The viaLibri website requires cookies to work properly. You can find more information in our Terms of Service and Privacy Policy.

Displayed below are some selected recent viaLibri matches for books published in 1590

        Trattato Degli Huomini Illustri di Bologna diviso in tre parti.

      Appresso Vittorio Baldini, 1590. Trattato Degli Huomini Illustri di Bologna diviso in tre parti. Nella prima parte si contengono i Prelati, Nella seconda i Titolari, Nella terza i Dottori, i Cavalieri, i Capitani, et il Senato. Raccolto per Bartolomeo, di Galeotti Bolognese. In Ferrara, Appresso Vittorio Baldini, 1590. In - 4°, pergamena coeva. 1 f. bianco, marca Tipografica al frontespizio, 135 pp. 1 f. bianco, capilettera e finalini xilografici, ritratto del Papa Boncompagni, 6 stemmi con cappelli cardinalizi stampati in rosso, numerosi altri stemmi nel testo incisi in legno. Rarissima prima ed unica edizione di questo importante testo di araldica bolognese. Lozzi, 386, "Raro". Frati, Bibl. bolognese, 8552.

      [Bookseller: Brighenti libri esauriti e rari]
 1.   Check availability:     maremagnum.com     Link/Print  


        La gloria delle donne di Giulio Cesare dalla Croce. Alla ill.ma et ecc.ma sig.ra marchesa di Massa. In Bologna, per Alessandro Benacci, 1590

      1590. in - 8, pp. (4), 32 (segn.: A6 B - D4), stupenda legatura coeva romana in marocchino rosso, i piatti interamente dorati: cornice esterna a puiccoli ferri con catene di pietre preziose, il campo diviso da nastri in compartimenti polilobati seminati di volute e squame; 4 ventagli angolari e al centro due rosoni formati dalla ripetizione di ferro a lancetta, dorso liscio con fregio ripetuto (stanco, mentre i piatti risultano freschissimi, ad eccezione di qualche macchia di grasso). Grandi armi della marchesa Marfisa d'Este Cybo sul frontespizio, carattere corivo, iniziali e fregi in xilografia. Nella dedica alla moglie di Alderano Cybo, marchese di Massa e Carrara, datata 15 di luglio MDXC, il Croce esprime le motivazioni che lo spinsero a comporre i versi: "Sendomi pervenute alle mani a i giorni passati, alcune rime in biasimo dell'honorato sesso donnesco, ed havendole scorse più volte, n'ho preso grandissimo sdegno da parte loro", e l'apprezzemento per le donne "le quali, se non tutte almeno la maggior parte, furono e sono state dotate di molte gratie e virtù singolari .. con il loro elevatissimo ingegno hanno fatto stupire il mondo". Tra le "Donne leggiadre, "ne' cui lumi ardenti mirar non sdegna anzi specchiarsi il sole", oltre a quelle dell'antichità, il Croce tratta di molte contemporanee, che nel Cinquecento si distinguevano nella poesia, la scultura, la pittura, la musica e il teatro: Vittoria Colonna, Veronica da Gambara, Maddalena Campiglia, Laura Terracina, Foscarina Veniera Laura Battiferri, Isabetta Massola, Tarquinia Molza, Laura Lucchesina, Giovanna de' Bianchetti, Bettina Calderini, Propertia de' Rossi, Giulia Ratta, Ippolita Mezzovillani, Laura Bovia, Lavinia Fontana, giungendo alla conclusione che "la donna è quella che mantien l'huomo in dilettoso stato". Questo poema fa parte delle opere effimere e popolari del Croce (1550 - 1609), autore del celebre ''Bertoldo e Bertoldino''; tutte risultano di eccezionale rarità, solo 6 esemplare de ''la gloria delle Donne'' in biblioteche italiane. Straordinario esemplare in carta grande (mm 233x170), con deliziosa rilegatura, con ogni probabilità destinato ad una committenza femminile. Nell'ultimo quarto del Cinquecento si diffonde in Francia lo stile ''à la fanfare'', caratterizzata da una sorta di ''horror vacui'': tutto lo spazio disponibile, suddiviso in scomparti quadrilobati delimitati da nastri, viene riempito da ventagli e miriadi di rosette e squame. ''Presso la corte pontificia le legature à la fanfare fanno la loro apparizione intorno al 1590'' (Piccarda Quilici in Legatura romana barocca, p.21; con riproduzione di vari ferri analoghi).

      [Bookseller: Libreria Antiquaria Pregliasco]
 2.   Check availability:     maremagnum.com     Link/Print  


        Paesaggio con Madonna e Bambino

      1590. Acquaforte, 1590 circa, monogrammata in lastra "P. F." in basso a sinistra. Magnifica e rara prova, particolarmente nitida e contrastata, con la presenza di graffi sulla lastra tipici delle prime impressioni, con sottili margini oltre l'impronta del rame, applicata su antico supporto di collezione, lievissima ossidazione al centro, nel complesso in ottimo stato di conservazione. Diversamente da suo padre, Orazio prestava molta attenzione ai dettagli del paesaggio nelle sue opere e questa Madonna con Bambino ne è un eccellente esempio. Sebbene infatti le figure siano in primo piano, l'ombreggiatura dietro l'albero le integra, allo stesso tempo, in un paesaggio di più ampio respiro. Nonostante il guscio di lumaca e le iniziali, che indicano Paolo Farinati come autore del soggetto, la composizione suggerisce una contaminazione da parte di diverse fonti. La figura della Vergine, ad esempio, seduta al suolo sotto un albero mentre mostra il suo profilo di ispirazione classica, deriva da un dipinto di Tiziano andato perduto. Farinati conosceva il soggetto del dipinto grazie alle riproduzioni a stampa realizzate da altri artisti: Niccolò Boldrini eseguì infatti una xilografia nel 1540 con lo stesso tema, ma è probabilmente l'acquaforte di Giovanni Francesco Camocio, datata alla fine del XVI secolo, l'opera che più fedelmente riproduce il dipinto di Tiziano. Gioconda Albricci fa notare come il motivo della Madonna assisa ricorra spesso nell'album di Paolo Farinati, conservato nel Castello a Milano. L'artista combina questa figura di stampo tizianesco insieme con i putti caratteristici della sua opera, come suggeriscono i numerosi amorini presenti nelle sue incisioni (Bartsch 9, 10). Lionello Puppi ha proposto che l'incisione di Orazio possa ispirarsi al disegno preparatorio per un affresco del padre, dipinto nel 1589 sulla facciata della casa di M. Marin, un mugnaio di Vittorio Veneto. Anche il paesaggio alpino sullo sfondo deriva dall'opera di Tiziano. Questo imponente panorama, unico nel corpus delle opere di Farinati per l'ampiezza e la ricchezza di dettagli, potrebbe derivare dalla xilografia Sacra Famiglia con Giovanni Battista ed Elisabetta, spesso attribuiti a Boldrini. La sacra conversatione è ambientata in un esteso paesaggio che combina archi e rovine ricoperti di vegetazione e un lago alpino in lontananza. Gli edifici in rovina e il punto di vista rialzato ricordano anche i paesaggi alpini delle incisioni di Hyeronymos Cock. Albricci considera questa prospettiva una reminescenza degli scenari del Lago di Garda, suggerendo che l'artista possa averlo osservato dal vivo. Quali che siano state le sue fonti, è possibile che Orazio Farinati abbia aggiunto questo sfondo alla composizione figurativa del padre per ottenere un effetto più moderno. La luminosità dell'opera è notevole: i confini più lontani sono resi con linee morbide, e leggere che conferiscono tridimensionalità all'opera. I toni scuri danno vitalità al primo piano e riproducono l'effetto del bagliore tremolante della luce mattutina: il sole sorge da dietro le rovine nella zona mediana, i raggi si diffondono attraverso le crepe dei conci rastremati degli archi. Ci sono alcuni elementi che indicano che Orazio incise le sue opere su lastre di metallo morbide, ad esempio il peltro. I bordi irregolari nella parte superiore della lastra non rispecchiano quelli di un metallo duro, resistente cioè alle battute e alla compressione della stampa, ma piuttosto quelli di un materiale più malleabile, che si graffia facilmente con l'usura della lastra. A volte, queste venivano addirittura rifilate o levigate tra la stampa di uno stato e l'altro. Questa impressione presenta pochissimi graffi, caratteristica dei primi stati. Altro elemento che conferma questo dato è l'area chiara all'altezza della cintola della Vergine: per qualche motivo, la morsura in questa area non è riuscita, probabilmente perché ricoperta da una goccia di vernice o di coprente per l'acido. Negli stati successivi, questo passaggio è stato rifinito a bulino. Le poche sfumature visibili suggeriscono che la lastra sia stata asciugata perfettamente; la stampa irregolare di questo esemplare deriva probabilmente da un'inchiostratura non uniforme e dal ristagno di umidità sul foglio bagnato lungo il bordo di uscita della lastra durante il passaggio in pressa. Questa opera si distingue in maniera particolare rispetto alle altre opere di Paolo Farinati in virtù delle molteplici copie che ha ispirato. Infatti, mentre le opere del padre venivano raramente copiate, se mai poi sia stato fatto, tutte le opere del figlio hanno ispirato dei duplicati. Inoltre, tutte le opere di Orazio sono state ristampate con l'aggiunta degli indirizzi dei vari editori, mentre quelle di Paolo sono state rieditate meno frequentemente. Questo ci indica che Orazio, che alla fine della sua carriera si era stabilito a Venezia, dove morì, avesse stabilito ottimi contatti con gli editori Veneti. Etching, circa 1590, signed "P.F." at the lower left. After his father Paolo Farinati. A very fine impression of this rare work, showing a good contrast and clarity of details, with thin margins, laid down at the reverse edge on antique collector's paper, a small stain in the center, otherwise in very good conditions. Unlike his father, Orazio Farinati gave more attention to details of setting and his Madonna and Child is a good example of his art. Although the figures are in the foreground, the shadow behind the tree integrates them into a wider landscape. Despite the snail shell and the monogram that indicates Paolo Farinati as the author of the subject, the composition suggests also other sources. The Virgin, for instance, sitting beneath the tree, showing her classical profile, derives from a lost painting by Titian. Maybe Farinati knew the subject through several contemporary prints, such as Niccolò Boldrini's woodcut, 1540, with the same theme, and Giovanni Francesco Camocio's etching, realized at the end of the XVI century, maybe the closest work to Titian's original subject. This engraving shows the Virgin and the Child in a landscape teeming with birds and animals, with Joseph in the background saddling the ass in the stable. The same subject might have been realized by Bartolomeo Passarotti as well. Gioconda Albricci underlines that the motif of the seated Madonna can be found also in Paolo Farinati's sketchbook, nowadays kept in the Castello in Milano. The artist combined this figure, deriving from Titian, with the putti that were characteristic of his own style. (Bartsch 9, 10). Lionello Puppi suggested that Orazio's engraving might have been inspired by the preparatory drawing for a fresco his father realized in 1589, on the facade of the house of M. Marin, a miller in Vittorio Veneto. Even the alpine view in the background derives from Titian. This impressive landscape, which is unique among the works of Farinati for its width and richness, may come from the woodcut The Holy Family with John the Baptist and Elizabeth, often ascribed to Boldrini. The sacre conversatione is set in a wide landscape combining, arches, ruins covered with vegetation and an alpine lake in the background. The crumbling buildings and the elevated point of view recall the alpine landscapes in the etchings of Hyeronymos Cock. Albricci considers this perspective as a memory of the Lake Garda scenarios, suggesting that the artist might have observed these landscapes directly. Whatever the sources might have been, it is likely that Orazio Farinati added this background to his father's figurative composition to get a more modern effect. The luminosity of the print is remarkable: the farthest borders were obtained with soft and lightly etched lines which gave the effect of the third dimension. The dark tones give the surface a nice energy and create the shimmering effect of the morning light: the sun rises from behind the ruins in the middle ground, its beams spreading through the cracks of the voussoirs of the arch. There are some elements that indicate how Orazio etched on soft metal plates, maybe pewter. The irregular edges on the upper part of the plate do not reflect those of a hard metal plate, meaning resistant to the batterings and the compression of printing, but they rather seem like those of a malleable material, easily scratched as the plate wore. Sometimes the plates were trimmed or smoothed down between each state. This impression bears few scratches, like first states usually did. Another element that can confirm this idea is the pale spot at the Virgin's waist, maybe caused by a drop of varnish or ground. In later states, this passage was remarked by a burin. The few tones left on the plate are the consequence of a perfectly wiped surface; the irregular printing of this example is a consequence of an uneven inking and from the stagnation of moisture on the dampened paper along the trailing edge of the plate while passing through the press. This etching stands out among Paolo Farinati's works due to the numerous copies it inspired. Actually, while his father's prints were rarely copied, if ever, all the son's works have been done. Moreover, every work Orazio realized has been reissued with the addresses of the different publishers, while Paolo's have been less frequently reprinted. This suggests that Orazio, who had moved to Venice at the end of his professional life, had good working relationships with the Venetian publishers. Reed & Wallace, Italian etchers of the Renaissance & Barocque, p. 210, 107. Dimensioni 155x130.

