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         LA VILLA [1561 GARDENING, AGRICULTURE]

      Venice: Not Attributed. Very Good with no dust jacket. 1561. First Italian Edition. Limp vellum. 88, [4] [1] pages; [Agriculture - gardening] - PALLADIUS, Petrus - La villa (…) tradotta nuovamente per Francesco Sansovino, nella quale si contiene il modo di cultiuar la terra di mese in mese, di inserir gli arbori, di gouernar gli horti, & I giardini, con la proprieta de frutti, delle herbe, & de gli animali, con molte altre cose utili a prò del contado. [rough translation- The villa (...) translated again to Francesco Sansovino, which is contained in the way of the land cultivar from month to month, will insert of the arbor, management of the garden, & gardens, with the properties of fruits, herbe, & the animals, with many other useful things of the countryside]. 4to, cont. Limp vellum (stained) , [4]-88-[4] ff. (paper age-toned, some spotting and marg. Staining, sm. Marg. Tear in L2). Very Good copy. Rare Italian trsl. By Fr. Sansovino (1521-1583) of the Roman textbook of Palladius (4th c. ) on agriculture and gardening. Woodcut mark on title, a larger one at the end. Woodcut border at top of title and beginning of chapters. Ref. Edit16 30985. STCItalian (BL) 486. Wellcome I: 4700. Not in Adams, Durling. This contains the first comprehensive testing of means of agricultural activities. Colophon states Appresso Francesco Sansovino and gives the date of 1561.; 0 .

      [Bookseller: poor mans books]
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         Algemeene manier tot de practijck-oeffeningh der sonne-wysers. . . With: (2) LANSBERGIUS, Philippus. Beschrijvingh der vlacke sonne-wysers: . . . Nieuwelijx oversien ende met noodige byvoeging verrijkckt, door Jacob Mogge . . . Middelburg, Willem Goeree, 1675. 2 works in 1 volume. Small folio (27.5×18 cm). With numerous woodcut diagrams in the text. Contemporary vellum.

      - Ad 1: Bierens de Haan 3286; Crone Library 283; Houzeau 11524; ad 2: Bierens de Haan 2676; Crone Library 281; Houzeau 11499; V.d. Aa V, p. 282 (Mogge); NNBW II, cols 775-782 (Lansbergius). Reissue with a new title-page by Goeree of these two works on sundials. It was printed by Thomas Berry for Zacharias Roman and issued together with the work by Lansbergius. Mogge opens his work with a general introduction to geometry and astronomy and proceeds with a description of sundials on a flat surfaces.It deals with sundials on flat surfaces. Philips Lansbergen (1561-1632) worked as physician and pastor in Middelburg, Zeeland, and has several publications in the field of astronomy to his name. Both works are richly illustrated. Ex-libris of A. de Kluijs, two small ownership stamps on the endleaves, small ownership entry on title-page, and small slip from a catalogue pasted on endleaf; parts of spine missing and hinges slightly damaged. Good copy.

      [Bookseller: Antiquariaat FORUM BV]
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         DEL GOVERNO E DE I REGNI ET DELLE REPUBBLICHE COSI' ANTICHE COME MODERNE LIBRI XVIII.

      Venetia, Appresso Francesco Sansouino, 1561. In-8 p. (mm. 200x141), p. pergam. coeva , tit. ms. al dorso (restaur. per piccola manc.), tagli blu, 4 cc.nn., 203,(5) pp.num., marca tipografica al frontesp., ornato da testat. e grandi iniziali figur. inc. su legno. "Prima edizione" di questa importante opera, ricca di osservazioni e dati statistici sui governi di Francia, Germania, Inghilterra, Spagna, Turchia, Persia, Tunisi, e delle repubbliche: svizzere, di Venezia, Roma (antica e papale), Ragusa, Sparta, Genova, Atene, del regno di Fez, della repubblica lucchese e di Utopia di Tommaso Moro. Cfr. Adams,II, p. 180 - The British Library, p. 607. Leggerm. corto al marg. sup., antico restauro al frontesp. per piccola manc. margin., qualche lieve arross. o traccia d'uso, ma certam. un buon esemplare, con ex libris e antiche scritte a penna ai risg. e al frontespizio.

      [Bookseller: Libreria Malavasi sas]
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         De re metallica Libri XII quibus officia, instrumenta, machinae ac omnia denique ad Metallicam spectantia

      Basel: [Froben], 1561. Hardcover. Near Fine. Folio [32 x 22 cm]. (6) ff., the last blank, 502 pp., (37) ff.. with two leaf unsigned plate misbound between 96-7 rather than following p, 100. Bound in contemporary blindstamped pigskin over wooden boards, spine with raised bands, clasps and catches present but ties only partially so. Ownership inscription of H.I.V. LaBrouste (?) on title. Some minor staining, worming in gutter; author's name stenciled over on title; extended illustrations on h7 & h8 cropped as usual, minor soiling on scattered leaves; withal a very genuine and appealing copy An appealing copy of the second Latin edition of "the first systematic treatise on mining and metallurgy" (PMM 70, 1556 ed.), by Agricola, town physician in Joachimsthal, a silver-mining community in the eastern side of the Erzegebirge mountains in modern-day Czechoslovakia. "The twelve books of Agricola's treatise...embrace everything connected with Renaissance mining and metallurgical industries, including administration, the duties of companies and workers, prospecting, mechanical engineering, ore processing and the manufacture of glass, sulfur and alum. Book VI provides detailed descriptions of 16th-century mining technologies, such as the use of water-power for crushing ore and the improvements in suctions pumps and ventilation that became necessary as mine shafts were sunk deeper underground; it also includes an account of the diseases and accidents prevalent among miners, along with the means of preventing them. De re metallica remained the standard textbook on mining and metallurgy for over 200 years" (Norman Catalogue 20). The nearly 300 woodcuts illustrate all aspects of mining, metallurgy, mining tools and machinery are attributed to Hans Rudolf Manuel Deutsch and Blasius Weffring. * Hoover 18; Adams A-250; Ferguson I.9; cf. Dibner 88; Horblit2b; Wheeler 44 (1556).

      [Bookseller: Martayan Lan, Inc.]
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         Opera omnia. Middelburg, Zacharias Roman, 1663 (parts 1635-1663). 9 works in 1 volume. Folio. With an engraved general title-page, 10 letterpress title-pages (1 with an engraved view; the other 9 each with any of 6 different woodcut astronomical diagrams), full-page portrait of Lansbergius by W. Delff, 1 folding and 4 double-page engraved plates and 1 large folding letterpress table, many diagrams and tables in text. Contemporary vellum.

