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Displayed below are some selected recent viaLibri matches for books published in 1579

        The Holy Bible [Black Letter Geneva version]

      London: Christopher Barker, Printer to the Queenes Majestie, 1579. 8vo. (21cm x 14.5cm x 5cm), cropped from Sm4to. with a number of sidenotes shaved, edges uniformly stained with India Ink (?). Late 17th-early 18th Cent. undecorated smooth calf. Contents are: The Psalter i.e. Prayer Book, morning & evening; engr. t.p., 49pp. [unpaginated]; Godly Prayers; 5pp., printer's device with boar & lamb; [lacks "Of the incomparable treasure of the Holy Scriptures"]; The Olde Testament, double column Black Letter, lacks t.p. but text complete, 756pp. [numbered 378 rectos only]; Apocrypha, double column Black Letter, 171pp. [numbered 86 rectos only]; The Newe Testament, double column Black Letter, engr. t.p., text complete as follows: Summe of the whole scriptures...2pp., Certaine Questions...3pp., Names & order of all the bookes... 1pp., The Holie Gospels...242pp. [numbered 121 rectos only], Briefe table of...proper names, 8pp., Table of principall things...19pp., Perfite supputation of the yeeres & times from the Creation, 2pp. Binding is well-worn but complete, splits at head & heel neatly repaired and spine consolidated. Text-block age darkened, with a scattering of light stains and smudges, but otherwise quite clean without holes, tears, corners missing or annotations. Bookplate of James Wicks Dunsford on f.p.d.; he was a minor office holder in late 19th Cent. Canada West, son of Rev. James Hartley Dunsford, emigrating to Upper Canada in 1837. Possibly a family heirloom, certainly acquired from the Dunsford estate in the early 20th Cent. and coming to us from the heirs of G.J. Edwards of Lindsay , Ont., the former purchaser.. Geneva Version. Full Leather. VG/None. 8vo.

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        An Atlas of England and Wales