      [Bookseller: Libreria Antiquarius]
 3.   Check availability:     maremagnum.com     Link/Print  


        GIUSTINO HISTORICO ILLUSTRE NE LE HISTORIE ESTERNE DI TROGO POMPEO TRADOTTO DAL SIG. BARTOLOMEO ZUCCHI DA MONZA

      PRESSO IL MUSCHIO, 1590. In 8. Dim. 21,5x16,5 cm. Pp. (16)+404+(56). Bella edizione del 1590 di questa opera storica compendiata da Marco Giuniano Giustino (I - II secolo ca). L'opera originale "Historiae Philippicae" scritta da Pompeo Trogo (I sec. a.c. - I sec. d.c. circa) in 44 libri descrive la storia dall'antica Babilonia fino ai suoi tempi. Giustino selezionò alcune parti di quest'opera sulla storia d'Oriente da lui ritenuti principali. Traduzione a cura dell'umanista monzese Bartolomeo Zucchi (m. 1631) membro dell'Accademia degli Insensati di Perugia. Stemma del dedicatario al frontespizio il cardinale del Mondevi. Ampio indice alla fine del volume. In buone condizioni e completo. Copertina in piena pergamena molle seicentesca con titolo manoscritto al dorso in buone condizioni generali con lievi usure ai margini e dorso. Legatura in buone condizioni ma corpo del libro in parte staccato dalla copertina. All'interno le pagine si presentano in buone condizioni con fioriture e gore d'umidità. Parte mancante al frontespizio. Beautiful edition of 1590 of this historical work resumed by Marco Giuniano Giustino (I - II secolo ca). The original work "Historiae Philippicae" written by Pompeo Trogo (I sec. a.c. - I sec. d.c. circa) in 44 books describes the history from Ancient Babilonia until his times. Giustino makes a selection of the most important happenings fpr Far East history. Translation by the man of letters from Monza Bartolomeo Zucchi (m. 1631) member of the Accademia degli Insensati in Perugia. Mark of the dedicatary in the title page the Cardinal of Mondevi. Wide index at the end of the volume. In good conditions and complete. Full parchment cover of XVII century with handwritten title in the spine in good general conditions slightly worn in the edges and spine. Binding in good conditions but the body of the almost totally detavhed from the cover. Inside pages are in good conditions with foxings and water stains. Missing part in the title page.

      [Bookseller: Libreria Sephora]
 4.   Check availability:     maremagnum.com     Link/Print  


        Der curieuse Pfropff- und Oculir-Meister, so da anweiset, wie eine vollkommene Baum-Schule und Pflantz-Garten anzulegen, und zu unterhalten sey ... Deme noch beygefüget der wohl untersuchte Kraut- und Blumen-Gärtner, ...Hannover and Wolfenbüttel, Gottfried Freytag, 1695. 2 parts in 1 volume. 12mo. With engraved frontispiece. 18th-century mottled calf, gold-tooled spine.

      Arnold Arboretum, pp. 181-182; KVK (5 copies); VD 17, 3: 602300V. Rare second edition of the German translation of a detailed and well-known work on the cultivation of fruit trees by Antoine le Gendre (1590-1665), chaplain of King Louis XIII and supervisor of His Majesty's orchards, with emphasis on grafting, listing different types of fruit trees such as peaches, plumes, apples and pears, and also giving the French equivalent names. The second part contains advice on the planning of a herb and flower garden with an additional chapter on espaliers. It was originally published in French in 1652 as La manière de cultiver les arbres fruitiers . An English edition appeared in 1660 by Jean de la Quintinie, who suggested Le Gendre was a pseudonym of Robert Arnauld d'Andilly, a still widespread but erroneous assumption.With bookplate. Reinforced frontispiece and title-page. Slightly browned and hinges cracked (back nearly detached). Still a good copy.

      [Bookseller: ASHER Rare Books (Since 1830)]
 5.   Check availability:     NVvA     Link/Print  


        not titel

      Artist: Apian Philipp; Issued in: unknown; date: c 1590 - Artist: Apian Philipp; Issued in: unknown; date: c. 1590; - Condition: Very good; Very detailed map shows the part of Bavaria noth of Regensburg with Dietfurth, Berching, Neumarkt, Schwandorf ect.

      [Bookseller: Antique Sommer KG]
 6.   Check availability:     ZVAB     Link/Print  


        Chilonium, vulgo Kyell. Kolorierter Kupferstich von Braun/Hogenberg, um 1590. 33 x 48 cm.

       1590 Klose-Martius I/226,2.- Blick auf die Kieler Stadtinsel mit Schloss, Xenodochium, Marktplatz etc. und der Marienkirche im Mittelpunkt, im Vordergrund mit bewegter Personenstaffage.- Im oberen Rand mit Titelkartusche, Legende und Stadtwappen. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Schramm]
 7.   Check availability:     buchfreund.de     Link/Print  


        Josephus, Flavius: Flavii Josephi des Hochberühmten Jüdischen Geschichtschreibers Historien vnd Bücher, Von alten Jüdischen Geschichten zwentzig, sambt eynem von seinem Leben: Vom Jüdischen Krieg vnd der Statt Jerusalem vnd des gantzen Lands zerstörung siben. Von der juden altem Herkommen wider Apionem Grammaticum zwey: Von Meysterschafft der Vernunft und der Machabeer Marter eyns. Alles auß dem Griechischen Exemplar ... mit höchstem fleiß von newem verteutscht unnd zugerichtet ... Beigebunden: Egesippi des Hochberühmten Fürtrefflichen Christlichen Geschichtschreibers fünff Bücher: Vom Jüdischen Krieg, vnd endlicher zerstörung der Herrlichen ... Statt Jerusalem ... / Egesippus. - [Straßburg : Rihel], [ca. 1590]

      Straßburg ; Rihel 1590. VD16 ZV 17562 [6], 524, [20] Bl. :mit weit über 100 Holzschnitten. 36 cm, geßprägtes Schweinsleder auf Holzdeckel, an den unteren Kanten aufgeplatzt. Beide schließen fehlen halb, Die ersten ca. 10 Blätter an der unteren Ecke brüchig und beschädigt mit Fehlstellen vor allem am Titelblatt mit kleinem Bildverlust. handschr. Eintrag am Vorderdeckel von alter Hand. Die mit Holzschnitten des Schaffhauser Künstlers Tobias Stimmer (1539-1584) illustrierte erste Rihel-Ausgabe der Geschichte des Jüdischen Kriegs war 1574 erschienen. Bis 1630 erschienen dann fünfzehn weitere Ausgaben. **** Eine Restaurierung des Titelblattes und der ersten beschädigten Blätter kann gegen Aufpreis von 200,00 € vorgenommen werden. Versandkostenfreie Lieferung

      [Bookseller: REDIVIVUS Buchhandlung & Antiquariat]
 8.   Check availability:     buchfreund.de     Link/Print  


        Lutzenburgum. Ducatus eiusdem nominis, vetus et primaria urbs, in superiorem & inferiorem situ mirabili... Altkolor. Kupferstich von Braun und Hogenberg, um 1590. 35 x 42 cm.

       1590 In erdigem Kolorit gehaltener Kupferstich von Luxemburg und umliegender Landschaft, aus der Vogelschau. Mit zwei Wappen, rechts unten Titelkartusche, links unten Staffagefiguren.- Am unteren Steg etwas braunfleckig. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Schramm]
 9.   Check availability:     buchfreund.de     Link/Print  


        Cambalv.

