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        SS. Apostolorum et Evangelistarum Icones cum suis parergis.

      [Antwerp?]: Jean-Baptiste Barbé, 1620. No Binding. Very Good. [23.3 x 16 cm]. Single-sided engravings, (1) engraved title, (20) engravings. Unbound, fixed with small staples at top edge. Minor marginal handsoiling and spotting, small marginal holes to a few leaves, minor edge wear, light browning to a few leaves. Generally very good. Very rare first edition of a set of engravings by the Antwerp printmaker Jean-Baptiste Barbé (1578-1649) after the designs of Theodoor van Loon (c.1581-1649), a Flemish painter noted as an early stylistic follower of Caravaggio (1571-1610). The work presents bust-length portraits of the Holy Family, the Four Evangelists, and the Twelve Apostles, each set within a fancifully designed sculptural frame, with the wording of the collection's title - Icons with their Frames ('parergis')- emphasizing the importance of the relationship between painted image and its enclosing frame. While the strong shading of some plates recalls Caravaggio's tenebrism, facial types, which gaze sweetly into the distance, are perhaps more indebted to those of Guido Reni (1575-1642), who was working in Rome and at the height of his popularity around the time these engravings were produced. Each 'icon' is depicted with his attribute or an instrument of martyrdom (e.g., Peter's keys, Luke's ox, Andrew's cross), and the frames often echo these iconographic connections (e.g., herms flanking the portrait of James the Major are dressed as pilgrims). The emphasis on framing devices here is likely related to the rise in an interest in Christian archeology that began around 1600 and greatly influenced the way venerable images were treated in the remodeling of major churches and their altarpieces: For example, Theodoor van Loon certainly would have known his countryman and exact contemporary Peter Paul Rubens' (1577-1640) early Roman commission to enclose the ancient Santa Maria in Vallicella icon at Chiesa Nuova in an elaborate, pictorial altar frame (1606-08). This suite of engravings by Barbé should not, therefore, be seen only as a collection of images suitable for personal devotion, but also as a thoughtful visual treatise concerning the way artists were asked to confront and re-present early Christian art and iconography in the first half of the seventeenth century. Interestingly, these engravings are prominently dedicated on their title page to Wenceslas Cobergher (1560-1634), a painter, architect, engineer, theorist of institutional pawn shops (monti di pietà), numismatist, and collaborator of van Loon who was deeply interested in Roman and early Christian antiquities and their use by contemporary artists. * Hollstein, Dutch and Flemish, vol. 1, p. 100, nos. 45-64; M. Funck, Livres belge à gravures, p. 356; I. Baldriga, et al., Theodoor van Loon: "Pictor ingenius" et contemporain de Rubens, 2011; T. Meganack, De kerkelijke architectuur van Vensel Cobergher in het light van zijn verblijf te Rome, 1998. OCLC and KVK locate copies at the National Gallery (D.C.), Clark Art Institute, BnF, and Vlaamse Erfgedbibliotheek (Antwerp).

      [Bookseller: Martayan Lan, Inc.]
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        Duca di Mantova tra sei divinità pagane

      1620 - Bulino, 1620 circa, firmata in lastra, in basso a destra "Oliv Gatt f". Da un soggetto di Ludovico Carracci. Splendida prova, impressa su carta vergata coeva, con filigrana "scudo coronato, con giglio inscritto", traccia di piega verticale visibile dal verso, piccoli restauri perfettamente eseguiti, sporadiche ossidazioni, per il resto in ottimo stato di conservazione. La composizione, allegorica realizzata per una tesi, mostra al centro il duca di Mantova – Ferdinando Gonzaga, rappresentato come un guerriero che abbraccia un albero di palma, circondato da sei divinità pagane affiancate ciascuna all’albero a loro dedicato sul quale è inciso il loro motto in latino. A sinistra: Minerva Apollo e Nettuno; a destra: Zeus, Venere ed Ercole. In primo piano, le armi del duca di Mantova, fiancheggiate da due raffigurazioni fluviali in sembianze maschili. A sinistra, la figura femminile col capo coronato simboleggia la città di Mantova, che siede su un’armatura. Bartsch ricorda che questa stampa, molto rara, era così famosa da essere conosciuta come 'la conclusion des divinités' Opera molto rara. Engraving, 1620 circa, signed bottom centre 'Oliv Gatt f'. At bottom left 'Lud Car inv'. After Ludovico Carracci. A very good impression, printed on laid paper, trimmed to the platemark, some expert repairs at the back, otherwise in good condition. Allegorical composition for a thesis depicting Federico Gonzaga, Duke of Mantua, on Mount Olympus, embracing a palm tree, surrounded by six Greek deities who hold the trees dedicated to them: Minerva, Apollo and Neptune on the left; Zeus, Venus and Herkules on the right. The arms of the Duke of Mantua, between two river gods, in the foreground. On the left a woman is seated with trophies designating the city of Mantua. According to Bartsch, the print was known as 'The conclusion of the deities'; according to the Dictionary of art, Federico was awarded the device of Mount Olympus by Charles V in 1522. A very rare work. Bartsch 24 Dimensioni 383 351mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        SS. Apostolorum et Evangelistarum Icones cum suis parergis.