      London: Christopher Saxton, 1579. Folio (17 x 12 inches). Engraved allegorical frontispiece showing Queen Elizabeth as patroness of Astronomy and Geography attributed to Remy Hogenberg (laid-in), full-sheet engraved plate with 84 escutcheons facing a table of towns, 35 full-sheet engraved maps (one folding) after Saxton by Hogenberg, Lenaert Terwoort, Cornelis de Hooghe, Augustine Ryther, Francis Scatter, and Nicholas Reynolds, letterpress index of maps, the maps, frontispiece, and tables ALL IN FINE CONTEMPORARY HAND COLOR AND LAVISHLY HEIGHTENED WITH GILT AND ARGENT, ALL POSSIBLY BY MARCUS GHERAERTS (TRUUSJE GOEDINGS). FINE CONTEMPORARY ENGLISH CALF GILT BINDING BY JEHAN DE PLANCHE in "Lyonnese" style (i.e. Jehan de Planche II, possibly working in London from about 1567-72 and later). Number 16 in a group of 19 bindings recorded by Howard M. Nixon in 1970. Covers gilt-blocked with large arabesque cornerpieces and large central cartouche enclosing a rampant lion crest against a background of large gilt dots, plain endpapers, gilt edges, remains of green silk ties (expertly restored by James & Stuart Brockman Ltd., under the guidance of Stephen Massey). Provenance: Gilt crest supra libros of Sir Thomas Egerton, Baron Ellesmere and Viscount Brackley (1540?-1617), lord chancellor, barrister of Lincoln's Inn, 1572; probable gift of his third wife Alice Spencer's family, 17th-century inscription on the front paste-down; by descent through Egerton's daughter the Hon. Mary Egerton to Sir Richard Newdigate (1668-1727), with his engraved armorial bookplate on the verso of the frontispiece dated 1709; by descent to Sir Roger Newdigate (1719-1806) with his engraved armorial bookplate on the front paste-down; by descent to Sir Frances Newdigate-Newdegate, Arbury Hall, Warwickshire; Arbury Hall book-label sale, Sotheby's London, 23 January 1920 lot 289, purchased by G.D. Smith; G.D. Smith stock sale, Anderson Galleries, New York 11 November 1920, lot 290; unidentified owner sale, Sotheby's New York, June 26 1998, lot 602. THE FIRST PRINTED AND MOST IMPORTANT MAPS OF ANY ENGLISH OR WELSH COUNTY BY THE FATHER OF ENGLISH CARTOGRAPHY CHRISTOPHER SAXTON First edition. The frontispiece is in the usual second state (with the Queen's skirt displaying less elaborate jewellery and the folds falling naturally about her knees) with fifteen maps bearing Seckford's pre-1576 motto ("Pestis patriae pigricies"), and twenty his later motto ("Industria naturam ornate"), the index is in the fourth setting with a four-line heading and three columns, there are eighty-four numbered coats of arms, the last one painted in Argent and with manuscript name erased, all maps bear the lozenge of small circles watermark, known as the grapes watermark. IN A FINE BINDING BY JEHAN DE PLANCHE II, WITH THE EMBLAZONED CREST OF SIR THOMAS EGERTON (c.1540-1617), Lord Keeper and Lord Chancellor for Queen Elizabeth I and James I on the front cover. Egerton was the son of Sir Richard Egerton of Ridley Cheshire. He became a commoner at Oxford around his seventeenth year in 1556 at Brasenose College, Oxford. In 1559 he entered Lincoln's Inn and was called to the bar in 1572. By 1580 he was governor of the society, Lent reader in 1582 and treasurer in 1588. He had obtained great legal renown and a large practice by the time he argued a case against the Crown that gained the attention of Queen Elizabeth. She appointed him Solicitor-General June. With a partially obscured late 17th-century, early 18th-century anecdotal inscription on the front paste-down concerning a member of Sir Thomas Egerton's third wife's family, and other prominent Elizabethans: "Sir Gregory Spencer of Halifax .... Robert.... chancellor... of Halifax... Sir Francis Walsingham Knight". Egerton's third wife was Alice Spencer (1559-1637), literary patron, daughter of Sir John Spencer of Althorp, Northampton, and his wife, Katherine, and widow of Ferdinando Stanley, fifth earl of Derby, whom he had served as an adviser. They married in October 1600. She is credited with bringing a number of books to Egerton's library, and shared in building the famous collection, and it is very probable that this book was a gift from her to her new and influential husband. "The marriage brought Egerton further wealth but untold misery. A prominent lady of the court, and a cultured patron of literature, the beautiful and wealthy dowager countess of Derby must have seemed a good match. She had been left extensive property around Brackley in Northamptonshire and in neighbouring counties, secured by chancery decree. However, she was haughty, profligate, greedy, and ill-tempered, and added greatly to her husband's burdens for the last seventeen years of his life. 