      [Likely Antwerp or Amsterdam, circa 1590]. - Woodcut ovoid roundel (60 x 75 mm), contemporarily trimmed to just outside neatline and contemporarily mounted to a larger sheet of paper (in excellent condition). One of the earliest printed views of what is today Beijing: an unrecorded bird's eye prospect over 'Cambalu', or Khanbaliq (on the site of modern Beijing), the capital of China during the Yuan Dynasty (1271-1368). The Yuan Dynasty was founded by the legendary Mongol warrior Kublai Khan, who after conquering China proclaimed his new capital at Khanbaliq, although the city would not be completed until 1293. During the succeeding Ming Dynasty (1368-1644), Khanbaliq was transformed into what is known as Beijing. Interestingly, as seen in the view, the walled rectangular form of the old city of Beijing is already evident in the design of Khanbaliq. Marco Polo visited Khanbaliq, but his description of its location was vague. For over two centuries thereafter Europeans were confused as to not only the location of "Cambaluc", but they even sometimes confused its identify with "Cathay" (China), thinking that it was the name for the entire country. This confusion was cleared up by the Jesuit Matteo Ricci during his first visit to Beijing in 1598, when he definitively identified Khanbaliq as the precursor to the modern Chinese capital. The present work is one of a series of 26 woodcut roundels of views and maps that were found together as collection. Charming, mysterious and apparently unique, in the absence of any accompanying documentation we are left to make educated guesses about their genesis. By all appearances they seem to be late 16th or early 17th century Flemish or Dutch woodcuts, probably proofs for vignettes to adorn the sides of an unrealized copper-engraved wall map (or maps). Indeed, this period saw the beginnings of the "carte à figures" wall maps that became all the rage during the 17th century, and which occupied an iconic place in the art world of the Low Countries. In the fluid and fast-paced environment of the large European print shops, it was common for artists to experiment with designs for copperplate maps by making woodcut proofs, as carving into wood was much quicker and cheaper. Only if the design was accepted for publication was it engraved into copper (an expensive and demanding process). The views within the roundels were generally predicated on the most authoritative recent sources. Many of the views are based on those published within the first four volumes of Braun & Hogenberg's "Civitates Orbis Terrarum" (6 vols., 1572-1618), the first great "town book", featuring bird's eye views of cities in Europe, Asia, Africa and America. Inspired by Ortelius's ground-breaking world atlas "Theatrum Orbis Terraum" (1570), which featured all of the world's known regions in detail, this monumental endeavour featured 546 views and maps of cities. The views from the "Civitates" are imbued with profound historical importance as, in many cases, they are the first accurate and detailed views of many great cities and towns, and were the most popular and influential images of these urban centres available to Europeans during the late 16th and much of the 17th centuries. Other fantastic sources include Jan van Linschoten's "Itinerario" (Amsterdam, 1596), one of the most consequential books ever written, responsible for breaking the Portuguese monopoly on European trade in South and East Asia. Likewise, other views were borrowed from important and pioneering 16th century prints and manuscripts. The unknown maker of the set of roundels to which the present view belongs likely intended for them to serve as proofs for the vignettes adorning the sides of an intended "carte à figures" wall map (or more likely maps). The creation of such woodcut proofs was commonplace, although very few examples survive to this day, as most were destroyed once their incidental use had transpired. In any event, these woodcut roundels are a fascinating insight into the operations of a large

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 10.   Check availability:     ZVAB     Link/Print  


        Marchia Anconitana cum Spoletano Ducatu.

      - Amsterdam, 1590 circa. Dall' "Atlas" del Mercatore (che si compone di tre parti, tutte edite a Duisburg tra il 1585 ed il 1595 con il testo latino al verso) incisione in rame, vecchia ma non coeva coloritura, cm 36 x 48,5 (alla lastra). Testo francese al verso, indice della edizione di Amsterdam. Esemplare a pieni margini e in bella coloritura, buono lo stato di conservazione.

      [Bookseller: BOTTEGHINA D'ARTE GALLERIA KÚPROS]
 11.   Check availability:     AbeBooks     Link/Print  


        Josephus, Flavius: Flavii Josephi des Hochberühmten Jüdischen Geschichtschreibers Historien vnd Bücher, Von alten Jüdischen Geschichten zwentzig, sambt eynem von seinem Leben: Vom Jüdischen Krieg vnd der Statt Jerusalem vnd des gantzen Lands zerstörung siben. Von d er juden altem Herkommen wider Apionem Grammaticum zwey: Von Meysterschafft der Vernunft und der Machabeer Marter eyns. Alles auß dem Griechischen Exemplar . mit höchstem fleiß von newem verteutscht unnd zugerichtet . Beigebunden: Egesippi des Hochberühmten Fürtrefflichen Christlichen Geschichtschreibers fünff Bücher: Vom Jüdischen Krieg, vnd endlicher zerstörung der Herrlichen . Statt Jerusalem . / Egesippus. - [Straßburg : Rihel], [ca. 1590]

      Straßburg ; Rihel 1590 - VD16 ZV 17562 [6], 524, [20] Bl. :mit weit über 100 Holzschnitten. 36 cm, geßprägtes Schweinsleder auf Holzdeckel, an den unteren Kanten aufgeplatzt. Beide schließen fehlen halb, Die ersten ca. 10 Blätter an der unteren Ecke brüchig und beschädigt mit Fehlstellen vor allem am Titelblatt mit kleinem Bildverlust. handschr. Eintrag am Vorderdeckel von alter Hand. Die mit Holzschnitten des Schaffhauser Künstlers Tobias Stimmer (1539-1584) illustrierte erste Rihel-Ausgabe der Geschichte des Jüdischen Kriegs war 1574 erschienen. Bis 1630 erschienen dann fünfzehn weitere Ausgaben. **** Eine Restaurierung des Titelblattes und der ersten beschädigten Blätter kann gegen Aufpreis von 200,00 € vorgenommen werden. Sprache: Deutsch Gewicht in Gramm: 499

      [Bookseller: REDIVIVUS Buchhandlung & Antiquariat]
 12.   Check availability:     AbeBooks     Link/Print  


        Romanorum imperatorum effigies. Elogijs, ex diversis Scriptoribus, per Thomam Treterum, S. Mariae Transtyberim canonicum collectis, illustratae. Opera et studio Io. Bap.tae de Cavallerijs aeneis tabulis incisae

      apud Franciscum Coattinum (al colophon) Anno Domini 1590 8vo (cm. 18), Frontis. architettonico interamente inciso, 6 cc.nn., 157 cc. ciascuna con - al recto - un ritratto inciso su rame a piena pagina. Marca tipografica in fine. Legatura coeva in pergamena floscia con titolo ms. in grandi caratteri gotici al ds. Due ritratti parzialmente acquarellati da mano antica. Ex libris cartaceo al contropiatto anteriore ed un altro ms. (’Timothei Pieri’) al frontis. Qualche lieve brunitura ed alcune macchioline altrimenti esemplare in ottimo stato di conservazione. Adams, 1182; Rossetti, 1755.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
 13.   Check availability:     maremagnum.com     Link/Print  


        Metamorphoses, argumentis brevioribus ex Luctantio Grammatico collectis expositae: una cum iconibus

      Antwerp Plantin 1590-1591 First illustrated edition of a very early juvenilia, volume II only of the two-volume Metamorphoses abbreviated. Oblong 16mo (4 1/8" x 5 1/8"); pagination: 209-361, plus 17 pages, including an Index and approbatio, with 72 plates on 71 leaves (lacking 4 plates and the text on the verso). This copy has two approbation leaves, both dated 1590. The final plate is the full-page Plantin device with the legend 'Labore et Constantinia.' Newly bound by Fitterer to style in full calf with a gilded spine. Ascribed to both the medieval grammarian Aelius Donatus and to Lactantius Placidus. The etchings are by Pieter van der Borcht, who signed the plate on p. 357. (Van der Borcht went to work for Christopher Plantin at an early age and designed many of his typographical ornaments.) Funck 374-375; Adams O-504; Hollstein III, 100, nos. 200-377; Adams O-504; Delen II, 92-93. Very Good

      [Bookseller: Fine Editions Ltd.]
 14.   Check availability:     Direct From Bookseller     Link/Print  


        Ischia, quae olim Aenaria.

      Ortelius dat., Antwerpen: 1590 - Kupferstichkarte, Antwerpen: Ortelius dat. 1590, 48 x 37 cm. * vdBroecke 142; Meurer: Fontes S.174. Sehr dekorative Karte der Insel Ischia in schönem Altkolorit, mit Segelschiffen und drei ausgemalten Renaissancekartuschen. Giulio Jasolino schrieb 1568 ein Buch über die Insel Ischia und die dortigen Thermalbäder, dem eine von Mario Cartario gravierte Karte beigegeben war. Diese bildet die Vorlage für die Ortelius-Karte.

      [Bookseller: Antiquariat Ruthild Jäger]
 15.   Check availability:     ZVAB     Link/Print  


        Opera Iosephi Iudaeorum doctissimi ac disertissimi, quae ad nostram aetatem pervenerunt, omnia, nimirum: De antiquitatibus iudaicis Libri XX...

      impensis Sigismundi Feyerabendij 1590 (al colophon 1588) 8vo (cm. 18,7), 4 cc.nn., 481 cc., 35 cc.nn. Frontis. in rosso e nero con vignetta xilografica. Grande marca tipografica al frontis. Legatura coeva in piena pergamena con titolo ms. al ds. in grandi caratteri gotici. Alcune carte lievemente brunite altrimenti ottimo esemplare. Rara edizione. Adams, J - 370.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
 16.   Check availability:     maremagnum.com     Link/Print  


        Aprutii Ulterioris Descriptio.

      - Anversa, 1590 circa. Dal "Theatrum Orbis Terrarum", incisione in rame, colore d'epoca, cm 33 x 43 (alla lastra) più margini, testo francese al verso, in alto a sn. titolo entro cartiglio a volute geometriche. La carta deriva da quella pubblicata da Natale Bonifacio nel 1587 (in bs. sulla sn., in piccolo riquadro, "Natalis Bonifacius. describeb."). Il "Theatrum Orbis Terrarum" è stato il primo atlante moderno, comprendente carte di tutte le zone del mondo. Prima di allora la produzione cartografica era stata irregolare, locale a livello di produzione, e i pochi atlanti, i cosiddetti "Atlanti Lafreriani" erano costituiti su richiesta, raccogliendo carte di alcune zone e ignorando le altre. La geniale intuizione di Ortelio fu appunto quella di riunire, in un unico corpus, la produzione cartografica del periodo, costituendo la base per un'impresa editoriale di enorme successo che sarebbe stata pubblicata dal 1570 al 1612. Un paio di piccoli forellini in basso sulla sinistra, stretti margini, discreto esemplare in bella coloritura.

      [Bookseller: BOTTEGHINA D'ARTE GALLERIA KÚPROS]
 17.   Check availability:     AbeBooks     Link/Print  


        Iusti Lipsi Epistolarum selectarum, Centuria prima. Francofurdi Apud Ioannem Wechelem. MDXC.