      Jean-Baptiste Barbé, [Antwerp?] 1620 - Single-sided engravings, (1) engraved title, (20) engravings. Unbound, fixed with small staples at top edge. Minor marginal handsoiling and spotting, small marginal holes to a few leaves, minor edge wear, light browning to a few leaves. Generally very good. Very rare first edition of a set of engravings by the Antwerp printmaker Jean-Baptiste Barbé (1578-1649) after the designs of Theodoor van Loon (c.1581-1649), a Flemish painter noted as an early stylistic follower of Caravaggio (1571-1610). The work presents bust-length portraits of the Holy Family, the Four Evangelists, and the Twelve Apostles, each set within a fancifully designed sculptural frame, with the wording of the collection¿s title ¿ Icons with their Frames (¿parergis¿)¿ emphasizing the importance of the relationship between painted image and its enclosing frame. While the strong shading of some plates recalls Caravaggio¿s tenebrism, facial types, which gaze sweetly into the distance, are perhaps more indebted to those of Guido Reni (1575-1642), who was working in Rome and at the height of his popularity around the time these engravings were produced. Each ¿icon¿ is depicted with his attribute or an instrument of martyrdom (e.g., Peter¿s keys, Luke¿s ox, Andrew¿s cross), and the frames often echo these iconographic connections (e.g., herms flanking the portrait of James the Major are dressed as pilgrims). The emphasis on framing devices here is likely related to the rise in an interest in Christian archeology that began around 1600 and greatly influenced the way venerable images were treated in the remodeling of major churches and their altarpieces: For example, Theodoor van Loon certainly would have known his countryman and exact contemporary Peter Paul Rubens¿ (1577-1640) early Roman commission to enclose the ancient Santa Maria in Vallicella icon at Chiesa Nuova in an elaborate, pictorial altar frame (1606-08). This suite of engravings by Barbé should not, therefore, be seen only as a collection of images suitable for personal devotion, but also as a thoughtful visual treatise concerning the way artists were asked to confront and re-present early Christian art and iconography in the first half of the seventeenth century. Interestingly, these engravings are prominently dedicated on their title page to Wenceslas Cobergher (1560-1634), a painter, architect, engineer, theorist of institutional pawn shops (monti di pietà), numismatist, and collaborator of van Loon who was deeply interested in Roman and early Christian antiquities and their use by contemporary artists. * Hollstein, Dutch and Flemish, vol. 1, p. 100, nos. 45-64; M. Funck, Livres belge à gravures, p. 356; I. Baldriga, et al., Theodoor van Loon: ¿Pictor ingenius¿ et contemporain de Rubens, 2011; T. Meganack, De kerkelijke architectuur van Vensel Cobergher in het light van zijn verblijf te Rome, 1998. OCLC and KVK locate copies at the National Gallery (D.C.), Clark Art Institute, BnF, and Vlaamse Erfgedbibliotheek (Antwerp).

      [Bookseller: Martayan Lan]
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        Newe Künstliche/ Wohlgerissene/ unnd in Holz geschnittene Figuren/ dergleichen niemahlen gesehen worden/ Von den Fürtrefflichsten/ Künstlichsten unnd Berühmbtesten Mahlern/Reissern/ unnd Formschneydern/ Als nemblich/ Albrecht Dürer/ Hanss Holbeyn/ Hanss Sebaldt Böhem/ Hanss Scheuflin/ unnd andern Teutscher Nation Fürtrefflichen Künstlern mehr. .

      Frankfurt a.M., (Stoltzenberger für) Steinmeyer, 1620. - Quer-Klein-4°. (4) Bl. (inkl. Titel in Rot und Schwarz, (334) S. mit Holzschnitten recto und verso. Späterer Pappband. In Schuber. VD 17 12: 652588L; Fairfax Murray (German) 402; Richter, Egenolffs Erben, 762 und Sp. 836 f.; Musper I, 222; Dodgson II, 10, 59, 146 und 428; Schreyl I, 17 und 33 Anm. - Holzschnitt-Illustrationen nach Altdorfer, Baldung Grien, Behaim, Burgkmaier, Cranach, Grünewald und Schäuffelein. Die im Titel aufgeführten Künstler Dürer und Holbein sind nicht vertreten, den grössten Anteil hat der Petrarca-Meister mit Illustrationen zum Trostspiegel und Cicero. Die kleineren Holzschnitte tragen unter dem Bild, in zwei Spalten angeordnet, einen lateinischen und einen deutschen Sinnspruch. Die Vorrede ist datiert 1619. - Aus dem Besitz von Fritz Steinmeyer, Luzern, der das Exemplar, eine Doublette der Harvard College Library, 1948 von Philip Hofer erhielt. Hofer schreibt in seinem Begleitbrief "it is not quite complete but is nearly so. Neither is the other copy that the library possesses. It is actually a very rare book, indeed, and contains some of the best woodcuts of Hans Weiditz". - Titelblatt mit kleinem Defekt oben neu eingehängt, durchwegs etwas fingerfleckig, unterschiedlich gebräunt, kleiner roter Farbfleck auf S. 199, wenige Randeinrisse alt hinterlegt, S. 76 grün ankoloriert. - Einband berieben, aber intakt. - Kleines Namensschild Philip Hofer und kleiner figürl. Stich auf Vorsatz. - Korrespondenz beiliegend. [Attributes: Hard Cover]

      [Bookseller: EOS Buchantiquariat Benz]
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        Strabonis rerum geographicarum libri XVII. Isaacus Casaubonus recensuit, summoque studio & diligentia ope etiam veterum codicum emendauit, ac Commentariis illustrauit & secundis curis cumulate exornauit qui nunc primum prodeunt ; Adiuncta est etiam Gulielmi Xylandri augustani latina versu ab eodem Casaubono recognita ; Accessere Fed. Morelli ... in eundem geographum obseruatiunculi

      typis regiis, 1620. In-folio, pp. (12), 843, (117), 282,(8), frontespizio inciso in rosso e nero, stemma calcografico reale di Luigi XIII sul frontespizio, bella legatura in piena pelle color nocciola coeva, dorso a sei nervi, titolo su tassello e fregi in oro, ai piatti triplice cornice lineare in oro, tagli rossi, dentelle interna. Testo greco e latino a fronte su due colonne. I commentari di Casaubon iniziano con proprio occhietto a carta X1r. Seconda edizione ampliata e corretta (più accurata della prima secondo Dibdin) della Geografia di Strabo, uno dei più antichi e importanti trattati della geografia storica. La traduzione latina è curata da Xylander con commenti di Frederic Morel e Isaac Casubon, i caratteri greci sono di Garamond. Brunet V, 554. Graesse VII, 604. Dibdin II, 433 STRABONE (lat. Strabo) Storico e geografo greco, nato ad Amasia, città del Ponto, poco prima del 60 a. C. La sua opera principale è la Geografia. Essa pare fosse in sostanza compiuta nel 7 a. C. e l'autore vi avrebbe fatto in seguito solo poche aggiunte e apportato qualche aggiornamento; così si spiegherebbe il silenzio sugli avvenimenti posteriori al 7 a. C. e nello stesso tempo i rari accenni a fatti del 18 d. C. e di qualche anno dopo. L'opera è un vasto trattato generale di geografia, nel quale la materia è così disposta: i libri I-II contengono un'introduzione generale, nella quale si trattano questioni di geografia fisica e matematica e di storia della geografia; il libro III è dedicato alla Spagna; il IV alla Gallia, alla Britannia e ad altre isole settentrionali (Irlanda, Tule) e alla regione alpina; i libri V e VI all'Italia e alle isole italiane; il VII alla Germania, alla Scizia e alla Penisola Balcanica settentrionale (Illirico, Tracia); i libri VIII-IX-X alla Grecia e alle isole egee compresa Creta; l'XI ai paesi oltre il Tanai, a nord e a sud del Caucaso sino all'Asia Minore e alla Mesopotamia, e alle regioni settentrionali dell'Iran; i libri dal XII al XIV all'Asia Minore; il XV all'India, alle regioni meridionali dell'Iran e alla Persia; il XVI all'Assiria, alla Babilonia, alla Siria e Palestina e all'Arabia; il XVII all'Egitto e alle altre regioni dell'Africa settentrionale. A differenza della geografia tolemaica, improntata su uno studio ed una analisi più rigidamente matematiche, la Geografia di Strabone presenta un impianto più storico-antropologico risultando il più importante autore di questo filone. La sua grande fortuna cominciò con il sec. VI e durò sino all'età moderna.