'I thank God I never desired long life'" (DNB). Sir Thomas had three surviving children, including a daughter, the Honorable Mary Egerton whose grandaughter Juliana Leigh (died 1685) married Sir Richard Newdigate, first baronet (1602-1678) in 1630. Jehan de Planche was a Protestant sympathizer from Dijon. Original owners of bindings in the group include Queen Elizabeth I (four examples), William Alyn, Sir Nicholas Bacon, Lord Burghley, Robert Dudley, Town of Dunwich, Thomas, Duke of Norfolk, Archbishop Parker, Rochester Priory and the Lady Russell. Christopher Saxton, widely considered the father of British cartography, was the first mapmaker to comprehensively survey the counties of England and Wales. The map of the entire country was the earliest large-scale representation of England and the regional maps were, in many cases, the first for their respective areas. Published in a magnificent volume in 1579, his compilation was the first atlas devoted to the complete depiction of one country and formed the basis of English regional mapping for more than a century. Saxton grew up in Dunningly, Yorkshire and received his early training in surveying from the town vicar, John Rudd. Educated at Cambridge, Saxton's abilities caught the attention of Thomas Seckford, Royal Surveyor to the Queen. At this time, state officials were beginning to realize the political and administrative advantage of accurate maps, while public interest in cartography was in the midst of a dramatic surge. Largely in response to these factors, Queen Elizabeth charged Seckford with the task of procuring an atlas of England and Wales. An unprecedented standard of accuracy was achieved and in keeping with the Queen's intention that the atlas be a symbolic statement of national prominence, all care was taken to ensure that it was also beautifully produced. Each map bears the Royal Arms as a symbol of Queen Elizabeth's supervision and endorsement. Truusje Goedings, renowned expert in Dutch colourists of the 17th-century writes of this copy: "Splendid de-luxe coloured copy, lavishly heightened with gold and silver, contemporary done by one hand. Especially the title-page is unusually elaborate, with a delicate and rich handling of gold in many details. The warm colours of the maps remind of the Flemish and Dutch colouring style of atlases around 1600, though more precise and fine, and in brighter shades especially of pink, and orange. Kindred are the minium shades for borders, the dark yellow for frames and legends, the often complete covering of surfaces of sea and regions, etc. Remarkable is the green, often applied in larger surfaces, which stayed green and has been preserved very fresh. It did not discolour to brownish-yellow as so often seen with Dutch atlases of the time - and later. This authentic fresh green is seen on maps of English provenance often and might be considered as a special characteristic of original English coloured copies of this period. "Given the high level of painting, with drawing-like elements, the colouring of this copy might have been done by an established miniaturist-painter instead of a map colourist. The fine, drawing-like manner in which some decorations were painted and the gold was applied, as well as the more detailed than monumental overall approach of the maps and plates point in this direction. Orders for very de-luxe copies were more often given to eminent miniaturists. Moreover, professional map colourists must have been scarce in England, this atlas being the first of its kind produced in England. It might be that Flemish colourists worked on the colouring of this edition in general, just like the engraving partly was done by Flemish artists. Many of them were in London at the time. One of the best was Marcus Gheraerts also called Mr. Gerard Ter Brugghen (ca. 1521-before 1604) who was a refugee and worked for the English court since 1568 (see Van Mander 1604 p.258). He was a reknown engraver, enlighter and miniaturist, and is known to have coloured de-luxe copies of the map of Bruges (1561). He (or his son who also worked for the court) might have been involved with the colouring of this copy. (See on him my article in Kunst in Kaart (J.F. Heybroek ed.), Utrecht 1989, p.104-106, 110-113, with litt.). "Sir Thomas Egerton, the first owner of this copy cf. his crest on the splendid gilt leather binding, was chosen as lord-chancellor by Queen Elisabeth I ca. 1690. She might have presented Egerton at his appointment with this atlas. Leading in its production she considered the atlas, which features her portrait richly coloured and gilt on the title-print, crucial for good government. Also, she employed the same binder as the one responsable for the magnificent de-luxe binding of this copy, as research showed. "However this may be, the way of colouring of this copy does not contradict such a provenance, especially because the overall colouring of the maps is held relatively blanc, that is, the white of the paper plays a more dominant role than is usual for the time. This might be due to the fact that this copy was meant for (and presented by) a very high placed person. A somewhat paler appearance combined with costly colours was considered very chique. (For comparison: the de-luxe colouring of the presentationcopy of the first edition of Wagenaer's Zee Spiegel (Sea-Mirror, Antwerp 1584, UB Utrecht) to William of Orange has the same remarkable trait.)" (Truusje Goedings)..