      Frankfurt: Johannes Wechel, 1590. Condition: 6 Band gevlekt en beschadigd, aangetast door boekenworm. Schutblad is los. Bibliotheekstempel op titelblad. Rug beschadigd en donker gekleurd.. Binding: Contemporary Full Vellum Duodecimo 12mo Height: 18,6 CM Width: 10,7 CM Thickness: 2,9 CM

      [Bookseller: Antiquariaat Meuzelaar]
 18.   Check availability:     Biblio     Link/Print  


        Picardiae, Belgic ae Regionis Descriptio. (Map of Picardy, Belgium)

      ORTELIUS, Abraham. Picardiae, Belgicae Regionis Descriptio. Original copper plate engraved map by Abraham Ortelius dated 1579 and published in 1590. 440 x 550 mm. £395

      [Bookseller: Henry Sotheran Ltd.]
 19.   Check availability:     Direct From Bookseller     Link/Print  


        Due discorsi, l'uno intorno al contrasto tra il Signor Speron Speroni, et il Giudicio stampato contra la sua Tragedia di Canace e di Macareo, et l'altro della Nobiltà.

      Padova, Paolo Meietti, 1590, - in-4, pp. (8), 72, attraente leg. del primo XVIII sec. in p. marocch. granata, duplice cornice dorata ai piccoli ferri sui piatt, dorso a nervi con fregi oro, bordi e tagli dor. (18 ff. bianchi in fine, una cerniera debole). Impresa tipogr. fig. al tit., fregi ed iniz. silogr. Dedica dell'a. a Luigi Lollino e Benedetto Giorgio. Prima edizione di quest'opera, il cui primo discorso (pp. 1-40) fa parte dell'aspra e lunga polemica letteraria che aveva suscitato ''La Canace'' dello Speroni e la successiva ''Apologia'', appositamente da lui scritta in difesa della sua tragedia (cfr. quanto afferma a tal proposito Apostolo Zeno nelle sue ''Annotazioni'' alla ''Biblioteca dell'eloquenza italiana'' del Fontanini, I, pp. 469-470). Il secondo discorso è un dotto trattatello di carattere generale sulla nobiltà nei suoi vari aspetti. L'autore, di Padova (ivi morto nel 1611), fu pubblico lettore in quella Università, uno dei più illustri membri dell'Accademia degli Animosi e di quella dei Ricovrati, polemista ed autore di svariate opere assai stimate, quali i ''Discorsi poetici'' (1600) e i ''Due discorsi, l'uno contra le tragicomedie et moderne pastorali, l'altro particolarmente contro contra il Pastor fido di B. Guarini''. Ottimo esempl. (antica firma nel margine infer. del tit.). Manca al BMC e all'Adams. Cat. Olschki 141, n. 496. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
 20.   Check availability:     IberLibro     Link/Print  


        Epigrammata et poematia vetera. Quorum pleraque nunc primum ex antiquis codicibus & lapidibus, alia sparsim antehac errantia, jam undecunque collecta emendatiora eduntur

      Nicolaum Gillium, (1589) 1590, Paris - ______ Format : In-12. Collation : (8), 191, (1), 491 pp. Vélin, titre doré au dos qui est orné de filets et fleurons, couronne de feuillages dorée au centre d'un encadrement. (Reliure de l'époque.). ___ First edition of this anthology of epigrams from Antiquity. Beautifull contemporary gilted vellum binding. ____ Première édition de cette anthologie d'épigrammes des auteurs de l'Antiquité. Contient "Liber medicinalis" de Serenus Sammonicus, sous le titre "De medicina praecepta saluberrima" (p. 126-164) et Remmius Flavianus "Carmen de ponderibus et mensuris" (p. 397-402) Pierre Pithou (1539-1596) jurisconsulte est un des auteurs de la Satyre Ménippée. A côté de ses ouvrages politiques, il a publié et commenté des auteurs de l'Antiquité. Après la page 256, la pagination revient à 241. Le colophon est daté de septembre 1589 et le volume a été imprimé par Denys Du Val. Très bel exemplaire en vélin doré. [Attributes: First Edition]

      [Bookseller: Hugues de Latude]
 21.   Check availability:     AbeBooks     Link/Print  


        Romanorum imperatorum effigies Elogiis ex diversis scriptoribus per Thomam Treterum Rome apud Franciscum Coattinum

      

      [Bookseller: Maggs Bros. Ltd. ]
 22.   Check availability:     Direct From Bookseller     Link/Print  


        Dantzigk. Altkolor. Kupferstich von Braun u. Hogenberg, um 1590. 32,5 x 48 cm.

       1590 Gesamtansicht der Stadt Danzig, im Vordergrund Staffagefiguren. Oben Titelkartusche, daneben Wappendarstellungen. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Schramm]
 23.   Check availability:     buchfreund.de     Link/Print  


        Lodi del porco, opera piacevole e ridicolosa. Nella quale à pieno si descrive la perfezzione, la bontà, l’eccelenza, l’industria, la magnanimità, la valorosità, e la fierezza del porco. Nuovamente composta per Ieronimo Berselli bolognese

      - In 8vo (cm 14); mezza pelle moderna, piatti in carta marmorizzata, titolo in oro sul dorso; cc. (4). Frontespizio entro bordura. Ottima copia.RARISSIMA SECONDA EDIZIONE di questo componimento giocoso in lode del maiale. La prima edizione (Bologna, Bonardi, 1590), menzionata solamente da M. Paleari Henssler (Bibliografia latino-italiana di gastronomia, Milano, 1984, p. 87), risulta dispersa. L'operetta fu ristampata a Perugia dagli eredi di Andrea Bresciano non prima del 1594.Apparentemente nessuna copia in Italia. Lord Westbury, Handlist of Italian Cookery Books, Firenze, 1963, p. 30. [Attributes: Hard Cover]

      [Bookseller: Libreria Alberto Govi di F. Govi Sas]
 24.   Check availability:     AbeBooks     Link/Print  


        Della trasportatione dellâ??obelisco Vaticano et delle fabriche di Nostro Signore Papa Sisto V... Libro primo

      Domenico Basa 1590 Folio, 1 c.nn. (frontis. con titolo interamente inciso), 108 cc., 4 cc.nn. con 38 tavv. incise in rame di cui 35 a piena pagina, 2 a doppia pagina, 1 più volte rip. (segue) Libro secondo in cui si ragiona di alcune fabriche fatte in Roma et in Napoli..., [Napoli, Costantino Vitale 1604], 31 cc. con 16 tavv. incise in rame di cui 4 a doppia pagina Legatura antica in mz. pelle nocciola (usurata e con segni di tarlo). Ds. liscio con fili, fregi e titolo in oro. Ingialliture, alcuni aloni soprattutto alla ultime carte ma esemplare genuino e in buone condizioni di freschezza. Ex libris del Duca di Berwick e Alba e di Giancarlo Venerosi Pesciolini. Esemplare davvero particolare con il â??Libro primoâ?? nellâ??edizione originale stampata a Roma e il â??Libro secondoâ?? nella prima tiratura dellâ??edizione originale stampata a Napoli. Tale rarissima tiratura si differenzia dalla successiva per il numero delle tavole (16 invece di 18, due di esse essendo numerate 6 - 7 e 8 - 9 sui rami). Rossetti 5098, 5099 per la seconda tiratura del Libro secondo. Fowler, p. 33 come Rossetti descrive lâ??edizione originale del Libro primo e la seconda tiratura del Libro secondo. Sono queste le due celebri opere nelle quali lâ??architetto Domenico Fontana documenta, con lâ??ausilio delle raffinate tavole da lui disegnate ed incise da Natale Bonifazio da Sebenico, lâ??imponente impresa della elevazione dellâ??obelisco e le altre importanti realizzazioni architettoniche compiute sotto il pontificato di Sisto V.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
 25.   Check availability:     maremagnum.com     Link/Print  


        La gloria delle donne di Giulio Cesare dalla Croce. Alla ill.ma et ecc.ma sig.ra marchesa di Massa.

      In Bologna, per Alessandro Benacci, 1590, - in-8, pp. (4), 32 (segn.: A6 B-D4), stupenda legatura coeva romana in marocchino rosso, i piatti interamente dorati: cornice esterna a puiccoli ferri con catene di pietre preziose, il campo diviso da nastri in compartimenti polilobati seminati di volute e squame; 4 ventagli angolari e al centro due rosoni formati dalla ripetizione di ferro a lancetta, dorso liscio con fregio ripetuto (stanco, mentre i piatti risultano freschissimi, ad eccezione di qualche macchia di grasso). Grandi armi della marchesa Marfisa d'Este Cybo sul frontespizio, carattere corivo, iniziali e fregi in xilografia. Nella dedica alla moglie di Alderano Cybo, marchese di Massa e Carrara, datata 15 di luglio MDXC, il Croce esprime le motivazioni che lo spinsero a comporre i versi: "Sendomi pervenute alle mani a i giorni passati, alcune rime in biasimo dell'honorato sesso donnesco, ed havendole scorse più volte, n'ho preso grandissimo sdegno da parte loro", e l'apprezzemento per le donne "le quali, se non tutte almeno la maggior parte, furono e sono state dotate di molte gratie e virtù singolari . con il loro elevatissimo ingegno hanno fatto stupire il mondo". Tra le "Donne leggiadre, "ne' cui lumi ardenti mirar non sdegna anzi specchiarsi il sole", oltre a quelle dell'antichità, il Croce tratta di molte contemporanee, che nel Cinquecento si distinguevano nella poesia, la scultura, la pittura, la musica e il teatro: Vittoria Colonna, Veronica da Gambara, Maddalena Campiglia, Laura Terracina, Foscarina Veniera Laura Battiferri, Isabetta Massola, Tarquinia Molza, Laura Lucchesina, Giovanna de' Bianchetti, Bettina Calderini, Propertia de' Rossi, Giulia Ratta, Ippolita Mezzovillani, Laura Bovia, Lavinia Fontana, giungendo alla conclusione che "la donna è quella che mantien l'huomo in dilettoso stato". Questo poema fa parte delle opere effimere e popolari del Croce (1550-1609), autore del celebre ''Bertoldo e Bertoldino''; tutte risultano di eccezionale rarità, solo 6 esemplare de ''la gloria delle Donne'' in biblioteche italiane. Straordinario esemplare in carta grande (mm 233x170), con deliziosa rilegatura, con ogni probabilità destinato ad una committenza femminile. Nell'ultimo quarto del Cinquecento si diffonde in Francia lo stile ''à la fanfare'', caratterizzata da una sorta di ''horror vacui'': tutto lo spazio disponibile, suddiviso in scomparti quadrilobati delimitati da nastri, viene riempito da ventagli e miriadi di rosette e squame. ''Presso la corte pontificia le legature à la fanfare fanno la loro apparizione intorno al 1590'' (Piccarda Quilici in Legatura romana barocca, p.21; con riproduzione di vari ferri analoghi). Citato ma non posseduto da Erdmann, My Gracious silence, a p. 165. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
 26.   Check availability:     IberLibro     Link/Print  


        Delft plattegrond - Braun en Hogenberg.