      Bierens de Haan 2678; STCN (7 copies); DSB VIII, pp. 27-28; NNBW II, cols. 775-782; cf. Vermij, The Calvinist Copernicans, pp. 73-99. The complete mathematical and astronomical works, in Latin, of (Johan) Philip van Lansberge (1561-1632), one of the most famous mathematicians and astronomers of the Dutch Republic during its golden age. These collected works were published by Zacharias Roman at Middelburg who had also published many of Lansberge's works separately. He assembled the present compete works primarily by reissuing the separate editions that had been printed earlier, but printed new preliminaries, the previously unpublished Horologium and apparently parts of the Tabulae motum coelestium. We number them here according to the numbered list of contents in the preliminaries, but there are several bibliographical irregularities. What we call item 4.5 does not appear in the list but is apparently a normal part of the book. Item 5 (the Horologium) is the first edition, published 31 years after Lansbergius's death and item 4.5 (the Sphaera plana) is the first Latin edition.With an early owner's name on the half-title, repeated with another at the head of the dedication, all difficult to decipher, but clearly Geo[rge] ... and probably ... Brook. The binding with some small cuts and somewhat dirty. In good condition.The Opera contain the following works, all with many woodcut illustrations in the text:- 1-2: Triangulorum geometriae libri quattuor ... Item Cyclometriae novae libri duo. Ab autore recognita, multisque in locis aucta. Middelburg, Zacharias Roman, 1663.- 3: Uranometriae libri tres. In quibus lunae, solis, & reliquorum planetarum, & inerrantium stellarum distantiae à terra, & magnitudines, hactenus ignoratae perspicue demonstrantur. Middelburg, Zacharias Roman, 1662.- 4: In quadrantem tum astronomicum, tum geometricum; nec non in astrolabium introductio. Middelburg, Zacharias Roman, 1635 (colophon: Haarlem, Adriaan Roman, printer, 1636). - [4.5]: Sphaera plana a Ptolemaeo astrolabium dicta. Middelburg, Zacharias Roman, 1636 (colophon: Haarlem, Adriaan Roman, printer, 1636). - 5: Horologiographia plana: in qua omne genus sciotericorum horologiorum ... ostenditur. Middelburg, Zacharias Roman, 1663. - 6: Commentationers in motum terrae diurnum, & annuum; et in verum adspectabilis coeli typum. Middelburg, Zacharias Roman, 1660. - 7: Tabulae motuum coelestium perpetuae; ex omnium temporum observationibus contructae, temporumque omnium observationibus consentientes. Item, novae & genuinae motuum coelestium theoricae. & Astronomicarum observationum thesaurus. Middelburg, for Zacharias Roman, 1662.- 8: Chronologiae sacrae libru III. In quibus annorum mundi series, ad urbe condito ... Middelburg, Zacharias Roman, 1662 (colophon: Dordrecht, Hendrick & Jan Esch, printers).

      [Bookseller: ASHER Rare Books (Since 1830)]
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         Septentrionalium Partium Nova Tabula

      Venezia 1561 - Carta tratta dalla Geographia di Claudio Tolomeo, a cura del Ruscelli, pubblicata in Venezia in pù edizioni tra il 1561 ed il 1598. La carta è basata sulla Geographia di Giacomo Gastaldi, che probabilmente disegnò personalmente anche queste mappe, che vennero incise dai fratelli Sanuto. La peculiarità di queste mappe è che sono incise due per lastra e successivamente tagliate; questo il motivo per cui il segno del rame appare solo in tre lati della mappa. Il testo del Ruscelli e le sue carte sono considerate come il miglior atlante moderno fino alla prima versione del Thatrum di Ortelius, 1570. Solo la loro enorme diffusione ne impedisce una valutazione sostenuta nel mercato antiquario. Early map of the North Atlantic Ocean depicting many fictions islands. Girolamo Ruscelli's edition of Ptolemy's Geographia included newly engraved copperplates by Giulio and Livio Sanuti. The curious fact is that this map is one of two that were engraved on the same plate, printed and than separated for the book. This can be seen in the atlas by the fact that the plate mark of the map runs off the top of the page. In 1574 a new plate was used which lasted until the final edition of 1599. The most significant map in Ruscelli's atlas is his Septentrionalium Partium Nova Tabula map, which is based upon the Zeno map of the North Atlantic, first included in a 1558 travel book, which describes a pre-Columbian voyage to the New World in 1380 by Ventians Nicolo and Antonio Zeno. The map introduces many new fictitious islands in great detail, including Frisland (with 32 places named), Deogeo, Estotiland, Estland, and the monastery of S. Tomas in Greenland. Many of these mythical islands and places were depicted on maps for centuries, mainly because Gerard Mercator accepted Zeno's voyage as authentic and adopted much of it in his famous large 1569 world map and his 1595 map of the North Pole. Ortelius in turn used the map as a prototype for his map of the North Atlantic. Frobisher and Davis accepted the map for their explorations in the 1570's and 1580's, respectively. Copper engraving, in excellent condition. Sharp impression from the Latin edition of 1564. Burden, The maps of America, 29; Ginsberg; Printed Maps of Scandinavia and the Arctic, 19. Dimensioni265x195 Dimensioni

      [Bookseller: Libreria Antiquarius]
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         The woorkes of Geffrey Chaucer, newly printed,