      [Bookseller: Libreria Antiquaria Xodo]
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        Thuani Historiarum Sui Temporis (Thuani History of His Time)

      PETRUM DE LA ROVIERE 1620 - hinge cracking, pages brittle, foxing, raised ridged spine, corners bumped edges rubbed, written in italian, gilt on spine and cover, additional postage required, musty odor, excellent condition considering age DATE PUBLISHED: 1620 EDITION: 717 [Attributes: Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Rhinocerons

      1620 - "Due incisioni, impresse su un foglio di carta vergata con filigrana "scudo con santo inginocchiato sormontato da stella" - risalente alla fine del XVI sec. - raffiguranti entrambe il rinoceronte, disegnate ed incise, acquaforte e bulino, da Antonio Tempesta. L'immagine sulla sinistra è chiaramente ispirato al celebre rinoceronte di Albrecht Dürer, eseguito nel 1515. La xilografia del Dürer, sia per la curiosità che un animale non europeo dovette destare, sia per la fama dell'incisore tedesco, diventò ben immediatamente famosa, basti pensare che Alessandro de' Medici (1510-1537) adottò proprio il rinoceronte corazzato e il corno appuntito, come proprio emblema. La scelta del rinoceronte dureriano ad apertura dell'opera ha il significato di un omaggio al maestro di Norimberga, ma è al tempo stesso il riconoscimento di un modello iconografico obbligato. In maniera quasi rispettosa, Tempesta affianca al modello poco realistico del Durer, una seconda figura di rinoceronte, in cui tutti gli elementi fantasiosi del primo spariscono per dar vita ad una illustrazione zoolicamente più corretta. Le due immagini furono pubblicate nella serie "Nuova raccolta de li Animali più curiosi del mondo ", di Antonio Tempesta, opera che conobbe numerose edizioni, dopo la prima edita nel 1620 da Giandomenico de Rossi, di cui costituivano la tavola d'apertura (il rinocerone dureriano) e la decima (il rinoceronte rivolto a sinistra). L'opera è un bestiario, privo di testo, che comprende in buona parte la prima e ampia iconografia zoologica, ma anche animali fantastici della tradizione mitologica, come il grifone o il satiro marino. Le immagini dell'opera, nella prima edizione 222, erano distribuite su 111 fogli oblunghi, con due lastre stampate per ciascun foglio. Ciascuna immagine ha una didascalia con il nome dell'nimale raffigurato in latino e in italiano. Foglio in ottimo stato di conservazione, con i margini originali. Dimensioni del foglio: 415x280 Dimensioni della singola incisone: 137x97" Dimensioni [Attributes: First Edition]

      [Bookseller: Libreria Antiquarius]
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        Explicatio aliquot. locorum quae Puteolis spectantur

      Roma 1620 - L’opera si basa sulla carta di Mario Cartaro del 1584 e sue derivazioni successive di Duchetti, Cartaro stesso e Van Aelst. Rispetto a tutte queste carte è di formato leggermente ridotto, con una scala delle miglia, peraltro assente, più grande. L’orientazione è fornita nel mare da una rosa dei venti. La legenda, contenuta nel cartiglio in alto a sinistra è praticamente identica alla legenda presente nella prima versione della mappa del Cartaro. Per la prima volta edita circa nel 1620. Questo esemplare della carta reca l’indirizzo di Gian Giacomo de Rossi con il suffisso alla Pace, in uso presso la tipografia romana verso il 1649. La tavola è contenuta nel "Ager Puteolanus sive prospectus eiusdem insignores. Illustrissimo Antonio Roccio optime de se merito dicabat" edito nel 1652. La carta la ritroviamo descritta nel Indice delle Stampe di Lorenzo Filippo de Rossi (1735) come il Territorio di Pozzuolo co’ suoi luoghi antichi, in foglio reale. E’ conosciuta, descritta come anonima, in un esemplare alla Biblioteca Nazionale di Francia a Parigi ed in uno alla National Library of Malta. Stampata su carta con filigrana "giglio nel cerchio con corona". Magnifico esemplare di questa carta di grandissima rarità, in ottimo stato di conservazione. The work is based by Mario Cartaro map of the area (1584) and its subsequent derivations by Duchetti, Cartaro himself and Van Aelst. Compared to all these maps is slightly smaller format, with a scale of miles, however absent, greater. The orientation is provided in the sea by a compass rose. The legend, which is contained in the title block at the top left is almost identical to this legend in the first version of map Cartaro. First printed around 1620, the map bear the address of Gian Giacomo de Rossi with the suffix Alla Pace, in use by the Roman typography to 1649. Taken from "Ager Puteolanus sive prospectus eiusdem insignores. Illustrissimo Antonio Roccio optime de se merito dicabat" printed in 1652. The map is described the "Indice delle Stampe" by Lorenzo Filippo de Rossi (1735) as the "Territorio di Pozzuolo co’ suoi luoghi antichi, in foglio reale". And it is known, described as anonymous, in a example at the National Library of France in Paris and one at the National Library of Malta. Printed on paper with watermark " lily in the circle with the crown". Magnificent example of this map of great rarity, in excellent conditions. Anna Grelle Iusco, Indice delle Stampe De Rossi, p. 158, 18; Johnston-Lavis 107; vgl. Cicognara 4321 (EA. 1620). Dimensioni 345 255mm