      DELFUM(Later) met de hand gekleurde kopergravure uit de Civitates orbis terrarum ca. 1590 gemaakt door Georg Braun en Frans Hogenberg. Afmetingen prent ca. 34 x 49cm. De Civitates orbis terrarum wordt beschouwd als de vroegste systematische stedenatlas. Hoewel het geen echte voorlopers had, bleek het werk direct in een behoefte te voorzien, omdat het sociale, politieke en economische leven van die periode zich afspeelde in de steden. Het werd een van de bestsellers van de late zestiende eeuw. De zes delen waaruit het werk bestond, verschenen tussen 1572 en 1618; alleen het eerste deel vermeldt echter bovenstaande titel. Georg Braun (1541-1622), kanunnik van de kathedraal van Keulen, schreef het voorwoord bij de eerste vijf delen en ook de begeleidende tekst op de versozijde van de plattegronden en stadsaanzichten. Veel materiaal voor dit stedenboek is afkomstig van de Antwerpse cartograaf Abraham Ortelius. Diens in 1570 verschenen Theatrum orbis terrarum heeft in een aantal opzichten model gestaan voor de Civitates.Simon van den Neuvel (Novellanus), Frans Hogenberg en (zijn zoon?) Abraham Hogenberg graveerden de koperplaten naar 'op bestelling' gemaakte tekeningen van onder anderen de Antwerpse schilder Joris Hoefnagel, zijn zoon Jacob Hoefnagel en Heinrich Rantzau. Niet alle platen in de Civitates zijn echter speciaal voor dit werk gemaakt. Een aantal is nagetekend van reeds bestaande plattegronden en stadsaanzichten, onder meer uit Sebastian Münsters Cosmographia en Lodovoco Guicciardini's Descrittione di tutti i Paesi Bassi. In veel gevallen, zoals ook bij de afbeelding Amsterdam zijn de tekeningen verlevendigd door er menselijke figuren aan toe te voegen. Dit diende volgens hem een tweeledig doel: niet alleen werd zo de mogelijkheid geboden de gewoontes en kleding van de inwoners te laten zien, het voorkwam ook dat de Turken tijdens hun veroveringstochten gebruik maakten van de stadsaanzichten, aangezien hun godsdienst het afbeelden van personen niet toestaat. Prijs: € 975,- (excl. lijst, BTW margeregeling).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 27.   Check availability:     NVvA     Link/Print  


        a) Prospectus amoeniss. vallis Oeniponticae una cum antro in altissima et praeruptissima rupe Imp. Maximiliani primi. (Inntal oberhalb Innsbruck mit Zirl, Kematen und Martinswand) - b) Schlosberg, die Clause, in Alpibus Tirolensibus (Klause und Schloßberg bei Reutte) - c) Monument. occursus Imp. Caroli V. et Ferdinandi fratris (das heute nicht mehr vorhandene Monument bei Steinach am Brenner).

      aus G. Braun / F. Hogenberg: Civitates Orbis Terrarum.: 1590 . altkolor. Kupferstich, ca. 37 x 51 cm (3 Ansichten auf 1 Tafel). - N/W 108/ Bd. 5/59 - mit erklärendem Text in Latein auf der Rückseite. Versand D: 2,00 EUR Oberinntal, Zirl,

      [Bookseller: Antiquariat Gallus]
 28.   Check availability:     buchfreund.de     Link/Print  


        Hamburg, townview,Braun/Hogenberg, anno 1590

      Braun/Hogenberg "Civitates ." - Radierung aus Braun/Hogenberg, civitates orbis terrarum, franz. Ausgabe, aus Teil IV der civitates, veröffentlicht anno 1590. Sauberer Abdruck, Blattmaß: 42 x 54 cm. Bis auf eine Hinterlegung (in der Ansicht nicht zu erkennen) der unteren Mittelfalz auf 9 cm. perfekter Erhaltungszustand. CERTIFICATE: WE GARANTEE AN ORIGINAL ETCHING FROM BRAUN/HOGENBERG CIVITATES ORBIS TERRARUM EDITED ANNO 1590 [Attributes: Hard Cover]

      [Bookseller: Hammelburger Antiquariat]
 29.   Check availability:     IberLibro     Link/Print  


        Den Rette Jüdske Lowbog/ Nu Nylige offuerseet/ Corrigerit oc Dansken forbedrit/ Aar M.D.LXXXX. Prentet i den Kongelige Stad Kiøbenhaffn [Salomon Sartor mell. 1612-16].

      Titelblad trykt i rødt og sort med det danske rigsvåben i træsnit på bagsiden. [4] + [96] blade. Med mange samtidige noter i margin samt indskudte blanke blade med noter. + (2): Christian III's Recess: Offuerseet/ oc forbedret. Prentet i Kiøbenhaffn. 1590. [Niels Michelsen, mell. 1612-19]. [40] blade. Med samtidige noter i margin. + (3): Frederik den Andens Handfestning. Prentet i Kiøbenhaffn. 1590. [Salomon Sartor, mell. 1612-19]. Med det danske rigsvåben i træsnit på bagsiden, samt med slutvignet, som er en ubeskrevet variant. [16] blade. Med samtidige noter i margin. + (4): Frederichs den Andens/ Recess. Prentet i Kiøbenhaffn/ 1590. [Niels Michelsen, mell. 1612-19]. [16] blade. + (5): [Frederik II's] Gaards Rætten/ Huorledis holdis skal paa Kronens Slotte oc Gaarde... Prentet i Kiøbenhaffn. 1590. [Niels Michelsen mell. 1612-19]. [12] blade. + (6): [Frederik II's] Den Danske Søræt. Prentet i Kiøbenhaffn. 1590. [Niels Michelsen, mell. 1612-19]. [24] blade. + Frederichs den Andens/ Om nogle visse Vilkaar og Artikler. Prentet Aar/ 1643. [16] blade. + (7): [Frederik II's] Obne Breff. Prentet i Kiøbenhaffn. 1590. [Salomon Sartor mell. 1612-19]. (I kolofonen betegnet som trykt af Matz Vingaard 1590, men i 1560-trykket findes navnet Vingaard også på titelbladet). Med det danske rigsvåben i træsnit på bagsiden. [42] blade. + Hvad en falsk Eed Alvorlig oc forfærlig betyder... U.st. 1605. [eftertryk mell. 1612-19]. Med træskåren titelvignet. [2] blade. + (8): Forordning oc Skick/ Hvorledis her effter holdis skal/ met Betler oc Staadere, Udgiffuit Aar 1588. Prentet i Kiøbenhaffn. 1590. [Niels Michelsen mell. 1612-19]. [8] blade. + Christian 4s Reces. Kiøbenhaffn hos Jørg. Holst 1643. Med kobberstukket titelblad. [4] blade + 363 s. + [11] blade. + Hereffter Følger de Forordninger/ som endnu hereffter til Anderledis Befalet vorder/ skal holdis/ oc effter-kommis. I Kiøbenhaffn/ hos Jørgen Holst 1643. Med træskåren titelblad samt træskåren slutblad. 104 s. + Christian dend Fierdis Rigens Ræt oc Deele/ paa ny ofverseetoc til Trycken forfattet. Aar MDCXXI. Oc nu igien oplagt. I Kiøbenhaffn/ hos Jørgen Holst [Peter Hake]. 1649. Med træskåren titelblad. [26] blade. + Christians dend Fierdis Bircke-Ræt/ paa ny ofverset oc forfattet. Aar M.DC.XXIII. Oc nu igien oplagt. I Kiøbenhaffn/ hos Jørgen Holst [Peter Hake]. 1643. Med træskåret titelblad. [10] blade. + Register. Paa Jørgen Holks Bekostning/ I Kiøbenhaffn/ Prentet aff Peter Hake 1644. [44] blade. Indbundet i ét nyt halvlæderbind i gammel stil, dek. med guld på ryggen.. Forrest indsat træskåren titelblad: Kong Waldemars II. Low. Kiøbenhaffn/ hos Jørgen Holst 1643. [Trykt af Peter Hake].Jyske lov er Nordens ældste kongegivne lovbog og var gældende indtil den afløstes af Christian V's Danske Lov 1683; i hertugdømmet Slesvig vedblev den dog med at være grundlaget for den borgerlige retsforfatning helt frem til år 1900. I begyndelsen af Christian IV's regeringstid (1590) optrykte Matz Wingaard alle på den tid gældende love svarende til de 8 numre af denne bogs indhold. Den mest omfangsrige er Jyske Lov, som på dette tidspunkt havde vundet hævd på at gælde for hele Kongeriget og kongens dele af Hertugdømmerne. I Christian IV's regeringstid udkom flere hundrede enkelte forordninger og mindre love; nogle af disse blev i 1615 samlet i den såkaldte Lille Reces, og endelig i 1643 i et større værk: Store Reces. Peter Hake trykte Recessen og de andre på den tid gældende bestemmelser, herunder hele samlingen, som Wingaard havde trykt. Da behovet for lovtrykkene var stort, kopierede Salomon Sartor, Niels Michelsen og Jørgen Hantsch Wingaards tryk, så de i hele fremtoningen ligner 1590-trykene, også med det falske trykår 1590, men uden bogtrykkerangivelse. Niels Michelsen, der senere blev Norges første bogtrykker, har med stor sandsynlighed trykt småtrykkene på bestilling af netop Salomon Sartor; men han lavede ikke noget optryk af Jyske Lov, det gjorde kun Sartor og den tredie "trykforfalsker" Jørgen Hantsch. Sartors tryk er iøvrigt delvist trykt med materiel, som han overtog efter afdøde Matz Wingaard 1600. Bibl. Dan. I, 628-29. Thesaurus 168 + 427. Laur. Nielsen: Danmakrs ældste trykte Lovsamlinger, trykt i Nord. Tidskr. f. bok- och biblioteksväsen 1921

      [Bookseller: Peter Grosells Antikvariat]
 30.   Check availability:     Antikvariat     Link/Print  


        Lamour de Cupido et de Psiché Mere de Volupté, prise des Cinq & Sixiesme livres de la Metamorphose de Lucius Apuleius philosophe nouvellement historiée, & Exposée en Vers François