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        M. Manili astronomicon libri quinque

      Lutetiae (Paris): Apud Mamertum Patissonium, Roberti Stephani (Mamert Patisson, Robert Estienne), 1579. relié. 2 parties en un Vol. In 8 (10x16cm). Edition originale, rare. La première partie à pagination séparée est constituée par le texte de Manilius (caractères italiques), la seconde, qui possède sa propre page de titre et sa pagination, par les commentaires de Scaliger, lesquels sont deux fois plus long que le texte. Cette seconde partie est accompagnée de quelques diagrammes, notamment hors-texte. Marques de l'imprimeur sur les deux pages de titre. Plein Parchemin d'époque. Dos lisse avec titre à la plume noire. Coin droit manquant sur quelques mn sur le plat supérieur. Bordure ouverte sur 3 m au plat inférieur. Les astronomiques de Manilius, poète let astrologue latin du début du premier siècle, est un poème didactique sur l'astronomie et l'astrologie. Le livre premier constitue une description du ciel, le second est consacré au zodiaque, le troisième apprend comment établir un horoscope d'après l'observation des cieux, le livre quatre est une analyse des peuples de la terre selon l'influence astrale, et le dernier livre une explication de l'influence des planète selon leurs positions. On notera que pour la première fois dans l'histoire de l'astrologie appraît dans ce texte le concept de "Maison", toujours utilisé. Les commentaires et réflexions de Saliger sont les premiers existants sur cet ouvrage. Scaliger, on le sait, fut un des plus importants érudit du XVIe siècle et succèda à Juste Lipse à L'université de Leyde. Son intérêt pour la chronologie, l'astrologie et l'astronomie l'a accompagné sa vie durant. Ses détracteurs lui reprochèrent cependant en ce domaine une approximation dans ses sources et une certaine erreur dans ses jugements sur l'astromie ancienne. - Apud Mamertum Patissonium, Roberti Stephani (Mamert Patisson, Robert Estienne), Lutetiae (Paris) _1579, 2 parties en un Vol. In 8 (10x16cm), (12)136pp. (8); 292pp. (10), Un Vol. relié. - Un Vol. relié

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        Portrait of Abraham Ortelius (1527-1598)

      Antwerp, 1579. THE ONLY KNOWN REPRESENTATION OF THE FAMOUS GEOGRAPHER, ABRAHAM ORTELIUS, PAINTED DURING HIS LIFETIME Oil on panel: 171/8" x 14" Inscribed center right:: CONTEMNO/ ET/ ORNO Provenance: I. Riesner Collection, Brussels; his sale, Brussels, Galerie Fievez, November 19, 1927, lot 65 (as Antonio Moro, Portrait d'un géographe); Anton W.M. Mensing Collection, Amsterdam, died 1936 and then held in trust by the estate until sold, Amsterdam, Frederick Muller & Cie., November 15, 1938, lot 68 (as Antonio Moro, Portrait of Abraham Ortelius), where acquired by J. Paul Getty; J. Paul Getty Collection, California, until 1954 when donated to the J. Paul Getty Museum, Malibu, California; de-accessioned 2007 References: H. Hymans, Antonio Moro, son oeuvre et son temps (Brussels, 1910), 156 (as Antonio Moro); B.B. Fredericksen, Handbook of Paintings in the J. Paul Getty Museum (Malibu, 1965), 11 (as Antwerp painter, c. 1575-80 [possibly Adriaen Thomas Key]); B.B. Fredericksen, Handbook of Paintings in the J. Paul Getty Museum (Malibu, 1972), 64, n. 79 (as Attributed to Adriaen Thomas Key); D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles, 1997), 66, reproduced (as Attributed to Adriaen Thomas Key); P. Binding, Imagined Corners: Exploring the World's First Atlas (London, 2003), 42 (as Attributed to Adriaen Thomas Key). This superb portrait by the Flemish painter Adriaen Thomaszoon Key represents Abraham Ortelius (1527-1598), a luminary figure in Renaissance intellectual history. Born Abraham Ortels in the Flemish capital of Antwerp in present-day Belgium, Ortelius (who Latinized his name in his twenties, as was then fashionable among the educated elite) eventually became one of the most celebrated geographers of all time. His foremost accomplishment was the production of the first world atlas in the modern sense of the word, the Theatrum orbis terrarum, published in Antwerp from 1570 Ortelius is depicted in bust-length, his face in near-profile emerging brightly above a white ruff from the dark background. He stares intently to the right, resting his hand on a terrestrial globe where the Mediterranean can just be discerned. The inscription at center right, "contemno et orno," which in full would read "contemno et orno mente manu," ("I divide and order with mind and hand") almost certainly alludes to Ortelius's triumph in having produced the first atlas. The placement of Ortelius's hand above the globe is likewise highly symbolic, in this case alluding to his firm grasp on (and power over) geography. Key was, like Ortelius, a native of Antwerp, and became one of the leading portraitists in that city. He became a master in Antwerp's Guild of St. Luke (the painters' guild) in 1568. Key's portrait of Ortelius can be dated to before 1579, at which point it was used by the artist Philips Galle as a model for the engraved portrait that was henceforth included as the frontispiece for every edition of the Theatrum orbis terrarum. In the following century, Pieter Paul Rubens, was commissioned by the scholar Balthasar Moretus to paint a copy of this work (Plantin-Moretus Museum, Antwerp).. Book.