      (colophon: Imprinted at London, by Jhon Kyngston, for Jhon Wight,), 1561. with divers addicions, whiche were never in printe before: With the siege and destruccion of the worthy citee of Thebes, compiled by Jhon Lidgate, Monke of Berie. As in the table more plainly dooeth appere. Folio (328 x 216 mm). Late 19th-century red morocco by Riviere, spine gilt lettered direct and decorated with blind tooled rules and scrolling floriate motifs, sides with concentric blind tooled ornamental panels and Tudor roses, all edges gilt, blind ruled turn-ins. Large woodcut of Chaucer's arms on title, broad woodcut border to divisional titles for Canterbury Tales and Romaunt of the Rose (both showing Henry VIII at the head), woodcut of the Knight heading the text of the Canterbury Tales, woodcut initials. Neat book label (dated 1899) of the Irish judge William O'Brien (1832-1899), whose discerning library is a microcosm of late 19th-century taste in book collecting, and included a handful of medieval manuscripts, incunabula, Aldine editions, three Shakespeare folios, 16th-century English books and handsome editions of English literature; subsequent labels of Milltown Park Library; title page and first leaf of Prologue with some restoration at margins, some leaves with repairs to closed-tears, very occasional light staining, repairs and marginal restoration to final leaf 3v8 (affecting a few letters), some leaves professionally washed. First Stow edition, the fifth edition overall of Chaucer's collected works, the issue without the woodcuts in the Prologue. The traditional view of the two issues of this 1561 edition has been that the illustrated issue was printed first, and then the cuts omitted in the second issue because the woodblocks were worn out. Recently however, it has been contested that the printer came into possession of the cuts belatedly, and the unillustrated issue appeared first (see David R. Carlson, "The Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales", in Chaucer Illustrated: Five Hundred Years of the Canterbury Tales in Pictures, British Library, 2003). This was the first publication of the historian John Stow (1524/5–1605), who had earlier worked on William Thynne's Chaucer edition of 1532. Now primarily remembered for his Survey of London (1598), Stow was an antiquary whose work rivalled and complemented that of his friend Camden. Derek Pearsall has shown how Stow's scholarly skills were slighted because of his humble origins and his trade as a tailor, held to be inappropriately lowly to introduce England's first poet. It was Thomas Speght who belittled Stow, yet he was happy to incorporate notes which Stow supplied him into his own 1598 edition. There were several editions of Chaucer during the 16th-century and this one may well have been used by Shakespeare as a source-book for the story of Troilus and Cressida. Provenance: 16th-century ownership signature on title page of "H. Westfaling" (also initialed "H. W." on divisional title to Canterbury Tales), probably Herbert Westfaling (or Westphaling) - or possibly his son, also Herbert - of Mansell Gamage, Herefordshire, bishop of Hereford. Herbert Westfaling's family originated in Westphalia and he entered Christ Church in 1547 aged fifteen. Archbishop Parker mentioned him in 1570 as a possible bishop of Oxford and he was consecrated bishop of Hereford in January 1586, where he was known for his zeal in converting Roman Catholics, "and was regarded by the lords in council as a fit and able person to be employed in conferences with Jesuits and other recusants... His personal library contained works by leading reformers of his time, his will mentioning the works of Calvin in folio, which he donated to Christ Church, Oxford, and nine volumes by Wolfgang Musculus, which he bequeathed to Hereford Cathedral Library. Shortly before his death he donated £20 to the Bodleian Library for the purchase of new books" (ODNB). Westfaling was "known for his gravity" (ibid.) and Francis Godwin, who succeeded him as bishop of Hereford, commented that he had scarcely ever seen him laugh. There is some inked marginalia (presumably in his hand), largely noting particular – and perhaps unfamiliar - words used by Chaucer, but at the end of the appearance of the Doctor of Physic in the Prologue he remarks against the Doctor's fondness for gold, "Golde is loved of physicions"; and he has marked with a diminutive trefoil device in the margin at folio 101 (The Parson's Tale), and underlined the passage, concerning the fall of Eve and "the delite of the flesh". A complete and handsomely bound copy of one of the most attractive Elizabethan editions of Chaucer.

      [Bookseller: Peter Harrington]
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         La geografia di Claudio Tolomeo. . . .; Espositioni et introduttioni universali. . . .; Discorso universale di M. Gioseppe Moleto mathematico. . .

      Venice: Vincenzo Valgrisi, 1561. FIRST ITALIAN EDITION. Each part with separate title page with large woodcut printer's device. Contemporary half calf with speckled boards; first title page with minor dampstains, but the interior overall excellent. Contemporary ownership inscription on title. First edition of Ruscelli's translation into Italian from Greek of Ptolemy's Geographia. The 64 double-plate copper-engraved maps are enlarged copies of those created by Giacomo Gastaldi for his 1548 edition of Ptolemy and executed by the engravers Giulio and Livio Sanuti. Of special interest here is that Ruscelli's translation is based on the original version in Greek as opposed to a further critical editing of later Latin translations. Ruscelli points out that Ptolemy was Egyptian, and writing in Greek led him to using long sentences and a punctuation that could lead to misinterpretation of his text. Ruscelli is also the first of Ptolemy's translators that actually explains the mathematical projections and location coordinates. He analyzes the various units of measurement in geography and by the end of the first book he describes how to draw a geographic table in a bi-dimensional representation that remains proportional to the earth's orbit, as well as explaining where to print the names of cities, landmarks, etc. on each map. The second part is the Espositioni et introduttioni universali, a treatise on geography, in which Ruscelli confirms that terrestrial spheres on paper (globes) were produced in Italy in the first half of sixteenth century in a limited number and in small sizes, and that he was himself involved in crafting those. In the last part, Discorso universale di M. Giuseppe Moleto mathematico, Moletti addresses the issue of geographical coordinates and how to measure them. He also deals with the Ptolemaic cycles and the origin of the winds related to the use of a compass. Ruscelli (c. 1504-1566) was a Venetian editor that worked for the famous Valgrisi publishing firm as curator of various Italian classics. He introduces several important innovations in this volume through his 37 "modern" maps, which cover Europe, Africa, Asia and the New World. He also includes a double hemisphere world map, very early for an atlas, as well as a rare world sea chart. Also included is Ruscelli's revised and updated Zeno map of the Arctic. First published only three years earlier, the Zeno map describes a purported journey in the 1390's to Greenland, Iceland, the mythical islands of Frisland and Icaria, and what is now thought to be Newfoundland and Labrador. Here, Ruscelli eliminates the land bridge between Greenland and Norway. This map became the standard chart of the Arctic and Greenland for many years.His maps will later serve as a model for the artists that have decorated the Vatican galleries. Giuseppe Moleto or Moletti (1531-1588) was an Italian mathematician and a prominent professor of mathematics at the University of Padua best known for his Dialogo intorno alla meccanica (Dialogue on mechanics). He advised Pope Gregory XIII on establishing his new Gregorian calendar and was certainly acquainted with Galileo, sharing with him works dealing with gravity.

      [Bookseller: B & L Rootenberg Rare Books & Manuscript]
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         Linguae Sanctae Canones gram/matici.

      Guarin Thomas, Basel 1561 - Première édition de cette grammaire hébraïque en latin avec les lettres en hébreu de Paul Fagius dans les premières pages; 18X12 cm; reliure de l'époque peau de truie estampée sur aie de bois, dégradée, premier plat détaché, cuir du dos en partie absent, manque au cuir coin droit inférieur du premier plat qui porte une date des années 1570 et les initiales A.H.; néanmoins reliure solide, intérieur du livre complet, à l'exception du tableau qui devrait figurer à la page 145; page de titre avec nom à la plume et sans marge inférieure mais sans perte de texte, mouillure au coin inférieur gauche sur une partie des 40 premières pages, le reste du livre en très bon état, avec de nombreuses annotation anciennes en marge à l'encre; belle impression des caractères latins et hébraïques; 653 pages plus index; [Attributes: First Edition; Hard Cover]

      [Bookseller: Magnus]
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         La geografia di Claudio Tolomeo. . . .; Espositioni et introduttioni universali. . . .; Discorso universale di M. Gioseppe Moleto mathematico. . .