      [Bookseller: Libreria Antiquarius]
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        Il Bellunese con il Feltrino

      Bologna 1620 - Carta geografica tratta dall'atlante "Italia di Gio. Magini.", pubblicato a Bologna nel 1620 dal figlio dell'autore, Fabio. Le fonti utilizzate da Magini per la realizzazione di questo lavoro sono inedite, poiché non si conosce alcuna carta a stampa di queste regioni anteriore al 1600. Secondo Almagià, è possibile che Magini si valesse di disegni ricevuti da Venezia nel 1598. La carta è piuttosto grossolana nel disegno e non sempre esatta e ricca di annotazioni. Tuttavia, questa del Magini risulta la SOLA CARTA STAMPATA del territorio bellunese fino alla metà del sec. XVIII. Decorano la tavola due eleganti cartigli. Incisione in rame, in buone codizioni. Map taken from the Atlas "Italia di Gio. Magini.", published in Bologna in 1620 by the author's son, Fabio. Copper engraving, in good conditions. R. Almagià, L'"Italia" di Giovanni Antonio Magini , pp. 42, 136 Dimensioni 470 350mm

      [Bookseller: Libreria Antiquarius]
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        RELACION DE LA REAL TRAGICOMEDIA

      - CON QUE LOS PADRES DE LA COMPAÑIA DE IESVS en su Colegio de S. Anton de Lisboa recibieron a la Magestad Catolica de Felipe II. de Portugal, y de su entrada en este Reino, cõ lo que se hizo en las Villas, y Ciudades en que entrò. Recogido todo verdadeiramente, y dedicado al Excelentissimo señor Don Theodosio segundo Duque de Bragança, &c. Por Iuan Sardina Mimoso Sacerdote, natural de Setubal. Año [1]620. CON PRIVILEGIO Impresso en Lisboa por Iorge Rodriguez. [Lisboa, 1620]. In 8º (17,8x13 cm) com [10], 163, [1] págs. Encadernação da época inteira de pele com finos ferros a ouro por casas fechadas. Ilustrado com as armas reais de Filipe II de Portugal [III de Espanha] e capitulares xilográficas decorativas no início de ambas as partes da obra. Impressão com filete tipográfico duplo que encerra notas impressas em marginália. Exemplar com leves restauros e picos de traça nos fólios iniciais. O presente exemplar é da variante que apresenta os seguintes erros de numeração dos fólios: f. [22] num. 24; f. [26] num. 24; f. [79] num. 80 f.[89] num. 81; f. [95] num. 87. (Vide outra variante na BNP com: f. [89] num. 81 e f. [95] num. 87). Obra do género de Ópera ou Opereta, apresentando-se aqui o seu libreto completo. O aspecto mais relevante é existir um «Coro Breasileiro» cantado na lingua nativa (ver Chorus brasilicus na pag. 59) composto por quadras em lingua tupi, acompanhadas da tradução em português. Ao referir-se a esta obra o grande bibliógrafo português, do século XVIII, Barbosa Machado afirma (II, 748) : «Esta Tragicomedia, composta em verso latino pelo padre António de Souza da Companhia de Jesus, era da maior magnificência e foi tida em alta estima à época porque consistia de cinco actos, nos quais eram representados cento e cinquenta animais, pássaros e monstros marinhos. O tema era a descoberta da Índia pelo incomparável Rei Manoel I. É um livro raríssimo». Notas referidas pela BNP: «Segundo bibliografia, a Tragicomédia foi composta pelo Padre António de Sousa, da Companhia de Jesus. Peça também conhecida como: Tragicomedia de D. Manuel; Tragicomédia do rei D. Manuel; Tragicomédia da conquista do Oriente; Tragicomédia do descobrimento e conquista do Oriente. Contém a partir da f. 126, "Entrada del Catolico Rey Don Felipe segundo y tercer monarcha de las Españas en el Reyno de Portugal; y breve compendio del imperial recibimiento que le hizo la insigne ciudad de Lisboa a los 29 de Junio del año de 1619.", antecedido de prólogo "Al Lector", subscrito pelo autor». Borba de Moraes. Bibliogr. II, 571: «Mimoso, Joáo Sardina. Relacion de la Real Tragicomedia [.] 14 x 19; 8 fls. s.n., 163 fls. num. por folha. [?] A Relacion termina na pág. 125, e é seguida da ? Entrada del Catholico Rey Don Filipe segundo. en el Reyno de Portugal. Grandes festividades tiveram lugar em Lisboa para celebrar a ocasião da entrada de Filipe III da Espanha (em Portugal Filipe II). Uma tragi-comédia foi encenada para a corte no Colégio de Santo Antonio, em teatro construído especialmente para o evento. Entre os objetos das representações encontravam-se D. Manoel e seus conselheiros, Vasco Gama, a Cidade de Lisboa, Cintra, o Tagus, o Oceano, a Terra, o ar, fogo e água, os pontos Cardeais, as províncias de Índia e Brasil. Surge então um pajem no palco e anuncia a chegada de um navio com a notícia de novos descobrimentos de terras. O rei ordena então que o capitão apareça. Este chega, anuncia a descoberta de Brasil e traz consigo índios tapuias e aimorés, papagaios e macacos, e todos cantam um choro brasilicus em português e tupi. Em seguida ocorre um diálogo entre o rei, que fala o português, e um macaco, que fala alternativamente português e tupi. In 8º (17.8x13 cm). [10], 163, [1] pp. Binding; Contemporary full calf, with gilt tools. Illustrated with the coat of arms of King Philip the second of Portugal (third of Spain) and woodcut decorative capital letters at the beginning of both parts of the work. Printed with a double frame that surrounds marginal p

      [Bookseller: Livraria Castro e Silva]
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        EDIFICATIONE, OVERO ORIGINE DI MOLTE CITTA' PRINCIPALI DEL MONDO. Et in particolare della maggior parte d'Italia. Con li principi, e fondatori di quelle, la longhezza, la larghezza, confini, & sito di esse. Con una breve descrittione de i loro più sontuosi Edifitij, Palazzi, Chiese, Corpi Santi, Huomoni illustri in Arme, & in Lettere, con tutte l'altre cose notabili, che vi si trovano. In questa seconda Editione aggiuntovi la origine dell'Aquila, di Fermo, Urbino, Macerata, Camerino, Orvieto, Terni, Amelia, & Narni. Con la dichiaratione de' Termini d'Italia, Imprese, & morte d'Alboino Re di Longobardi, & principio di quelli. Con il Nome, Patria & Opre delle antiche Sibille, e due Tavole copiosissime.