      Léonard Gaultier, Paris 1590 - First edition, second issue, of French engraver Léonard Gaultier's celebrated series depicting the legend of Cupid and Psyche. The narrative is drawn from the Metamorphoses of Apuleius, better known as The Golden Ass. That second-century Latin novel was revived in the fourteenth century, and popularized by way of Boccaccio and countless others: the forbidden love between Cupid and Psyche, god and mortal, body and soul, captivated the Renaissance imagination. Léonard Gaultier was the official engraver to the French court from 1594 to 1617. His delicate, sometimes whimsical engravings in this edition are the culmination of a long pictorial tradition. They are based on the woodcuts used by Jeanne de Marnef Janot in 1546, which were inspired by earlier engravings by Agostino Veniziano and the Maestro del Dado, after a series of drawings formerly attributed to Raphael, but now generally to the Flemish painter Michiel Coxie. Scenes of note include Psyche illuminating the sleeping Cupid by lamplight (Plate 13), Venus crossing the ocean astride a fantastic dolphin (Plate 16), and Psyche feeding the three-headed dog Cerberus (plate 26). Text in French. This copy is second issue, circa 1590, without Gaultier's name and the date 1586 in the final plate: both issues are very scarce. This copy is notable for its wide margins, which Mortimer notes are usually trimmed to produce a book of typical octavo size: this appears to be the largest copy on record. Mortimer French 34 (1586 issue). A beautiful copy of a beautiful book, with excellent provenance, in an elaborate and striking armorial binding by Edinburgh binder Orrock & Son. Small folio, measuring 7 by 10 inches, nineteenth-century black morocco elaborately decorated in gilt, with alternating devices of a crowned L (for Lothian), SH monogram (for Schomberg Henry), and sunburst, spine similarly decorated and lettered in gilt, all edges gilt. Engraved title and 32 numbered copper-engraved plates, each including a stanza of eight lines, exceptionally wide-margined. Plates 25 and 26 reversed. Lightest rubbing to joints, occasional light marginal staining, stain to lower gutter of leaf bearing plate 19 (not affecting image). Bookseller notes in pencil to front endpapers. Armorial bookplate of Schomburg Henry Kerr, 9th Marquis of Lothian, nineteenth-century diplomat and bibliophile; modern bookplate of collectors Arthur and Charlotte Vershbow. [Attributes: First Edition; Hard Cover]

      [Bookseller: Honey & Wax Booksellers, ABAA]
 31.   Check availability:     AbeBooks     Link/Print  


        Lamour de Cupido et de Psiché Mere de Volupté, prise des Cinq & Sixiesme livres de la Metamorphose de Lucius Apuleius philosophe nouvellement historiée, & Exposée en Vers François

      Paris: Léonard Gaultier, 1590. First edition, second issue, of French engraver Léonard Gaultier's celebrated series depicting the legend of Cupid and Psyche. The narrative is drawn from the Metamorphoses of Apuleius, better known as The Golden Ass. That second-century Latin novel was revived in the fourteenth century, and popularized by way of Boccaccio and countless others: the forbidden love between Cupid and Psyche, god and mortal, body and soul, captivated the Renaissance imagination. Léonard Gaultier was the official engraver to the French court from 1594 to 1617. His delicate, sometimes whimsical engravings in this edition are the culmination of a long pictorial tradition. They are based on the woodcuts used by Jeanne de Marnef Janot in 1546, which were inspired by earlier engravings by Agostino Veniziano and the Maestro del Dado, after a series of drawings formerly attributed to Raphael, but now generally to the Flemish painter Michiel Coxie. Scenes of note include Psyche illuminating the sleeping Cupid by lamplight (Plate 13), Venus crossing the ocean astride a fantastic dolphin (Plate 16), and Psyche feeding the three-headed dog Cerberus (plate 26). Text in French. This copy is second issue, circa 1590, without Gaultier's name and the date 1586 in the final plate: both issues are very scarce. This copy is notable for its wide margins, which Mortimer notes are usually trimmed to produce a book of typical octavo size: this appears to be the largest copy on record. Mortimer French 34 (1586 issue). A beautiful copy of a beautiful book, with excellent provenance, in an elaborate and striking armorial binding by Edinburgh binder Orrock & Son. Small folio, measuring 7 by 10 inches, nineteenth-century black morocco elaborately decorated in gilt, with alternating devices of a crowned L (for Lothian), SH monogram (for Schomberg Henry), and sunburst, spine similarly decorated and lettered in gilt, all edges gilt. Engraved title and 32 numbered copper-engraved plates, each including a stanza of eight lines, exceptionally wide-margined. Plates 25 and 26 reversed. Lightest rubbing to joints, occasional light marginal staining, stain to lower gutter of leaf bearing plate 19 (not affecting image). Bookseller notes in pencil to front endpapers. Armorial bookplate of Schomburg Henry Kerr, 9th Marquis of Lothian, nineteenth-century diplomat and bibliophile; modern bookplate of collectors Arthur and Charlotte Vershbow.

      [Bookseller: Honey & Wax Booksellers]
 32.   Check availability:     Biblio     Link/Print  


        Ilias (Graece). Ilias, seu potius omnia eius quae extant opera.

      Straßburg, Th. Rihel, um 1590. - Mit Holzschnitt-Druckermarke auf Titel. 893 S., 36 Bll. Blindgepr. Schweinsldr. d. Zt. auf Holzdeckeln. VD16 H 4659 (um 1588) oder H 4660 (um 1592); Adams H 764; Schweiger I, 157; Muller 546, 52. - Nicht im STC. - Eine von zwei Varianten ohne Angabe des Erscheinungsjahrs und mit dieser Kollation. Unser Exemplar mit der Datierung des Vorworts (Merkmale bei Schweiger); Druckermarke: Heitz, Elsässische Büchermarken, Taf. XXXI, 10 . - Geschätzte Ausgabe mit griechisch-lateinischem Paralleltext, bei Adams und Schweiger nach dem Vorwort 1572, bei Muller 1575 datiert. - Einband etwas wurmspurig, es fehlen die Schließen. Titel mit zeitgen. Besitzvermerk, die erste Lage tls. lose, einzelne Wurmspuren (minimaler Buchstabenverlust), gering fleckig.

      [Bookseller: Antiquariat Uwe Turszynski]
 33.   Check availability:     ZVAB     Link/Print  


        Scelta di facetie motti, burle, et buffonerie de Piouano Arlotto, & altri auttori

      Fano (Italie), Pietro Farri, 1590. Petit in - 8 (14.5 x 10 cm) reliure plein veau, dos à nerfs à fleurons dorés, filets sur les plat avec fleuron central, 88 pages (pagination une page sur deux). Les coiffes manque et manque de cuir sur le mors supérieur ainsi que sur les coins, bon état des feuillets. Texte en italien. Small 8vo, period - style full claf binding, ribbed spine with gilt flame motif, gilt filets & motif on boards, 88 p. Text in italian language. Flaw : tips, laking, worn on corners & upper joint, fine condition of the paper. Arlotto Mainardi, detto il Piovano o Pievano Arlotto (Firenze, 25 dicembre 1396 ?" Firenze, 26 dicembre 1484), è stato un presbitero italiano, famoso per il suo spirito e le sue burle diventate proverbiali, grazie a una letteratura popolare fiorita per tutto il Rinascimento. Arlotto Mainardi, dit Piovano ou piovano Arlotto (1396 - 1484 ), prêtre italien, connu pour son esprit et ses farces grâce à une littérature populaire a prospéré tout au long du Renaissance. Italien relié DeCollection

      [Bookseller: Livres Anciens Lucas Philippe]
 34.   Check availability:     maremagnum.com     Link/Print  


        Eicones Plantarum )

      (Frankfurt, Basse 1590). - Quer-4to. 1128 Ss., (8) Bll., letztes mit Druckvermerk). Ohne die 4 Bll. Titel und Vorstücke (Titel von älterer Hand auf Vorsatz geschrieben). Mit 2255 Pflanzenholzschnitten, viele in altem Kolorit. Etwas späteres Pergament (mit Knicken, gebräunt, RD fleckig und mit alter Beschriftung, handschr. Titel auf Rücken); ohne die Bindebänder. So 1. Ausgabe. Eine Ausgabe für den täglichen Gebrauch: „Basseus erkannte sehr wohl, dass der riesige Umfang (des Kräuterbuchs von Tabernaemontanus) ein Hindernis für den allgemeinen Gebrauch von Studenten und Naturfreunden war. Er druckte deshalb ein textloses Buch im Querformat" (Heilmann). 1588 war der erste Band des großen Kräuterbuchs von Tabernaemontanus erschienen. Etwas spätere Vorsätze und Spiegel (originaler vorderer Vorsatz erhalten). 4 Bll. verbunden (S. 73-76 und 749-752). Erste zwei und letzte acht Bll. angerändert (Überschriften oder Kopfzeilen z. T. tangiert), die ersten beiden mit geschlossenen Einrissen in die Illustrationen, zwei Bll. Register nur fragmentarisch erhalten. Durchgängig mäßig gebräunt, stellenweise braunfleckig; verschiedentlich kleinere Rand-schäden. Nissen 1932; Heilmann 226; Pritzel 9094; VD 16 T 829.

      [Bookseller: Antiquariat Buechel-Baur]
 35.   Check availability:     IberLibro     Link/Print  


        Gesamtansicht ('Lubeca').

      - Kupferstich v. Francesco Valegio, um 1590, 9 x 13,5 (hochauflösende Bilder auf meiner Homepage, oder bei Anfrage - high resolution pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
 36.   Check availability:     ZVAB     Link/Print  


        GIUSTINO HISTORICO ILLUSTRE NE LE HISTORIE ESTERNE DI TROGO POMPEO TRADOTTO DAL SIG. BARTOLOMEO ZUCCHI DA MONZA

      VENETIA: PRESSO IL MUSCHIO, 1590. In 8. Dim. 21,5x16,5 cm. Pp. (16)+404+(56). Bella edizione del 1590 di questa opera storica compendiata da Marco Giuniano Giustino (I-II secolo ca). L'opera originale "Historiae Philippicae" scritta da Pompeo Trogo (I sec. a.c.-I sec. d.c. circa) in 44 libri descrive la storia dall'antica Babilonia fino ai suoi tempi. Giustino selezionò alcune parti di quest'opera sulla storia d'Oriente da lui ritenuti principali. Traduzione a cura dell'umanista monzese Bartolomeo Zucchi (m. 1631) membro dell'Accademia degli Insensati di Perugia. Stemma del dedicatario al frontespizio il cardinale del Mondevi. Ampio indice alla fine del volume. In buone condizioni e completo. Copertina in piena pergamena molle seicentesca con titolo manoscritto al dorso in buone condizioni generali con lievi usure ai margini e dorso. Legatura in buone condizioni ma corpo del libro in parte staccato dalla copertina. All'interno le pagine si presentano in buone condizioni con fioriture e gore d'umidità. Parte mancante al frontespizio. Beautiful edition of 1590 of this historical work resumed by Marco Giuniano Giustino (I-II secolo ca). The original work "Historiae Philippicae" written by Pompeo Trogo (I sec. a.c.-I sec. d.c. circa) in 44 books describes the history from Ancient Babilonia until his times. Giustino makes a selection of the most important happenings fpr Far East history. Translation by the man of letters from Monza Bartolomeo Zucchi (m. 1631) member of the Accademia degli Insensati in Perugia. Mark of the dedicatary in the title page the Cardinal of Mondevi. Wide index at the end of the volume. In good conditions and complete. Full parchment cover of XVII century with handwritten title in the spine in good general conditions slightly worn in the edges and spine. Binding in good conditions but the body of the almost totally detavhed from the cover. Inside pages are in good conditions with foxings and water stains. Missing part in the title page.