      Venice: Vincenzo Valgrisi, 1561. FIRST ITALIAN EDITION. Each part with separate title page with large woodcut printer's device. Contemporary half calf with speckled boards; first title page with minor dampstains, but the interior overall excellent. Contemporary ownership inscription on title. First edition of Ruscelli's translation into Italian from Greek of Ptolemy's Geographia. The 64 double-plate copper-engraved maps are enlarged copies of those created by Giacomo Gastaldi for his 1548 edition of Ptolemy and executed by the engravers Giulio and Livio Sanuti. Of special interest here is that Ruscelli's translation is based on the original version in Greek as opposed to a further critical editing of later Latin translations. Ruscelli points out that Ptolemy was Egyptian, and writing in Greek led him to using long sentences and a punctuation that could lead to misinterpretation of his text. Ruscelli is also the first of Ptolemy's translators that actually explains the mathematical projections and location coordinates. He analyzes the various units of measurement in geography and by the end of the first book he describes how to draw a geographic table in a bi-dimensional representation that remains proportional to the earth's orbit, as well as explaining where to print the names of cities, landmarks, etc. on each map. The second part is the Espositioni et introduttioni universali, a treatise on geography, in which Ruscelli confirms that terrestrial spheres on paper (globes) were produced in Italy in the first half of sixteenth century in a limited number and in small sizes, and that he was himself involved in crafting those. In the last part, Discorso universale di M. Giuseppe Moleto mathematico, Moletti addresses the issue of geographical coordinates and how to measure them. He also deals with the Ptolemaic cycles and the origin of the winds related to the use of a compass. Ruscelli (c. 1504-1566) was a Venetian editor that worked for the famous Valgrisi publishing firm as curator of various Italian classics. He introduces several important innovations in this volume through his 37 "modern" maps, which cover Europe, Africa, Asia and the New World. He also includes a double hemisphere world map, very early for an atlas, as well as a rare world sea chart. Also included is Ruscelli's revised and updated Zeno map of the Arctic. First published only three years earlier, the Zeno map describes a purported journey in the 1390's to Greenland, Iceland, the mythical islands of Frisland and Icaria, and what is now thought to be Newfoundland and Labrador. Here, Ruscelli eliminates the land bridge between Greenland and Norway. This map became the standard chart of the Arctic and Greenland for many years. His maps will later serve as a model for the artists that have decorated the Vatican galleries. Giuseppe Moleto or Moletti (1531-1588) was an Italian mathematician and a prominent professor of mathematics at the University of Padua best known for his Dialogo intorno alla meccanica (Dialogue on mechanics). He advised Pope Gregory XIII on establishing his new Gregorian calendar and was certainly acquainted with Galileo, sharing with him works dealing with gravity.

      [Bookseller: B & L Rootenberg Rare Books & Manuscript]
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         Carta Marina Nuova Tavola

      Venezia 1561 - La mappa di Ruscelli è molto interessante per la sua rappresentazione dei cinque continenti conosciuti, legati tra loro come una superficie continua. Questa mappa presenta una vista della superficie terrestre già piuttosto obsoleta ai tempi della sua pubblicazione. Già in precedenza, altri cartografi, partendo da Matrin Waldseemuller nel 1507, avevano messo in dubbio l’affermazione di Colombo secondo cui Asia e America fossero un unico continente. I viaggi di Magellano e altri esploratori, che permisero di conoscere definitivamente la reale estensione dell’oceano Pacifico, diedero ulteriore sostegno a tali dubbi, sebbene lasciassero aperta la possibilità di una connessione amer-asiatica a settentrione. Intorno alla metà del XVI secolo, tuttavia, anche questa ultima ipotesi venne completamente screditata, per essere rimpiazzata dall’idea di un ipotetico "stretto di Anian". Altra interessante caratteristica di questa mappa è l’intreccio di "linee dei sestanti" radianti da 16 punti focali intorno alla mappa. Le linee dei sestanti erano strumenti di navigazione che aiutavano a mantenere la medesima posizione della bussola per raggiungere un qualsiasi punto di una linea da un altro punto della medesima. Queste sono semplicemente ornamentali e illustrative, in quanto la mappa è troppo piccola per essere funzionale. Questa mappa è stata pubblicata da Ruscelli nella edizione della Geographia di Tolomeo del 1561, per essere poi ristampata fino al 1599. Incisione in rame, molto contrastata, con toni tenui lungo la piega centrale e due fori restaurati al centro, in ottime condizioni. Bibliografia: Shirley, The Mapping of the World, 111. Nice example of Ruscelli’s Carta Marina, based upon Gastaldi’s map of 1548. Gastaldi's Carta Marina includes the earliest obtainable depictions of the California peninsula, is the earliest obtainable copperplate world map for collectors. Includes Gastaldi's belief in a continuous northern landmass, the isthmus reported by Verrazano in 1524, which closes the northern continents into as unbroken ring. The Asia-America connection was a standard concept, and one of which Gastaldi actively advocated. The joining of North America and Europe is unusual, resulting from two errors. In the east, Gastaldi depicts Greenland as an outgrowth of Scandinavia, based upon Waldseemuller. In the west, Gastaldi follows Verrazano’s model of North America. On the Atlantic coast by Gastaldi notes a green mountain and a large, unnamed cape pointing upwards. This cape, based upon Ramusio’s' map of 1534, first appeared in Ribero’s manuscript chart of 1529, as well as later works, such as Jode’s North America. The cape is believed to be Cape Cod, as both the Ribero and Ramusio maps reflect the reconnaissance along the New England coast by Estavao Gomes, who is believed to have coasted the region. The writing’s of Marco Polo are evident in Asia, with modern corrections. R. W. Shirley, "The Mapping of the world", 111 Dimensioni 270 200mm

      [Bookseller: Libreria Antiquarius]
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         Conversio Evangelii secundum Joannem graecis versibus conscripta, nunc primum ad verbum latinatina facta, multisque in locis emendata, per Joannem Bordatum Bituricum

      Charles Périer, Paris 1561 - ____ Belle édition de Charles Périer. Une paraphrase de l'Évangile selon Saint Jean par Nonnos de Panopolitanus, qui a vécu vers le début du Ve siècle à Panopolis en Egypte. Nonnus est aussi l'auteur d'un poème, les "Dionysiaques", qui retrace les aventures et les institutions de Bacchus. Texte grec, avec en vis à vis la traduction latine de Jean Bordatus. Marque de Périer représentant Pégase et Bellérophon sur le titre. Mouillures sur les premiers et derniers feuillets, coiffe supérieure arasée, mais bon exemplaire, bien relié. *-------*. In-4. Collation : (12),197, (3) pp. Veau glacé, dos à nerfs orné. (Reliure du XVIIe.). [Attributes: Hard Cover]

      [Bookseller: Hugues de Latude]
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         Tavola nuova di Sardigna et di Sicilia.