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        Larii Lacus vulgo Comensis descriptio/Territorii Romani descrip./Fori Iulii, vulgo Friuli Typus

      Abraham Ortelius Antwerp: Abraham Ortelius, 1579. unbound. very good(+). Map. Uncolored engraving. Image measures 13 5/16" x 19". Beautifully detailed three part map showing Lake Como, Rome and its surroundings and Friuli. While the maps of Rome and Friuli are straightforward, the map of Lake Como is depicted on an unraveled scroll. Ships and sea monsters dot the lake and pastoral vignettes are seen behind the scroll. Among the buildings depicted in Rome one can make out the Colliseum, the Pantheon and the Basilica. Latin text on verso. From "Theatrum Orbis Terrarum". Minor aging in margins, slight stain to left and center, small tear to top center edge. Ink marking in top margin. Full original margins.

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        Theatrum Orbis Terrarum. Opus nunc denuò ab ipso Auctore recognitum, multisque castigatum, & quamplurimus nouis Tabulis atquè Commentarijs auctum.

      (Antwerpiae, Apud Christophorum Plantinum, 1579) (on colophon). Folio (42 x 29 cm.). Cont. full mottled calf w. six raised bands on back. Back w. blind-stamped ornamentations, some nearly worn off. Professional repairs to back. Capitals professionally restored w. newer leather, likewise at edge of front-board. Corners bumped, inner hinge cracking. Crowned centre-ornamentation (ex libris?) on back-board, gilding nearly worn off. Some marginal repairs to some leaves. Four of the first text-leaves w. dampstaining. (10) ff., incl. engr. t-p. w. cont. hand-colouring and engr. Portrait of Ortelius w. cont. hand-colouring, 93 pp. of text, in between which 121 engr. maps on 92 double-page and 2 single-page plates (often collated as 93 double-page engr. maps), all w. full cont. hand-colouring, (44) ff. (Nomenclator, dated 1579). Woodcut vignettes and initials. World map w. small folding crease to middle and repair to margin, no loss, likewise w. general map of Europe. Map of Biturigum with 90 x 3 mm. tear as well as a small one underneath, probably due to mounting-strip and the hardening of the cont. hand-colouring, however no loss affects depiction of land or the text, but is luckily situated in the middle of the open sea (no text on verso). Small tear to map of Frisia, likewise probably due to mounting-strip, though no loss. Some maps have marginal repairs that do not affect maps, this goes for maps of Africa, Switzerland, Persia, Turkey, Greece and a few others. Overall the maps are in unusually fine condition. Final three text-leaves repaired at margins.. An early Latin edition and the first Plantin-edition, of what is in reality the world's first geographical atlas. The first edition, also in Latin, appeared in 1570 and had 70 maps engraved on 53 plates and the names of 87 cartographers. The number of maps was expanded with every edition as were the names of the cartographers. The present copy, printed only nine years after the first edition, contains 121 maps on 94 plates and the names of 127 cartographers. This is the Koemann 15B edition, which is the only one to contain 127 names of cartographers. It is the variant of the 1579 Latin edition (Koemann 15A), which only contains 120 names in the catalogus auctorum, but which has the exact same maps as this one. The matter was reset. Shirley (T.ORT - 1n) and Koemann (Ort. 15B) both mention 93 map sheets, probably due to not having noticed that "Patarinum" and "Apulia" are printed on two single sheets in stead of one double sheet as the rest of the maps (in Koemann these are called 64 a and b). Thus both collations are in accordance with ours. This is the first edition by the prominent printer Plantin, who was a good friend of Ortelius, the first edition with the Nomencaltor Ptolemaicus and the first