      [Bookseller: Sephora di Elena Serru]
 37.   Check availability:     Biblio     Link/Print  


        Amsterdam, antieke kopergravure - Braun + Hogenberg.

      16de-EEUWSE PLATTEGRAND VAN AMSTERDAM. "Amstelredamum, Nobile Inferioris Germaniae Oppidum"Met de hand gekleurde kopergravure uit de "Civitates orbis terrarum" ca. 1590 gemaakt door Georg Braun en Frans Hogenberg. Later met de hand gekleurd Afmetingen prent ca. 34 x 49cm.De Civitates orbis terrarum wordt beschouwd als de vroegste systematische stedenatlas. Hoewel het geen echte voorlopers had, bleek het werk direct in een behoefte te voorzien, omdat het sociale, politieke en economische leven van die periode zich afspeelde in de steden. Het werd een van de bestsellers van de late zestiende eeuw. De zes delen waaruit het werk bestond, verschenen tussen 1572 en 1618; alleen het eerste deel vermeldt echter bovenstaande titel. Georg Braun (1541-1622), kanunnik van de kathedraal van Keulen, schreef het voorwoord bij de eerste vijf delen en ook de begeleidende tekst op de versozijde van de plattegronden en stadsaanzichten. Veel materiaal voor dit stedenboek is afkomstig van de Antwerpse cartograaf Abraham Ortelius. Diens in 1570 verschenen Theatrum orbis terrarum heeft in een aantal opzichten model gestaan voor de Civitates.Simon van den Neuvel (Novellanus), Frans Hogenberg en (zijn zoon?) Abraham Hogenberg graveerden de koperplaten naar 'op bestelling' gemaakte tekeningen van onder anderen de Antwerpse schilder Joris Hoefnagel, zijn zoon Jacob Hoefnagel en Heinrich Rantzau. Niet alle platen in de Civitates zijn echter speciaal voor dit werk gemaakt. Een aantal is nagetekend van reeds bestaande plattegronden en stadsaanzichten, onder meer uit Sebastian Münsters Cosmographia en Lodovoco Guicciardini's Descrittione di tutti i Paesi Bassi. In veel gevallen, zoals ook bij de afbeelding Amsterdam zijn de tekeningen verlevendigd door er menselijke figuren aan toe te voegen. Dit diende volgens hem een tweeledig doel: niet alleen werd zo de mogelijkheid geboden de gewoontes en kleding van de inwoners te laten zien, het voorkwam ook dat de Turken tijdens hun veroveringstochten gebruik maakten van de stadsaanzichten, aangezien hun godsdienst het afbeelden van personen niet toestaat.Prijs: € 1.750,-.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 38.   Check availability:     NVvA     Link/Print  


        DEN DANSKE SØRÆT, som Stormecectigste, Høyborne Førsti oc Herre Her Frederich den Anden Danmarckis Norgis Wendis oc Gottis Konning etc. lod udgaa Aar effter Guds Byrd MDLXI [1561]. Den menige Søfarende Mand til beste. Huer effter huer Skipper, Skibsfolck,.

      Prentet aff Mats Wingaard, Kiøbenhaffn 1590. 8°, med Fr. II's våbenskjold i træsnit, 60 s., nyere halvpergament, nogle svage skjolder, enkelte sider med noter i gammel hånd, ellers rent ex. Ballhausen 176.. 16022312

      [Bookseller: Andersens Antikvariat]
 39.   Check availability:     Antikvariat     Link/Print  


        Gesamtans., ( Aufsicht ) mit Darstellung der Belagerung 21. 7. 1583, "Onckel", in der Ferne Linz.

      - Kupferstich aus Hogenbergs Geschichtsblätter, um 1590, 19,3 x 27,6 Muller, Nr. 236; Hellwig Nr. 246.

      [Bookseller: Antiquariat Nikolaus Struck]
 40.   Check availability:     ZVAB     Link/Print  


        Carta de poder.

      [Mexico: Pedro Balli Folio. [1] f.. before 14 September 1590] The text of this power of attorney is contained on the recto and has these printing characteristics: Type face: gothic. Imprint area: 250 x 140 mm. Number of lines of text: 44. First line: SEpan quantos esta carta vieren,como yo Last line: forma d[e] d[e]recho. E para lo auer por firme obligo mi persona y bienes Blank space between the first and second lines of text: 30 mm. Woodcut initial: None. The verso blank. Use of capitals in text for words: Generalmente, Magestad, Senores, Presidente, Oydores, Reales, Alcaldes, Juezes, and Justicias. The manuscript completions were sworn in Puebla de los Angeles on 14 September 1590, before the notary Marcos Reyes. Francisco Hernandez de Tinoco, a citizen of Puebla, gives power of attorney to Hernan Perez, a "procurador de causas," who is not present. Our attribution to printer is based on the type used and stylistics of composition. Removed from a bound volume with worming in margins and into text, touching but not costing letters; age-toning. Light waterstain in upper margin. => A good example of a Mexican incunable broadside.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
 41.   Check availability:     IOBABooks     Link/Print  


        The Whole Booke of Psalmes, Collected into English meetre, by Thomas Sternhold, Iohn Hopkins, and others, conferred with the Hebrue, with apt notes to sing them withall. Set forth and allowed to be song in all churches, ... [1590 John Wolfe Imprint of Ste

      Printed by John Wolfe for the assignes of Richard Day. Hardcover. B01BXFY0JC 1590 'Printed by Iohn Wolfe for the assignes of Richard Day' (London), 6 5/8 x 8 1/2 inches tall hardbound, no dust jacket, marbled paper-covered boards over red leather spine, gilt cross and lettering to spine, refreshed endpapers, unpaginated, [167] pp. A partial copy of the 1590 John Wolfe imprint of the Sternhold and Hopkins psalter, which appears to be complete only through the beginning of the 136th Psalm, and is bound at this point with the end of a circa 1590 Anglican Book of Common Prayer which includes all 150 Psalms. This end fragment of the Prayer Book begins with 'The Collectes, with the order howe to finde the beginning and ende of the Epistles...' (which appeared in the Prayer Book beginning 1589), and continues through sections for Communion, Baptism, Cathechism for Confirmation, Marriage, Visitation of the Sick, Burial of the Dead, 'Churching of Women,' A 'Commination Against Sinners,' and finally, 'The Psalmes of Dauid, of that translation which is commonly used in the Church,' complete with all 150 Psalms, and continuing through the apparent end of the Book of Common Prayer volume with a series of 'Godly Prayers,' ending with a 'FINIS' and printer's device. The book appears to have been rebound in the not-too-distant past, and the covers are in very good condition, with only light rubbing, mainly to the tips. Internally, the book has a number of issues apart from the missing final pages in the Sternhold-Hopkins Psalter. The text has been closely cropped in past rebinds, resulting in some losses, mainly to upper headings. Moderate to heavy mainly marginal soiling through the volume, with light dampstains throughout, especially at the tops of pages. Thumbing to page tips throughout. A number of pages with edge tears and creasing. Two-inch closed tear to fore edge of title page, with a tape repair to 1 1/2 inches of it. Contemporaneous marginalia to one page. About 10 leaves with worming or large chips, mostly to the fore margin. 3 x 1 inch chip detached but present from the next-to-last leaf of the second set of Psalms in this volume. Despite all these detractions, still a rare late sixteenth century Anglican psalter, handsomely rebound. The English Short Title Catalog (No. S116784) locates only 10 copies of the 1490 edition at institutions worldwide - 7 in England and three in the U.S. ~SP28~ Thomas Sternhold published his first, short collection of nineteen 'Certayn Psalmes' between mid-1547 and early 1549. In December of 1549, his posthumous 'Al such psalmes of Dauid as Thomas Sternehold ... didde in his life time draw into English Metre' was printed, containing thirty-seven psalms by Sternhold and, in a separate section at the end, seven psalms by John Hopkins. This collection was taken to the Continent with Protestant exiles during the reign of Mary Tudor, and editors in Geneva both revised the original texts and gradually added more over several editions. In 1562, the publisher John Day brought together most of the psalm versions from the Genevan editions and many new psalms by John Hopkins, Thomas Norton, and John Markant to make up 'The Whole Booke of Psalmes, Collected into English Meter.' In addition to metrical versions of all 150 psalms, the volume included versified versions of the Apostles' Creed, the Magnificat, and other biblical passages or Christian texts, as well as several non-scriptural versified prayers and a long section of prose prayers largely drawn from the English Forme of Prayers used in Geneva. The Sternhold-Hopkins psalter continued in general use till Nahum Tate and Nicholas Brady's New Version of the Psalms of David of 1696 was substituted in 1717. English protestant printer John Day (1522 - 1584) had, in 1559, obtained a patent for the Sternhold-Hokpkins psalter that Day first published in 1562. The business proved lucrative, reflecting a rise in musical literacy during the period. The Whole Booke of Psalmes became the period's best-selling book and the standard English psalter of its time. Day's monopolies on these perennially popular works would be the basis of great wealth over the years and a good deal of conflict between him and his fellow stationers, including his own son Richard Day (1552 - 1607), the publisher of this edition through printer John Wolfe. In the late 1570s, Richard began issuing pirated editions of this work and another of his father's patented works, The ABC with Little Catechism. When John Day learned of this, he broke into his son's premises and seized his printing equipment and stock by force. The public act may have been an attempt by John Day to send a message that he would pursue issues of piracy, no matter who the perpetrator. By the time this edition was printed in 1590, John Day had been dead for six years and Richard appears to have assigned the patent he inherited. . Fair. 1590.

      [Bookseller: Flamingo Books]
 42.   Check availability:     Biblio     Link/Print  


        \"Africae Propriae Tabula\".