      1561. Incisione in rame, colorata a mano, mm 190x263, tratta dall'edizione veneziana della "Geographia" curata da Ruscelli. Buon esemplare, con qualche minima piega.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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         Carta Marina Nuova Tavola

      Venezia 1561 - Acquaforte e bulino, circa 1561. Magnifica prova, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione. Esemplare in meravigliosa coloritura coeva. La mappa di Ruscelli è molto interessante per la sua rappresentazione dei cinque continenti conosciuti, legati tra loro come una superficie continua. Questa mappa presenta una proiezione della superficie terrestre già piuttosto obsoleta ai tempi della sua pubblicazione. Già in precedenza, altri cartografi, partendo da Matrin Waldseemuller nel 1507, avevano messo in dubbio l’affermazione di Colombo secondo cui Asia e America formassero un unico continente. I viaggi di Magellano e di altri esploratori, che permisero di conoscere definitivamente la reale estensione dell’oceano Pacifico, diedero ulteriore sostegno a tali dubbi, sebbene lasciassero aperta la possibilità di una connessione America-Asia a settentrione. Intorno alla metà del XVI secolo, tuttavia, anche questa ultima ipotesi venne completamente screditata, per essere rimpiazzata dall’idea di un ipotetico "stretto di Anian". Altra interessante caratteristica di questa mappa è l’intreccio di "linee dei sestanti" radianti da 16 punti focali. Il sestante era uno strumento indispensabile per misurare e tracciare, la rotta di navigazione. In questo caso, le linee tracciate sulla mappa sono esclusivamente ornamentali e illustrative, in quanto la carta è troppo piccola per poter essere funzionale. Carta tratta dalla Geographia di Claudio Tolomeo, a cura del Ruscelli, pubblicata in Venezia in più edizioni tra il 1561 ed il 1598. La carta è basata sulla medesima opera di Giacomo Gastaldi (1548), che probabilmente disegnò personalmente anche queste mappe, incise dai fratelli Livio e Giulio Sanuto. La peculiarità di queste mappe è che sono incise due per lastra e successivamente tagliate, di conseguenza il segno del rame appare solo su tre lati per ogni mappa. Il testo di Ruscelli e le sue carte sono considerate come il miglior atlante moderno fino alla prima versione del Theatrum Orbis Terrarum di Ortelius del 1570. Solo la loro enorme diffusione ne impedisce una valutazione sostenuta nel mercato antiquario. Girolamo Ruscelli, (Viterbo 1504 – Venezia 1566) erudito e poligrafo nativo di Viterbo, si formò a Roma ma si trasferì ben presto nel Veneto dove curò, per la tipografia Valgrisi, le edizioni di numerosi classici italiani. Ruscelli fu anche il curatore della versione riveduta e ampliata della Geographia di Tolomeo, stampata a Venezia svariate volte tra il 1561 e la fine del secolo. Le mappe sono basate su quelle catalogate da Giacomo Gastaldi per l’edizione veneziana del 1548, ed incise dai fratelli Sanuto. Gli esemplari delle carte del Ruscelli in coloritura coeva sono assolutamente rarissimi. - ORIGINAL COLOURING - Etching with engraving, about 1561. Magnificent proof, printed on contemporary laid paper, with margins, in perfect condition. Example in wonderful contemporary coloring. The map of Ruscelli is very interesting for its representation of the five known continents, linked together like a continuous surface. This map shows a projection of the Earth's surface rather obsolete already at the time of its publication. Previously, other cartographers, starting from Martin Waldseemuller in 1507, had questioned the assertion of Columbus that Asia and America form a single continent. The travels of Magellan and other explorers, which allowed him to finally know the true extent of the Pacific Ocean, gave further support to these concerns, although leave open the possibility of a free America-Asia to the north. Around the middle of the sixteenth century, however, this latter hypothesis was completely discredited, to be replaced by the idea of a hypothetical "Strait of Anian." Another interesting feature of this map is the plot of "lines of sextants" radiant 16 focal points. The sextant was an indispensable tool to measure and track, the navigation route. In this case, the lines drawn on the map are exclu [Attributes: Soft Cover]

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         Le Tre Parche

      1561 - Bulino, 1561, datato in lastra, in alto a destra, nell’iscrizione: "IULIUS MANTUA INVE / H. COCK EXCUDE 1561". Da un disegno di Giulio Romano. La scena rappresenta le tre Parche, Cloto, Lachesi e Atropo, intente a tessere il filo del Fato. L’iscrizione latina, nel margine inferiore, ne ricorda i compiti: Clotho colum baiulat: Lachesis net: Atropos occat Il bulino riproduce l’invenzione di Giulio Romano per un bassorilievo in stucco nella Sala degli Stucchi a Palazzo Te, che occupa la parte centrale del soffitto. Lo stesso soggetto, in controparte, era stato inciso a bulino, qualche anno prima, nel 1558, da Giorgio Ghisi. A lungo si è ritenuto che Cort abbia quindi riprodotto proprio la stampa del Ghisi, sebbene con alcune differenze che riguardano anche l’ambientazione della scena. Poiché il secondo stato della lastra del Ghisi reca il privilegio reale francese, già i Lewis avevano ipotizzato che Giorgio avesse riprodotto un disegno allora disponibile in Francia. Il modello per l’incisione del Cort, dunque, come sostenuto già da H. Hymans, piuttosto che lo stucco, sarebbe stato il medesimo disegno utilizzato dal Ghisi che, del resto, risulta presente ad Anversa dal 1550 al 1555 dove lavora proprio presso la bottega di H. Cock. Le due stampe rappresenterebbero, quindi, due interpretazioni indipendenti del medesimo modello. Esemplare nel primo stato di due, con l’indirizzo di H. Cook. Splendida prova, impressa su carta vergata coeva, rifilata al rame, sporadiche e lievi fioriture, per il resto in ottimo stato di conservazione. Engraving, 1561. Lettered in top left corner "IULIUS MANTUA INVE / H. COCK EXCUDE 1561". In the margin "CLOTHO COLUM BAIVLAT, LACHESIS NET ATROPOS OCCAT". The scene shows the three Fates; three allegorical women sit together in a compartment spinning wool. The same subject was engraved by Giorgio Ghisi, in 1558. The engraving reproduces the central stucco-relief executed after the design by Giulio Romano in 1530-31 in the Sala degli Stucchi, Palazzo del Te. It has been argued that Cort probably copied it through the engraving of 1558 by Giorgio Ghisi. The French royal privilege added to the second state of Ghisi’s plate suggests that Giulio's drawing found its way to France, and Giorgio Ghisi probably executed his engraving there. This hypothesis makes plausible that Cornelis Cort's reversed version of the same composition was engraved after the same drawing and not copying Ghisi's print. Superb example of the first state of two, printed on contemporary laid paper, trimmed to platemark, occasional foxing, in very good condition. Hollstein V.55.185; Riggs, Hieronymus Cock ,104; Hymans, Ouvres completes, I, p. 282 Dimensioni 257 211mm

