på grund av pappersförtunning och en del minimala pappersföroreningar. Ett felskuret nedre hörn på s. 171 i den fjärde pagineringsföljden. En fuktfläck i nedre yttre hörnet från s. 205 i den fjärde pagineringsföljden till s. 60 i den femte. Med Johan Scheringsson Rosenhanes förvärvsanteckning daterad 1673, C. F. Eckleffs grav. exlibris, förvärvsanteckning daterad 1769 med initialerna "D: D:" och Germund Carl Cederhielms bläcksignatur samt Ericsbergsbibliotekets exlibris.. Bertelli & Innocenti Bibliographia Machiavelliana Secolo XVI:205. Under 1600-talets första hälft gjordes en mängd omtryck av Machiavellis samlade verk, alla med årtalet 1550 på titelbladet. Några av dessa upplagor har kunnat ges en mera precis datering, dock inte denna. Johan Scheringsson Rosenhane (1642-1710) var hovmarskalk och sändebud vid preussiska hovet. Han byggde upp ett stort bibliotek på sin egendom Tistad i Södermanland som "var rikast på böcker uti lagfarenheten och historien och innehöll äfven en vacker samling af patres" enligt "Collectio Gjörwelliana". Rosenhane har noterat att han förvärvade boken 1673, vilket gör det mycket sannolikt att den var en av de böcker han fick i arvsskifte efter sin mor det året. Böckerna i arvsskiftet härrörde från fadern Schering Rosenhanes (1609-63) stora bibliotek. Tistads bibliotek såldes 1764 till Carl Fredrik von Eckleff (1723-86), som var kansliråd och stiftare av Tankebyggarorden. Hans exlibris, som här är i variant 2 av de av Carlander förtecknade, är stucket av Snack. Eckleffs bibliotek såldes i två omgångar, 1768-69 och 1786. Enligt anteckning på försättsbladet inköptes denna bok på den Eckleffska bokauktionen 1769 av den i övrigt okände "D: D:" Germund Carl Cederhielm (1717-89) var president i Åbo hovrätt och framstående boksamlare. Hans och följande generationers efterlämnade bibliotek på Säby såldes på auktion 1878-82

      [Bookseller: Mats Rehnström]
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        Tutte le opere di Nicolò Machiavelli cittadino et segretario fiorentino, divise in V parti, et di nuovo con somma accuratezza ristampate.

      [S.l., s.n.t.], 1550, quattro parti legate in un volume, in-4, leg. settecentesca in mezza pelle con punte, pp. [4], 8, 351, [1] - [4], 116 - 13, [1], 304 - 168. Sul frontespizio testina xilografica dell'autore. Esemplare privo delle 170 pagine finali che contenevano le commedie. Tracce di tarlo alle prime ed ultime carte. Bruniture sparse. Sottolineature antiche. Famosa contraffazione del XVII secolo, databile al 1635-36. Cfr.: S. Bertelli - P. Innocenti Bibliografia machiavelliana, n. 205.

      [Bookseller: Libreria Antiquaria Gozzini]
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        Proserpina

      Bulino, 1550 circa, da un soggetto del Parmigianino. Buona prova, nel terzo stato con l?indirizzo di Giovanni Orlandi, impressa su carta vergata coeva con filigrana ?scudo con giglio e stella?, rifilata irregolarmente al rame, in ottimo stato di conservazione. Dimensioni 286x404. Bartsch 45 III. Engraving, 1550 circa, after a subject by Parmigianino. Good impression, in the third state with the address of Giovanni Orlandi, printed on contemporary laid paper with "shield with fleur-de-lis and star" watermark, irregularly trimmed to platemark, in excellent condition. Dimensions 286x404. Bartsch 45 III.

      [Bookseller: Libreria Antiquarius]
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        San Matteo

      Acquaforte, circa 1550, da un soggetto del Parmigianino. Magnifica prova, impressa su carta coeva, con piccoli margini, lieve restauro all?angolo inferiore destro, per il resto in buono stato di conservazione. Ignota a tutto oggi l?identità del monogrammista FP, che diversi studiosi hanno tentato di accostare ad Antonio Fantuzzi. I suoi lavori derivano quasi tutti da disegni del Parmigianino, e proprio per questo motivo che lo accomuna al Fantuzzi, esiste la possibilità che si tratti dello stesso autore. Altri studi sulla maniere di incidere affermano invece che potrebbe trattarsi dello stesso Mazzola, teoria che tuttavia ci sentiamo di escludere. Bartsch 8. Dimensioni 63x123. Etching, 1550 circa, after a subject of Parmigianino. Magnificent work printed on contemporary laid paper with thin margins, light repair on lower right corner, otherwise in good condition. The artist hiding behind the monogram FP is still unknown; some critics believe it might be Antonio Fantuzzi. Almost all of his works derive from Parmigianino?s and, for that reason, he can be considered the author of this work. Others said that, due to the engraving style, the artist might be Mazzola himself, but we do not share this opinion. Bartsch 8. Dimensioni 63x123.

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        Trofeo con guerriero con elmetto

      Bulino, 1550 circa. Da un soggetto di Polidoro da Caravaggio. Buona prova, impressa su carta vergata coeva, con sottili margini, applicata su antico supporto di collezione, in buono stato di conservazione. L?opera appartiene ad una serie che è catalogata nell?indice delle stampe di Antonio Lafrery del 1573 sotto il nome di Libro de Trofei cavati da disegni di Polidoro ad imitazione de gli Antichi. Alla morte del Lafrery (1577), le lastre passarono al nipote Claudio Duchetti e quindi a Paolo Graziani e Pietro de? Nobili. Nell?inventario di quest?ultimo, risalente al 1584, la serie risulta essere di sedici stampe. Tuttavia le lastre risalgono al periodo 1550/53 e sono il frutto della rivalità prima, e fusione poi, delle tipografie di Antonio Salamanca e Antonio Lafrery. Bartsch attribuisce le incisioni ad Enea Vico. Rara. Engraving, about 1550. After Polidoro da Caravaggio. Good impression, printed on contemporary laid paper, with thin margins, laid down an antique mounting, in good condition. This work belong to a series that is listed in the index of prints by Antonio Lafrery of 1573 under the name of Libro de Trofei cavati da disegni di Polidoro ad imitazione de gli Antichi. On the death of Lafrery (1577), the plates passed to his nephew Claudio Duchetti and then to Paul Graziani and Pietro de 'Nobili. In the inventory of the latter dating back to 1584, the series turns out to be sixteen prints. However, the plates back to the period 1550/53 and are the result of the rivalry before, and then merging, printing works of Antonio Salamanca and Antonio Lafrery. Bartsch gives the incisions to Enea Vico. Rare. Bartsch 438, 442, 447; Bury, The Print in Italy, pp. 60/2, 38. Dimensioni 165x243 circa.

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