      Appresso Tommaso Guerrieri, 1620. 2ª edizione. Opera dedicata a Pietro Bisenzio. Cm.20,2x14,7. Pg.60. Genuina coperta coeva in modesta pergamena molle. Menda al foglio di guardia. tracce d'uso. Alcuni fregi ornamentali. Vignetta calcografica raffigurante tre pavoni al frontespizio. Assai rara e importante opera che dà brevi cenni circa la costruzione delle maggiori città italiane, e non solo. La prima edizione aveva visto la luce a Viterbo l'anno precedente, il 1619, per i tipi del Discepoli. E' l'unico testo conosciuto del Turroni. > Cinque esemplari censiti in SBN. Opera sconosciuta a Piantanida, Brunet e Graesse. Codice libreria 129721.

      [Bookseller: Studio Bibliografico Pera]
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        L'Hospital des fols incurables, où sont déduites de poinct en poinct toutes les folies et les maladies d'esprit, tant des hommes que des femmes, oeuvre. tirée de l'italien de Thomas Garzoni, et mise en notre langue / par François de Clarier

      1620 - [2] pp., 267 pp., [1] p. Paris, François Julliot, 1620, in-8, [2] pp, 267 pp, [1] p, plein veau moucheté, dos à nerfs et fleuronné, pièce de titre grenat, tranches rouges (reliure du XVIIIe), Première édition française de cet ouvrage de Garzoni, traduit par François de Clarier de Longval. Dans sa version initiale, "L'hospidale de pazzi incurabili" parait en Italie en 1586. Deux éditeurs parisiens font paraitre cette traduction en 1620 : Julliot et Sevestre. Tommaso Garzoni (1549-1589), était un écrivain italien. C'est au cours des six dernières années de sa vie qu'il écrit ses oeuvres les plus célèbres, celles qui se veulent des sommes encyclopédiques dont "L'hospidale de pazzi incurabili", le plus connu, fait partie. Parmi les huit ouvrages qu'il a écrit, seulement deux ont été traduits et publiés en français. Le second, "Le Théâtre des divers cerveaux du monde" est paru en France en 1586. Par ailleurs, ses oeuvres ont été diffusées dans toute l'Europe et ont connu diverses réimpressions à différentes époques, à tel point qu'il est devenu l'un des auteurs italiens les plus traduits du Cinquecento. Cet ouvrage dédié aux maladies mentales avait pour objet de populariser les questionnements autour de la folie dans le but d'améliorer la santé mentale du plus grand nombre : "As the author specifically states, his book is intended to popularize the issue of insanity in order to enhance good mental health for the average person. In so doing, Garzoni in fact presents a reliable picture of the contemporary view of mental illness as held by the general public rather than by the medical profession." (MORA, pp. 245-246) Ex-Libris contrecollé sur le contreplat portant la mention manuscrite "Fol est celuy qui fait folie, Fol est celuy qui fol chastie" L'homme représenté est peut-être le psychiatre Jean Pierre Falret. Signature manuscrite sur la première page de l'ouvrage. Légers frottements aux coins et aux plats. Excepté la présence de taches orangées sur la page de titre et d'une intérieur frais et d'une petite galerie de vers en marge des derniers feuillets qui n'endommagent pas le texte, l'intérieur est frais et offre une lecture agréable. Exemplaire légèrement court de tête. [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Winterlandschap met ijsvermaak bij Mechelen - Egidius Sadeler, 1620.

      Winterlandschap met ijsvermaak bij Mechelen?Hyems? kopergravure vervaardigd te Praag 1620, door Egidius de J. en Marco Sadeler naar het ontwerp van Pieter Stevens. Uit een serie van vier jaargetijden. Later met de hand gekleurd. Afm. 23 x 32,7 cm.Op de voorgrond is men aan het werk. Er wordt hout gehakt, er worden boomstronken gezaagd en als brandhout in grote korven weggedragen. Ook op de bevroren rivier worden blokken gezaagd en afgevoerd. Verder heeft men tijd voor vertier. Er worden verschillende partijen colf gespeeld, kinderen gooien sneeuwballen, iemand is met een tol in de weer, ijzers worden ondergebonden en er wordt volop geschaatst.De familie Sadeler was de grootste en misschien wel meest succesvolle familiedynastie van Vlaamse graveurs. Ze waren dominant als prentenmakers op de Noord-Europese markt in de late 16de- en 17de-eeuw. Evenals bij kunstenaars families als Wierix en Van der Passe lijkt het werk van de afzonderlijke individuen sterk op elkaar. Zeker tien Sadelers werkten als graveur in zuidelijke Nederlanden, Duitsland, Bohemen en Oostenrijk.Literatuur: Wurzbach ?Niederl?ndisches K?nstler Lexikon?, Egidius Sadeler nr. 94Prijs: ?975,- (incl. lijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Sketchbook - Albert Flamen, 1679.