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         La Visitatione

      1561 - Bulino, 1561, firmato in lastra dall’editore Antonio Salamanca. Esemplare nel probabile terzo stato di tre, con l’indirizzo di Orazio Pacifico o Pacifici. Ottima prova, impressa su carta vergata coeva priva di filigrana, rifilata la rame, leggere abrasioni al verso, per il resto in ottimo stato di conservazione. L’opera deriva dall’affresco di Andrea del Sarto nel chiostro dello Scalzo a Firenze. Andrea del Sarto concluse la decorazione del chiostro dello Scalzo dipingendo gli episodi che iconograficamente iniziano la storia della vita del Battista: la "Visitazione" (1524) e la "Nascita del Battista" (1526). Il ciclo, nella sua esecuzione prolungata, registra con un risalto magistrale le varie fasi della pittura sartesca, in una sequenza stilisticamente varia e ricca che riassume la storia della pittura fiorentina dei primi tre decenni del Cinquecento. L'affresco ha due disegni preparatori: uno conservato a Digione presso il Musee des Beaux Arts, raffigurante dei particolari per la figura in primo piano a sinistra della composizione; l'altro conservato a New York presso la Pierpont Morgan Library, con schizzi per l'uomo sulle scale sull'estrema destra della scena. Andrea del Sarto, pseudonimo di Andrea d'Agnolo di Francesco di Luca di Paolo del Migliore Vannucchi (Firenze, 16 luglio 1486 – Firenze, 29 settembre 1530), è stato un pittore italiano. Giorgio Vasari lo definì pittore "senza errori", elogiandone la perfezione formale, la rapidità e sicurezza d'esecuzione. Tale elogio vasariano appare però ormai riduttivo nei confronti di un artista che, erede della tradizione fiorentina, affrontò una grande varietà di temi e ne sviluppò l'elaborazione formale. Fu maestro dell'intera prima generazione dei manieristi (Pontormo e Rosso Fiorentino in primis), ma a differenza degli allievi non utilizzò quelle spregiudicatezze audaci, se non addirittura polemiche, ma rinnovò piuttosto il repertorio tradizionale in maniera garbata, accentuando il respiro monumentale delle figure, variando la cromia e la tecnica, con l'uso degli spunti più moderni reperibili. Un’esemplare con l’indirizzo di Lafrery è conservato al British Museum. Opera molto rara, non descritta dai repertori. Engraving, 1561, signed by the publisher Antonio Salamanca. Example of the third state, showing teh address by Orazio Pacifici. A good impression, on contemporary laid paper, trimmed to the paltemark,light abrasions on verso, otherwise good conditions. The work derives from the fresco by Andrea del Sarto in the cloister of the Scalzo in Florence. Andrea del Sarto completed the decoration of the cloister of the Scalzo iconography depicting episodes that begin the story of the life of John the Baptist: "The Visitation" (1524) and "The Birth of John the Baptist" (1526). The cycle in its long-running, with an emphasis recorded master the various stages of painting sartesca, in a sequence stylistically varied and rich that summarizes the history of Florentine painting of the first three decades of the sixteenth century. The fresco has two preparatory drawings: one to be kept in Dijon at the Musee des Beaux Arts, depicting the details for the figure in the left foreground of the composition; the other kept in New York at the Pierpont Morgan Library, with sketches for the man on the stairs on the far right of the scene. Andrea del Sarto, aka Andrea d'Agnolo di Francesco di Luca di Paolo del Migliore Vannucchi (Florence, July 16, 1486 - Florence, September 29, 1530) was an Italian painter. Painter Giorgio Vasari called him "without errors", praising the perfection of form, speed and safety of execution. Such praise Vasari, however, appears now against a reductive artist, heir to the Florentine tradition, he faced a variety of issues and he developed the formal elaboration. He was a master of the entire first generation of Mannerist, Pontormo and Rosso Fiorentino in the first place. An exemple with the address of Lafrery is preserved in the British Museum. A very rare work, not [Attributes: Signed Copy]

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         Orbis descriptio

      Venezia 1561 - Acquaforte e bulino, circa 1561. Magnifica prova, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione. Esemplare in meravigliosa coloritura coeva. Carta tratta dalla Geographia di Claudio Tolomeo, a cura del Ruscelli, pubblicata in Venezia in più edizioni tra il 1561 ed il 1598. La carta è basata sulla medesima opera di Giacomo Gastaldi (1548), che probabilmente disegnò personalmente anche queste mappe, incise dai fratelli Livio e Giulio Sanuto. La peculiarità di queste mappe è che sono incise due per lastra e successivamente tagliate, di conseguenza il segno del rame appare solo su tre lati per ogni mappa. Il testo di Ruscelli e le sue carte sono considerate come il miglior atlante moderno fino alla prima versione del Theatrum Orbis Terrarum di Ortelius del 1570. Solo la loro enorme diffusione ne impedisce una valutazione sostenuta nel mercato antiquario. ORIGINAL COLOURING!!!! Etching with engraving, about 1561. Magnificent proof, printed on contemporary laid paper, with margins, in perfect condition. Example in wonderful contemporary coloring. The map comes from Ptolemy's Geographia, edited by Ruscelli, published in Venice in multiple editions between 1561 and 1598. The map is based on the same work of Giacomo Gastaldi (1548), which probably also personally drew these maps, engraved by the brothers Livio and Giulio Sanuto. The peculiarity of these maps is that they are recorded two for plate and subsequently cut, consequently the sign of the copper appears only on three sides for each map. The text of Ruscelli and his maps are considered as the best modern atlas to the first version of the Theatrum Orbis Terrarum by Ortelius of 1570. Only their ubiquity prevents an assessment supported in the antique market. Dimensioni 265 190mm [Attributes: Soft Cover]

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         Ex ruinis thermarum imp. Dioclitiani prospectus unus

      Roma 1561 - Acquaforte e bulino, 1561, datata e firmata in lastra in basso al centro. Esemplare nel primo stato di due, avanti le scritte al verso e il numero tratto dalla serie "Praecipua aliquot romanae antiquitatis ruinarum monumenta par baptistam Pittonem vicentinum mense september MDLXI". Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame o con piccoli margini, in eccellente stato di conservazione. Le vedute del Pittoni sono ispirate alle opere di Hieronimus Cock del "Praecipua aliquot romanae antiquitatis ruinarum monumenta". Le lastre del Pittoni furono successivamente ristampate, nel 1582, nell’opera di Vincenzo Scamozzi "Discorsi sopra l'Antichità di Roma". Queste prove, più stanche, recano al verso il testo descrittivo. Gli esemplari di prima tiratura, sono da considerarsi molto rari. Etching and engraving, 1560 circa. Example in the first state of two, before the text on verso, taken from "Praecipua aliquot romanae antiquitatis ruinarum monumenta par baptistam Pittonem vicentinum mense september MDLXI", inspired by the same work by Hieronimus Cock. Magnificent proof, rich in shades, printed on contemporary laid paper, trimmed to the copperplate or with small margins, in excellent condition. The plates by Pittoni were later reprinted in 1582 and included in the Vincenzo Scamozzi "Discorsi sopra l'Antichità di Roma", where the views are weaker and with a descriptive text, on verso. The examples of the first edition, are to be considered very rare. Passavant, Le Peintre Graveur, vol. VI, 1 - I/II. Dimensioni 305 216mm [Attributes: Soft Cover]