       Altkol. Kupferstich von Ortelius, um 1590, 33,5 x 48,5 cm. Van den Broecke 218. - Zeigt Tunesien und Libyen sowei einen Teil von Algerien. - Mit großer figürlicher altkolorierter Kartusche rechts oben, einem Plan von Carthago links unten sowie umfangreichen gestochenen Erklärungen. - Sehr dekorative Karte in kräftigem Altkolorit und mit breitem Rand. Nur gering gebräunt. Versand D: 6,00 EUR Afrika, Landkarten

      [Bookseller: Antiquariat Bierl]
 43.   Check availability:     buchfreund.de     Link/Print  


        Della dedicatione de' libri, con la correttion dell'abuso, in questa materia introdotto, dialoghi del sig. Giovanni Fratta Nobile Veronese

      Venezia. Angeleri. 1590Cm. 20; 24 carte. Privo di brossura. Bella marca tipografica al frontespizio. Ottimo esemplare. Interessante e non comune trattatello sull'uso e l'abuso delle dediche e sul "copyright" 494 / P

      [Bookseller: Galleria La Stampa Antica]
 44.   Check availability:     maremagnum.com     Link/Print  


        RELATION WAS DER CAPITAN DRACKH VNND COLONEL NORIZ WELCHE ANNO 1589. AN STAT DER KUNIGIN IN ENGELLAND, DEN DON ANTONIO IN DAS KONIGREICH PORTUGAL EINSETZEN, VND DIE SPANNIER DARAUSS VERTREIBEN SOLLEN, MIT JRER MECHTIGEN ARMADA VON DER ZEIT AN, ALS SIE ABGEFAHRN BISS SIE WIDER HAIM KOMMEN, AUSSGERICHT

      Munich: Bey Adam Berg, 1590. Small quarto. Modern paneled calf, gilt morocco label. Minor wear to calf. Occasional light foxing. Else near fine. A very rare German printing of an account of Drake's raid on Spain in 1589, a retaliatory attack in the wake of the Armada the year before, most likely based on Anthony Wingfield's narrative printed soon after the event. The expedition, led by Drake and Sir John Norreys, sailed from Plymouth on April 17, but met with failure in its main objective of starting a rebellion in Portugal against King Philip II of Spain. It mostly consisted of private ships with privateering permission. An attack on Coruna alerted the Spanish, and by the time the expedition reached Lisbon, the city was too well defended to accomplish anything. Contrary winds scattered the ships, and they returned to England in disorder. This German edition is lacking from Kraus' extensive Drake catalogue, and the only copies we locate are at the British Library, the Hispanic Society of America, the John Carter Brown Library, Yale, and The New York Public Library. HUTH CATALOGUE 2454 (JCB copy). QUINN & EDWARDS, SIR FRANCIS DRAKE, p.46. PALAU 76149. JCB (3)I:322.

      [Bookseller: William Reese Company - Americana]
 45.   Check availability:     Biblio     Link/Print  


        Amsterdam, antieke kopergravure - Braun + Hogenberg.

      16de-EEUWSE PLATTEGRAND VAN AMSTERDAM. "Amstelredamum, Nobile Inferioris Germaniae Oppidum"Met de hand gekleurde kopergravure uit de "Civitates orbis terrarum" ca. 1590 gemaakt door Georg Braun en Frans Hogenberg. Later met de hand gekleurd Afmetingen prent ca. 34 x 49cm.De Civitates orbis terrarum wordt beschouwd als de vroegste systematische stedenatlas. Hoewel het geen echte voorlopers had, bleek het werk direct in een behoefte te voorzien, omdat het sociale, politieke en economische leven van die periode zich afspeelde in de steden. Het werd een van de bestsellers van de late zestiende eeuw. De zes delen waaruit het werk bestond, verschenen tussen 1572 en 1618; alleen het eerste deel vermeldt echter bovenstaande titel. Georg Braun (1541-1622), kanunnik van de kathedraal van Keulen, schreef het voorwoord bij de eerste vijf delen en ook de begeleidende tekst op de versozijde van de plattegronden en stadsaanzichten. Veel materiaal voor dit stedenboek is afkomstig van de Antwerpse cartograaf Abraham Ortelius. Diens in 1570 verschenen Theatrum orbis terrarum heeft in een aantal opzichten model gestaan voor de Civitates.Simon van den Neuvel (Novellanus), Frans Hogenberg en (zijn zoon?) Abraham Hogenberg graveerden de koperplaten naar 'op bestelling' gemaakte tekeningen van onder anderen de Antwerpse schilder Joris Hoefnagel, zijn zoon Jacob Hoefnagel en Heinrich Rantzau. Niet alle platen in de Civitates zijn echter speciaal voor dit werk gemaakt. Een aantal is nagetekend van reeds bestaande plattegronden en stadsaanzichten, onder meer uit Sebastian Münsters Cosmographia en Lodovoco Guicciardini's Descrittione di tutti i Paesi Bassi. In veel gevallen, zoals ook bij de afbeelding Amsterdam zijn de tekeningen verlevendigd door er menselijke figuren aan toe te voegen. Dit diende volgens hem een tweeledig doel: niet alleen werd zo de mogelijkheid geboden de gewoontes en kleding van de inwoners te laten zien, het voorkwam ook dat de Turken tijdens hun veroveringstochten gebruik maakten van de stadsaanzichten, aangezien hun godsdienst het afbeelden van personen niet toestaat.Prijs: € 1.750,-.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 46.   Check availability:     NVvA     Link/Print  


        Delft plattegrond - Braun en Hogenberg.

      DELFUM(Later) met de hand gekleurde kopergravure uit de Civitates orbis terrarum ca. 1590 gemaakt door Georg Braun en Frans Hogenberg. Afmetingen prent ca. 34 x 49cm. De Civitates orbis terrarum wordt beschouwd als de vroegste systematische stedenatlas. Hoewel het geen echte voorlopers had, bleek het werk direct in een behoefte te voorzien, omdat het sociale, politieke en economische leven van die periode zich afspeelde in de steden. Het werd een van de bestsellers van de late zestiende eeuw. De zes delen waaruit het werk bestond, verschenen tussen 1572 en 1618; alleen het eerste deel vermeldt echter bovenstaande titel. Georg Braun (1541-1622), kanunnik van de kathedraal van Keulen, schreef het voorwoord bij de eerste vijf delen en ook de begeleidende tekst op de versozijde van de plattegronden en stadsaanzichten. Veel materiaal voor dit stedenboek is afkomstig van de Antwerpse cartograaf Abraham Ortelius. Diens in 1570 verschenen Theatrum orbis terrarum heeft in een aantal opzichten model gestaan voor de Civitates.Simon van den Neuvel (Novellanus), Frans Hogenberg en (zijn zoon?) Abraham Hogenberg graveerden de koperplaten naar 'op bestelling' gemaakte tekeningen van onder anderen de Antwerpse schilder Joris Hoefnagel, zijn zoon Jacob Hoefnagel en Heinrich Rantzau. Niet alle platen in de Civitates zijn echter speciaal voor dit werk gemaakt. Een aantal is nagetekend van reeds bestaande plattegronden en stadsaanzichten, onder meer uit Sebastian Münsters Cosmographia en Lodovoco Guicciardini's Descrittione di tutti i Paesi Bassi. In veel gevallen, zoals ook bij de afbeelding Amsterdam zijn de tekeningen verlevendigd door er menselijke figuren aan toe te voegen. Dit diende volgens hem een tweeledig doel: niet alleen werd zo de mogelijkheid geboden de gewoontes en kleding van de inwoners te laten zien, het voorkwam ook dat de Turken tijdens hun veroveringstochten gebruik maakten van de stadsaanzichten, aangezien hun godsdienst het afbeelden van personen niet toestaat. Prijs: € 975,- (excl. lijst, BTW margeregeling).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 47.   Check availability:     NVvA     Link/Print  


        Von der Röm.

      Key. May. unserm allergnedigsten Herrn Confirmrt. Barth, (Herzoglische druckeri), 1590. 4to. 189,+ (3) pp. Full page wood cut with the Pomeranian arms on the title leaf verso. Slight stain in beginning and minor spotting, pp. 3-4 with paper repair and some loss of text. Bound together with: Peinlich Halsgericht des allerdurchleuchtigsten, grossmächtigsten, unüberwindligsten Keyser Carols des Fünfften, und des Heyligen Römischen Reichs peinlich Gerichts ordnung, auff den Reichstagen zu Augspurg, und Regenspurg, in Jaren dreysig, und zwey und dreysig gehalten, auffgericht und beschlossen. Barth, (Herzoglische druckeri), 1590. 4to. 176,+ (8) pp. Stain and spotting. Last index leaf with large paper repair, with loss of half its text. Very fine contemporary vellum, recased, spine with gilt decorations, boards with gilt frames, fleurons and with gilt center pieces with Coat of Arms and on front board the lettering "HVWD GWG" and "15AM97", spine with almost erased ink numbering "V67"(?). From the library of Victor von Stedingk, with his book plate, and inscribed with pen at the rear paste down.VD16 P 4132 resp. D 1096. Bake 700 & 701. Not in Adams. The letters "GWG" on the front board probably stands for "Gottes Wille Geschehe". Printed for the duke of Pomerania at the ducal printing office at Barth. Order for the ducal court in Stettin and Wolgast together with the "criminal law" of Charles V, the Constitutio Criminalis Carolina of 1532. The ducal printing office in Barth existed from 1582 to the end of the 16th-century. It was created by duke Bogislaw XIII and the first book was printed in 1584, by Andreas Seitner. Between 1584 and -86 Seitner and his successor Hans Witte produced the large Pomeranian Bible, the so called "Barther Bibel". The most productive period of the officin was between 1586 and 1590. In the 1590ies the production dropped significantly and the last known book to have been printed was "Epistolas" by Johannes Caselius in 1596. The traditional date for the shutting of the officin is 1598 (Benzing p. 27) but it was probably still in use in 1601. The printing office was then moved together with the court of Bogislaw to Stettin, where it was set up in the Oderburg in 1604.It might be the same officin that in 1632 is said to have been sold to Gustav II Adolph and by him given to the university of Dorpat, "Academia Gustaviana Dorpatensis".In the catalogue of the library after Axel and Johan Oxenstierna from 1735, where several books from the ducal library in Stettin were found, this combination is found as nr 919. It is however difficult to read the number of the spine as 919!

      [Bookseller: Centralantikvariatet]
 48.   Check availability:     Antikvariat     Link/Print  

______________________________________________________________________________


      Home     Wants Manager     Library Search     562 Years   Links     Contact      Search Help      Terms of Service      Privacy     


Copyright © 2018 viaLibri™ Limited. All rights reserved.