      Charming working sketchbook by Albert Flamen (Bruges, c. 1620 ? Paris, after 1691). Album containing 22 leaves with the majority of the drawings in brown ink, some with grey and brown wash. The leaves bound into what appears to be the original card cover, with later printed paper stuck to the outside. Dated in brown inside the back cover Le premier septembre ao 1679. Size: 16 x 23 cm. With watermark resembling Churchill 305.Contents: 9 leaves with numerous studies of fencing/ walking/ seated/ riding/ shooting figures; 1 leave with drawings of faces; 1 leave with drawing of a house with numerous animals; 1 leave with drawing of seven men on horseback in a landscape; 1 leave with drawing of several houses with a man on horseback in foreground; 1 drawing of two windmills with two draughtsmen in the foreground, titled: Veu? des moulins sur le chemin de Vaugirard du Cost? du faubourg St. Germain; 1 leave with five (shooting) men on horseback in front of a city gate; 3 leaves with perspective studies. Six leaves are by a different hand (a pupil?), some other leaves have additions by yet an other hand.The studies of figues or riders are of a type that we see everywhere in the prints of Flamen and his guiding light Jacques Callot, whose work he must have known intimately. He is best known for his prints and drawings of animals, but did also works in other genres. Several albums of his drawings on a single theme are known and at least three other diverse sketchbooks such as this have also survived (amongst which a sketchbook in the Berlin Kupferstichkabinett ).Price: ?13.500,-.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Epitome Astronomiae Copernicanae usitata forma quastionum & responsionum conscripta, inque VII libros digesta, quorum tres hi priores sunt de doctrina sphaerica. 3 Tle. in 1 Band. Linz, J. Plancus 1618. 8°. 14 Bll., 417 (recte 409) S., mit zahlr. Textholzschnitten, Prgt. d. Zt. mit hs. Rtit.

      - VD17 39:120913U - Caspar 55 - Houzeau-L. 11831 - Zinner 4662 - PMM 112.- Erste Ausgabe des ersten Teils (Buch 1-3 von 7) enthält in sich abgeschlossen die Sphärenlehre (die Tle. 2 "Physica coelestis" u. 3 "Doctrina theorica" mit den Büchern 4-7 erschienen 1620/21).- Keplers groß angelegtes Lehrbuch der kopernikanischen Astronomie ist seine zusammenfassende Darstellung des astronomischen Weltbildes. Das Werk wurde sofort nach Erscheinen auf den Index gestellt.- Titel mit hs Besitzvermerk "Ex libris Pauli Hayteri 1620", tls. leicht braunfleckig, Titel u. erstes Bl. mit kl. ergänzt. Wurmlöcher, Ebd. etw. fleckig, Innendeckel mit kl. Wurmgängen.# First edition of the first part (book 1-3 of 7).- The work was intended as a textbook, divided into seven books. The "Epitome" covers much of Kepler's earlier thinking, as well as his later positions on physics, metaphysics and archetypes. "The first three books of this compendium deal mainly with spheric astronomy. Occasionally Kepler went beyond the conventional subject matter, considering, for example, the spatial distribution of stars and atmospheric refraction. Of special interest are the arguments for the motions of the earth; in describing the relativity of motion, he went considerably further than Copernicus and correctly formulated the principles later given more detailed treatment in Galileo`s ,Dialogo' (1632). Because of these arguments, and as a result of the anti-Coperican furor stirred up by Galileo`s polemical writings, the Epitome was placed on the Index Librorum Prohibitorum in 1619" (DSB VII, 302f.).- Partly slightly brown-spotted, title & first leaf with small supplemented wormholes, pastedown with worming. [Attributes: First Edition]

      [Bookseller: Antiquariat Johannes Müller]
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        Historiae ecclesiasticae Novi Testamenti...Qua res Christianorum, Judaeorum, Gentilium, Muhammedanorum, iuxta novem, post natum Christum.... Tomus I - IX in 10 Bdn. (compl.).

      Kl.8, je ca 700 S., Kleisterpapierumschlag d. Zeit, handschriftl. Rückenbeschriftung., Minimal fleckig, sonst tadellos. VD17 12:116106Q. Im letzten Band Vita von Hottinger von Joh. Heinrich Heidegger. - Johann Heinrich Hottinger (1620-1667) studierte in Genf, Groningen und Leiden orientalische Sprachen und Theologie. Nachdem er England und Frankreich bereist hatte, wurde er 1642 in Zürich Professor der Kirchengeschichte, 1648 der Theologie und der orientalischen Sprachen und 1653 ordentlicher Professor der Rhetorik und Logik.Zwei Jahre später folgte er einem Ruf als Professor der orientalischen Sprachen nach Heidelberg, kehrte aber 1661 nach Zürich zurück und erhielt hier die Würde eines beständigen Rektors der Universität.Im Begriff, einem Ruf an die Universität Leiden zu folgen, ertrank er mit dreien seiner Kinder bei der Kornhausbrücke ausserhalb der damaligen Stadtmauern in der Limmat, als der überladene Kahn umschlug.

      [Bookseller: antiquariat peter petrej]
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        I carichi militari

      1620. BRANCACCIO Lelio. I carichi militari. In Venetia, Appresso Evangelista Deuchino, 1620. In 8vo; pp. 24 n.nn., 255, 1 bianca. Frontespizio allegorico e 5 tavole più volte spieghevoli. All'occhietto dedica autografa d'antico proprietario. Pergamena coeva. Lievi fori da tarlo al margine del frontespizio. Seconda edizione, la prima fu pubblicata ad Anversa nel 1610. BL, Cat. of 17th Century Italian Books, I pag. 144; Olschki, Choix, 6201: "Ouvrage assez rare et très important. Les planches en grand format représentent les ordres de bataille, la manière de l'attaque des fortifications etc.".

      [Bookseller: Studio Bibliografico Casella]
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        M. Fabii Quinctiliani ut ferunt , declamationes XIX Majores, et quae ex CCCLXXXVIII supersunt CXLV minores et Calpurnii Flacci Declamationes. Cum notis doctorum virorum; curante Petro Burmanno.

      Isaacum Severinum, 1620. In 8°, p. perg., pp. 838 + cc.nn. 66. Front. con pregevole inc. (cm. 7,5 x 9,5) di Bleyswyk. Fregi al d. in o. Nervi. Pregevole è la rilegatura, con piatti ornati ed al centro, impresso, stemma araldico, tutto in o.

      [Bookseller: Libreria Cicerone M.T.]
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        Remissiones doctorvm de officiis pvblicis, ivrisdictione, et ordine indiziario …

      Pedro Craesbeeck, Vlyssipone (Lisbon) 1620 - Sm 4to. Full-page woodcut portrait of author on recto of third preliminary leaf. 479 pages plus index (47 pages), (8 pages), [new title page] Castigationes et Additamenta … 1620, 56 pages, (6 pages) Lacks last leaf. Early ownership on title page. Some worm holes that go into some text. Tight and clean. FIRST EDITION. A collection of commentary on Portuguese laws. [Attributes: First Edition]

      [Bookseller: Riverow Bookshop]
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        Lettera con firma autografa Datata Torino, 24 dicembre 1620

      1620. 1 pagina in-folio, indirizzo ''Aux gens du Sénat delà les Montz'' e sigillo alle armi sotto carta al verso. Con firma autografa del Duca di Savoia e controfirma di Pernet. Carlo Emanuele I nella lettera si raccomanda con il Senato di mantenere il prelato Jacques Delcanal ''en juste et légitime possession de sa pension annuelle sur les revenus et fruictz du prieuré de Talloires ..''. In perfetto stato di conservazione.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Sketchbook - Albert Flamen, 1679.