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         LA VILLA [1561 GARDENING, AGRICULTURE]

      Venice: Not Attributed. Very Good with no dust jacket. 1561. First Italian Edition. Limp vellum. 88, [4] [1] pages; [Agriculture - gardening] - PALLADIUS, Petrus - La villa (…) tradotta nuovamente per Francesco Sansovino, nella quale si contiene il modo di cultiuar la terra di mese in mese, di inserir gli arbori, di gouernar gli horti, & I giardini, con la proprieta de frutti, delle herbe, & de gli animali, con molte altre cose utili a prò del contado. [rough translation- The villa (...) translated again to Francesco Sansovino, which is contained in the way of the land cultivar from month to month, will insert of the arbor, management of the garden, & gardens, with the properties of fruits, herbe, & the animals, with many other useful things of the countryside]. 4to, cont. Limp vellum (stained) , [4]-88-[4] ff. (paper age-toned, some spotting and marg. Staining, sm. Marg. Tear in L2). Very Good copy. Rare Italian trsl. By Fr. Sansovino (1521-1583) of the Roman textbook of Palladius (4th c. ) on agriculture and gardening. Woodcut mark on title, a larger one at the end. Woodcut border at top of title and beginning of chapters. Ref. Edit16 30985. STCItalian (BL) 486. Wellcome I: 4700. Not in Adams, Durling. This contains the first comprehensive testing of means of agricultural activities. Colophon states Appresso Francesco Sansovino and gives the date of 1561.; 0 .

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         Der Siebed || Teil der b[ue]cher des Ehrnwirdi=||gen Herrn Doctoris Mart.Lutheri/ Darinnen be=||griffen/ die B#[ue]cher vom Christlichen stand/ wider den Bapst/ vnd die || Bischoue/ jre Scribenten vnd Vorteidinger.Jtem/ von der Kirchen || vnd den Concilijs/ vnd der gleichen/ Welche zu der Kirchen || vnd jrer regirung vnd ordnung geh#[oe]ren/ ... ||

      Wittemberg. Gedruckt durch Thomam Klug/ Anno.|| 1561.||, 1561. [8], 580 Bl. gebundene Ausgabe, Ledereinband Zustand: gut bis sehr gut; eine Metallschließe vorhanden; Vorsatztitelblatt repariert, Ersten Seiten ; Vorrede und Register unter Rechts Feuchtigkeitsrand; Einband Pergament mit Blindprägungen, sowie einer Schwarz-Prägung \"Der 7 Teil // AH// 1569\" wohl das Bindedatum; Weitere Fotos auf Anfrage Luther7 Versand D: 4,90 EUR

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         Chronologia Secundum Græcorum rationem temporibus expositis. Conversa in sermonem Latinum de Græco, & explicata à Ioachimo Camerario Pabepergensi, nuncq[ue] primùm edita.

      Basel Oporinus 1561 - Fol. 223 S., 21 Bll. Mit Druckermarke auf Titel und Holzschnitt-Initialen. Blindgepr. Schweinslederband d. Zt. VD16 N 1446. Adams N223. Erste von Camerarius durchgesehene Auflage. "Die Chronographia erschien zuerst lateinisch in Basel in der Gestalt, welche ihr Anastasius Bibliothecarius um das Jahr 870 gab" (Wetzer-Welte IX, 258). - Einband fleckig. Vorsätze erneuert. Titelblatt mit hinterlegten Fehlstellen (etwas Text- bzw. Bildverlust) und verso gestempelt. Stellenweise Marginalien von alter Hand. Durchgehend sporfleckig und wasserrandig. Wenig Blätter angerändert. Gewicht (Gramm): 980

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         Conversio Evangelii secundum Joannem graecis versibus conscripta, nunc primum ad verbum latinatina facta, multisque in locis emendata, per Joannem Bordatum Bituricum.

      Paris, Charles Périer, 1561. ____ Belle édition de Charles Périer. Une paraphrase de l'Évangile selon Saint Jean par Nonnos de Panopolitanus, qui a vécu vers le début du Ve siècle à Panopolis en Egypte. Nonnus est aussi l'auteur d'un poème, les "Dionysiaques", qui retrace les aventures et les institutions de Bacchus. Texte grec, avec en vis à vis la traduction latine de Jean Bordatus. Marque de Périer représentant Pégase et Bellérophon sur le titre. Mouillures sur les premiers et derniers feuillets, coiffe supérieure arasée, mais bon exemplaire, bien relié. *-------*. In-4. Collation : (12),197, (3) pp. Veau glacé, dos à nerfs orné. (Reliure du XVIIe.).

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         Ptolemai Typus

      Venezia 1561 - Carta tratta dalla "Geographia" di Claudio Tolomeo, a cura del Ruscelli, pubblicata a Venezia in più edizioni tra il 1561 ed il 1598. La carta è basata sulla "Geografia" di Giacomo Gastaldi, che probabilmente disegnò personalmente anche queste mappe, che vennero incise dai fratelli Sanuto. La peculiarità di queste mappe è che sono incise due per lastra e successivamente tagliate; questo il motivo per cui il segno del rame appare solo in tre lati della mappa. Il testo del Ruscelli e le sue carte sono considerate come il miglior atlante moderno fino alla prima versione del "Thatrum" di Ortelius, 1570. Solo la loro enorme diffusione ne impedisce una valutazione sostenuta nel mercato antiquario. Nell’edizione del 1574 fu sostituita da un’altra versione della stessa. Incisione in rame, in ottimo stato di conservazione. Map, taken from Ruscelli edition of Ptolemy's "Geographia", printed in Venice from 1561 to 1598. Ruscelli's Atlas is an expanded edition of Gastaldi's Atlas of 1548, which has been called the most comprehensive atlas produced between Martin Waldseemüller's Geographiae of 1513, and the Abraham Ortelius Theatrum of 1570. Ruscelli and Gastaldi's maps were beautifully engraved on copper, marking a turning point in the history of cartography. From that point forward, the majority of cartographic works used this medium. As it was a harder material than wood it gave the engraver the ability to render more detail. Gastaldi sought the most up-to-date geographical information available, making the modern maps in Ruscelli's Geographia among the best modern maps of the period. The maps are engraved by the Sanuto borthers. In the 1574 edition it was replaced with another version of the same map. Copperplate, in excellent condition. Shirley, The Mapping of the World, 109. Dimensioni 260 190mm

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         Der Siebed || Teil der b[ue]cher des Ehrnwirdi=||gen Herrn Doctoris Mart.Lutheri/ Darinnen be=||griffen/ die B#[ue]cher vom Christlichen stand/ wider den Bapst/ vnd die || Bischoue/ jre Scribenten vnd Vorteidinger.Jtem/ von der Kirchen || vnd den Concilijs/ vnd der gleichen/ Welche zu der Kirchen || vnd jrer regirung vnd ordnung geh#[oe]ren/ . ||

      Wittemberg. Gedruckt durch Thomam Klug/ Anno.|| 1561.||, - [8], 580 Bl. Zustand: gut bis sehr gut; eine Metallschließe vorhanden; Vorsatztitelblatt repariert, Ersten Seiten ; Vorrede und Register unter Rechts Feuchtigkeitsrand; Einband Pergament mit Blindprägungen, sowie einer Schwarz-Prägung "der 3 Teil // AH// 1569" wohl das Bindedatum; Weitere Fotos auf Anfrage Luther7 Wenn das Buch einen Schutzumschlag hat, ist das ausdrücklich erwähnt. Rechnung mit ausgewiesener Mwst. Sprache: Deutsch Gewicht in Gramm: 4000 gebundene Ausgabe, Ledereinband

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         Magiae Naturalis, sive de Miraculis Rerum Naturalium Libri IIII.