edition with the Parergon (by-work). The Parergon is a bonus in the form of a set of historical maps added by Ortelius (starts on text-page 91 w. the title "Parergon Theatri"). Ortelius died in 1598, by which time at least 28 editions had appeared in Latin, Dutch, German, French and Spanish. Several more editions appeared up until 1612, in all at least 42. The paramount Ortelius-atlas complete and with the maps in good condition is becoming a rarity. Ortelius is one of the two greatest figures in the history of cartography, and it is he and Mercator, who introduce mankind to modern cosmography and our way of looking at the world geographically. The publication of the Orbis Terrarum marks a turning point in the history of cartography, since with it for the first time the world is presented with an actual atlas. "It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge since the days of Ptolemy, and in that sense may be called the first modern atlas." (Tooley, p. 29). The seminal work represents an entirely new approach to cosmogony and the way of viewing the world as a whole. The title-page also marks a totally new concept, as it is in this work a fourth figure denoting the continents is added for the first time, -that of America; "And thus in this book we have America for the first time admitted into the realm of symbolism as the equal of the other three parts of the globe." (Brown, p. 163). In this work we also find the later so important list of the geographers and cartographers that had been consulted and/or copied, it is thus due to Ortelius and his Theatrum that a whole series of 16th century cartographers have not remained altogether unknown. "This list not only established a high precedent in the ethics of map publishing, it also publicized the names of many cartographers who might otherwise have remained obscure or entirely unknown at home or abroad. In short it was a "Who's Who in Cartography" both past and present." (Brown, The Story of Maps, 1951, p. 162). When Ortelius' father died, he was left with the responsibility of supporting his mother and sisters. In order to make a decent income, he began buying maps that he would colour himself; he had his sisters mount them on linen and he sold them at the fairs. One of his greatest customers, Aegidius Hooftman, a wealthy merchant, who relied on knowing the best sailing-routes for his ships, one day complained about the difficulties of handling all of his maps of varying sizes and quality. Having heard this, Ortelius made up a collection of the most important and best maps, all of the same size, in all about 30, and had them bound in a volume as a book, -and thus the fist atlas saw the light of day. Ortelius, of course, did not stop with this one atlas, but after about ten years, due to his many connections with the best map-makers in the world, succeeded in making an atlas for general sale. By this time he had only published three maps himself, and it took much effort and hard work to collect and edit the maps, getting the permission of the cartographers, engraving the plates and finally having the whole thing, including title-page, dedication etc., printed. Finally in 1570, the world's first geographical atlas, "Theatrum Orbis Terrarum" (Theatre of the World), was printed; the work was an instant success, and the first editions were quickly sold out. Ortelius received much acknowledgement for his amazing work. He was yielded as a great scholar and there was no end to the praise he received from everybody, including Mercator and Petrus Bizarus. "If every home now owns an atlas of some sort, it is due ultimately to the conviction and example of Ortelius." (PMM 91). Koemann Ort 15B (which is a variant of Ort 15A and collates as this). Shirley, T.ORT - 1n, p. 774. (Phillips 386). Printing and the Mind of Man 91

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