      Charming working sketchbook by Albert Flamen (Bruges, c. 1620 ? Paris, after 1691). Album containing 22 leaves with the majority of the drawings in brown ink, some with grey and brown wash. The leaves bound into what appears to be the original card cover, with later printed paper stuck to the outside. Dated in brown inside the back cover Le premier septembre ao 1679. Size: 16 x 23 cm. With watermark resembling Churchill 305.Contents: 9 leaves with numerous studies of fencing/ walking/ seated/ riding/ shooting figures; 1 leave with drawings of faces; 1 leave with drawing of a house with numerous animals; 1 leave with drawing of seven men on horseback in a landscape; 1 leave with drawing of several houses with a man on horseback in foreground; 1 drawing of two windmills with two draughtsmen in the foreground, titled: Veu? des moulins sur le chemin de Vaugirard du Cost? du faubourg St. Germain; 1 leave with five (shooting) men on horseback in front of a city gate; 3 leaves with perspective studies. Six leaves are by a different hand (a pupil?), some other leaves have additions by yet an other hand.The studies of figues or riders are of a type that we see everywhere in the prints of Flamen and his guiding light Jacques Callot, whose work he must have known intimately. He is best known for his prints and drawings of animals, but did also works in other genres. Several albums of his drawings on a single theme are known and at least three other diverse sketchbooks such as this have also survived (amongst which a sketchbook in the Berlin Kupferstichkabinett ).Price: ?13.500,-.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Das Erste [und:] Das Ander Buch des heiligen Propheten und Mannes Gottes Mosis, Genesis genandt, oder das Buch der Schöpffung [und:] Exodus genant. 2 Teile in 1 Band.

      Kassel Wilhelm Wessel Format: Fol [8] 632; [4] 468 S Erstes Titelblatt in Schwarz und Rot Reich blindgeprägtes Schweinsleder der Zeit über 5 Bünden mit hs Rückenschild nur ganz leicht beschabt und bestoßen 1620 - *** Erste Ausgabe. Einer der seltenen frühen Kasseler Drucke. Der Theologe und Prediger Johann Struck (1553-1612), der auf Grund seiner philippistischen Lehrmeinung 1588 seine Stelle als Prediger in Marburg aufgeben und nach Kassel flüchten musste, verfasste mehrere exegetische Werke (vgl. ADB XXXVI, 484). Aus dem Pentateuch erschienen allerdings nur die ersten beiden Bücher, nämlich Genesis und Exodus, die hier in einem schönem Schweinslederband zusammen gebunden wurden. Nur leicht braunfleckig, einige unwesentliche Wurmlöchlein und vereinzelt Anstreichungen. Bemerkenswert schöner, honigfarbener Schweinsledereinband mit reicher ornamentaler Blindprägung, einer Profilbüstenrolle und einer schmalen Erlöserrolle. Die blindgeprägte Mittelplatte auf dem Vorderdeckel zeigt den Gottvater preisenden König David mit Harfe, die auf dem Rückdeckel mit einem Löwen unter einem Baldachin. VD17 23:632086M und 23:633472A. 2 Teile in 1 Band. Erste Ausgabe. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat ABATON oHG]
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        Historiae Augustae Scriptores VI

      

      [Bookseller: Maggs Bros. Ltd.]
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        Sketchbook - Albert Flamen, 1679.

      Charming working sketchbook by Albert Flamen (Bruges, c. 1620 ? Paris, after 1691). Album containing 22 leaves with the majority of the drawings in brown ink, some with grey and brown wash. The leaves bound into what appears to be the original card cover, with later printed paper stuck to the outside. Dated in brown inside the back cover Le premier septembre ao 1679. Size: 16 x 23 cm. With watermark resembling Churchill 305.Contents: 9 leaves with numerous studies of fencing/ walking/ seated/ riding/ shooting figures; 1 leave with drawings of faces; 1 leave with drawing of a house with numerous animals; 1 leave with drawing of seven men on horseback in a landscape; 1 leave with drawing of several houses with a man on horseback in foreground; 1 drawing of two windmills with two draughtsmen in the foreground, titled: Veuë des moulins sur le chemin de Vaugirard du Costé du faubourg St. Germain; 1 leave with five (shooting) men on horseback in front of a city gate; 3 leaves with perspective studies. Six leaves are by a different hand (a pupil?), some other leaves have additions by yet an other hand.The studies of figues or riders are of a type that we see everywhere in the prints of Flamen and his guiding light Jacques Callot, whose work he must have known intimately. He is best known for his prints and drawings of animals, but did also works in other genres. Several albums of his drawings on a single theme are known and at least three other diverse sketchbooks such as this have also survived (amongst which a sketchbook in the Berlin Kupferstichkabinett ).Price: ?13.500,-.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Essamine militare nel quale si contengono le risposte fatte dal Capitano Alessandro Cavalca da Parma. All illustriss. Sig. Conte Cesare Bentivoglio suo Maestro di Campo nella Marca intorno al rassegnare, & essercitare Compagnie di Cernide: Al perseguitare Banditi: al guardare piazze in tempo di sospetto, al formare squadroni, e parate, con altre cose appartenenti alla Militia: La seconda volta dato alla stampa , con l Aggiunta d alcune dispute Militari, e di fortificationi; e tutti gli altri capitoli ampliati & corretti

      appresso i Sessa, Venetia 1620 - Legatura recente in piena pergamena floscia. Ottimo esemplare. Cockle, 630: rare . Questa seconda edizione

      [Bookseller: Libreria Ex Libris ALAI-ILAB/LILA member]
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        Familiar Epistles