      Lugduni, apud Gulielmum Rovilium, 1561. - in-16. 283ff. chiffrés. 5ff. Plein veau, plats ornés de dorures et de motifs frappés à froid avec le titre et la date en lettres dorées sur le plat supérieur, dos lisse orné (reliure postérieure c.1950). Première édition de poche, et la première publiée en France (seulement précédée par l'édition originale in-4 de Naples, 1558, et une édition anversoise in-8 de 1560), de ce traité sur les secrets de la nature par l'érudit italien Giovanni Battista della Porta (1535-1615). "The secrets are arranged in four books and the conception implied in the title is that natural magic is the perfection of natural philosophy and the highest science" (D.S.B.). Ce recueil d'observations curieuses que l'auteur avait commencé à consigner dès l'âge de quinze ans (il n'en avait que 23 quand parut l'ouvrage en 1558), fit l'objet d'une nouvelle édition en 1589 qui contient d'importantes additions, concernant l'optique notamment. Trous de vers réparés dans les marges d'une grande partie du volume et réparations à la page de titre, sans atteinte au texte. Exemplaire revêtu vers 1950 d'une jolie reliure dans le style de l'époque. D.S.B., XI, P.96. Caillet, 8851 ne cite aucune édition antérieure à 1650 et Dorbon, 3728 ne remonte pas avant 1591. [Attributes: First Edition; Soft Cover]

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         Opera]. Dionysii Lambini [...] in Q. Horatium Flaccum [...] commentarii copiosissimi [...]. Editio postrema. 2 Teile in einem Band.

      Fol. (34 x 22,5 cm). Mit 2 Holzschn.-Druckermarken u. einigen Holzschn.-Initialen. 6 Bll., 313 (1) S., 9 Bll. 383 S., 12 Bll. - Angeb. - Pigna, Giovanni Battista. Poetica Horatiana. Ad Franciscum Gonzagam Cardinalem ampliss. Venedig, Vincent Valgrisi, 1561. Mit 2 Holzschn.-Druckermarken. 14 Bll., 90 S., 16 Bll., S. 17-28, Blindgepr. HSchweinsldr. d. Zt. m. handschriftl. Rückentitel, grün gefärbten Pergamentdeckeln sowie vergoldetem Wappensupralibros des Christoph Reinhar[d]t aus Mühlhausen auf dem Vorderdeckel u. einem weiteren Wappen auf dem Rückdeckel. Ad 1) Erste Frankfurter Ausgabe Nachdruck der Pariser Lambin-Ausgabe von 1567. - Ad 2) Erste Ausgabe. - Einband beschabt u. bestoßen. Kapitale u. hinterer Rückendeckelbezug m. kl. Fehlstellen. Vorderes Vorsatzblatt m. älterem Vermerk u. größerem Eckabschnitt. Titel gestempelt u. mit Besitzvermerken von Hermann Birckner aus Mühlhausen/Th. (datiert 1597) sowie Christoph Reinhardt aus Mühlhausen (1567-1630, Syndikus, Ratsherr und ab 1628 Bürgermeister). Einige alte Anmerkungen bzw. -streichungen. Vereinzelte kl. Randläsuren. Durchg. etw. gebräunt u. fleckig. - Ad 1) VD16, H 4873 Adams H 924 Schweiger II, 398. - Ad 2) Adams P 1206.

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        Della summa de' secreti vniversali in ogni materia parte prima [-seconda]

      Venice: Bariletto, 1561. FIRST EDITION. Each part with separate title. Woodcut printer's device of "Prudence" with the motto Prudentia negotium non fortuna ducat on each title and full-page on verso of last leaf of each part, woodcuts historiated initials, text woodcut illustration of an alchemical instrument (sigilla hermetis), contemporary manuscripts notes. Contemporary vellum, a bit worn, with faint notes on covers; some browning and minor staining. Manuscript note on second title that suggests that Rossello is an alias for D. Panizza of Venice (?). Also of interest is the different spelling of Venice, "Venegia" on the first title and "Venetia" on the second. First edition, extremely rare, of this important and enigmatic treatise of alchemical, pharmaceutical and herbal formulas containing almost every remedy and new mode of therapy for illness as well as the ability to remain in good health. Among the topics described are recipes for plague amulets to aphrodisiacs and formulas from lip balm to paint pigments and cleaning teeth. In addition to the many other beauty treatments, the second book illustrates how to prepare "special waters" used to heal a variety of diseases. Noteworthy is the author's description of his preparation of camphor, quicksilver and sulfur to make a universal medicine. Of special interest (especially given the question of the gender of the writer) is the formula for a mixture of quail testicles, large winged ants, musk, and amber to treat erectile dysfunction. Little is known about the author and this work. In the same year the present book was published, Isabella Cortese, an Italian writer and alchemist, published I secreti della signora Isabella Cortese (The secrets of Lady Isabella Cortese), same printer, same printer's device, and very similar text. Both works contain instructions on the preparation of practical items such as toothpaste, soap and cosmetics; both contain the same directions on the "universal medicine"; and both have the same section on erectile dysfunction. Three men, Bariletto, Curtio Troiano di Navò and Mario Caboga, can all be connected to both works. Bariletto was a printer who came to Venice from the Riviera di Salò on Lake Garda around 1550; di Navò, his brother-in-law and described as a "book merchant," applied in 1560 for the required privileges to print both works; Chaboga, the Archdeacon of Ragusa, was the dedicatee of both works. No extended information has been found on Isabella Cortese and her life; all that is known is her book of secrets. It has been questioned whether Cortese was a pseudonym for Rossello (or whoever Rossello actually was), as the possibility might exist for increased sales based on a female author. Alternatively, it could be that Rossello was a pseudonym used by Cortese (or whoever she actually was). The manuscript note indicating an alias of Rossello puts everything into question; the only Panizza we could locate was the printer Valente Panizza (fl. 1562-1572). Both books were reprinted numerous times over the following hundred years.

      [Bookseller: B & L Rootenberg Rare Books & Manuscript]
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