      1620. First Edition . CICERO (WEBBE, Joseph, translator). The Familiar Epistles of M.T. Cicero. Englished and Conferred with the French, Italian and Other Translations. London: Edward Griffin, [1620]. Thick 12mo, contemporary full brown calf rebacked, raised bands, original burgundy morocco spine label; pp. [22], 919, [1]. $7200.First edition of the very scarce first complete translation into English of all 16 books of Cicero's familiar epistles, with engraved title page. From the library of Ernest Augustus, King of Hanover and fifth son of King George III, with his distinctive red library stamp on the verso of the title page.""Cicero wins our affections by the integrity of his public conduct, the purity of his private life, the generosity, placability, and kindness of heart, the playfulness of his temper, and the warmth of his domestic attachments. In this respect his letters are invaluable. Here we see the man without disguise or affectation, especially in his letters to Atticus"" (Peck, 341). Abraham Fleming's translation Certain Select Epistles appeared in 1576; it was not until King James encouraged Joseph Webbe to undertake this translation that the entire 16 books of letters were translated into English. Without first two leaves, both blank except for signature marks between rows of type ornaments (OCLC). STC 5305. This copy from the library of the King of Hanover, Ernest Augustus (1771-1851), the fifth son of King George III (and uncle of Queen Victoria), with his library's characteristic red armorial inkstamp on the verso of the title page. The controversial Duke of Cumberland was reviled in England—perhaps in part due to the challenge he could potentially pose to Victoria—but revered in Hanover, where he was seen as a stern but just ruler, not long after he became King in 1837. ""At a time of economic growth in Hanover, the king's benevolent autocracy suited the majority of his subjects. He won a popular respect which was in striking contrast to the mistrust his reputation perpetuated in Britain. Relations with his niece, Queen Victoria, remained strained; he complained that she held crown jewels belonging rightly to Hanover; and he did not approve her choice of husband, for to him the Coburgs were ambitious upstarts. During a visit to London in 1843 he was again pilloried in the newspapers. Yet when revolution shook Germany in 1848 he found he could count on his subjects' loyalty; only one life was lost that year in demonstrations in Hanover. Ernest Augustus, the Black Sheep, as Queen Victoria's father once called him, outlived his eight brothers, finally succumbing 'to a chill' in Hanover on 18 November 1851… Voluntary contributions paid for an equestrian statue, erected outside Hanover's Hauptbahnhof. It was inscribed, 'To the father of his country from a faithful people'"" (ODNB). This volume bears Ernest Augustus' ""Fideicommiss"" stamp, which reads ""Ex Bibliotheca Fideicomm. Ernesti Aug."" and bears the Hanoverian coat of arms, and also has evidence of the shelfmark label on the front pastedown. In 1866 the Kingdom of Hanover was annexed by Prussia and the library was confiscated; in 1892 the library was returned to Ernst August II, Crown Prince of Hanover and Duke of Cumberland, and a new library was established in Gmunden, Austria, called the Königliche Ernst August-Fideicommissbibliothek.Interior generally clean. A very good copy in contemporary calf, with a royal provenance.

      [Bookseller: Bauman Rare Books]
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        Recueil de divers voyages faits en Afrique et en l'Amerique.Paris, Louis Billaine, 1674. With 17 engraved plates: 5 maps (4 folding), 3 folding plans and 9 other illustrations. With: (2) GRELOT, Guillaume-Joseph. Relation nouvelle d'un voyage de Constantinople.Paris, Nicolas Belley, 1689 (colophon 1680). With engraved portrait of a saint on title-page, 13 engraved plates, 4 engravings in text and engraved coat of arms. 2 works in 1 volume. 4to. 18th-century tan calf, gold-tooled spine.

      - Ad 1: Alden & Landis 674/159; Sabin 36944; Streit 648; ad 2: Weber II, 369; cf. Atabey 527 ; Blackmer 750. Ad 1: First edition (first issue) of a very interesting collection of voyages made to Africa and America, translated from the French, Latin and Portuguese originals and edited by Henri Justel (1620-1693). The work is richly illustrated with engravings, some showing Caribbean pottery, and engraved maps of New England, Jamaica , Barbados and Abyssinia. Ad 2: First edition (second issue) of an important work on Constantinople. In 1680 Guillaume-Joseph Grelot, an artist-traveller, having spent some time in Constantinople, first published a book of engravings after his drawings, along with extensive commentary and accounts of his adventures. His book immediately went through several editions. Even his English publisher bragged of Grelot's success with Louis: "The King of France was so pleased with these draughts, that he commanded the author to make them publick, and gave him his letters patents, strictly forbidding any to invade his propriety, by copying them after him". With some small tears in a few plates, but otherwise in good condition, with occasional minor browning along the folds of some plates; 1 view in ad 2 backed with blank paper. Well illustrated accounts of Africa, America and Constantinople.

      [Bookseller: ASHER Rare Books]
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        Sphaera Mundi seu Cosmographia demonstratiua, ac facili Methodo tradita: In Qua Totius Mundi Fabrica, una cum novis, tychonis, Kepleri , Galilaei aliorumque, Altronomorium adinuentis continentur. Accessere I. Breuis introductio ad Geographiam II. Apparatus ad Mathematicarum studium. III. Echometria, ide est Geometrica a traditio de Echo. Authore Iosepho Bononiensi

      Bononiae, Typis Sebastiani Bonomij, Sumptius Hieronymi Tamburini, 1620. 11 Bll., 445 S., eine ausklappbare Tafel, eine drehbare Scheibe, zahlreiche Kupfer im Text. 8

      [Bookseller: Antiquariat Heubeck]
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        Ioannis Iacobi Luckii Sylloge Numismatum Elegantiorum, Quae Divers Impp.: Reges, Principes Comites, Respublicae Diversas ob causas ab Anno 1500, ad Annum usque 1600 cudi fecerunt Concinnata & Historia narratione (sed brevi) illustrata. Opera ac Studio Joannis Jacobi Luckii Argentoratensis.

      (Strasbourg), Author, Argentinae, Typis Peppianis 1620 - . Folio. 2 leere Bl., 4 Bl., 383 (recte 389) S., 1 Bl., 3 leere Bl. Mit 1 gest. Titelblatt (gestochen von Aubry), 1 Wappenkupfer und mehrere hundert sehr präzise gestochenen Kupferillustrationen (Münzen, Medaillen) im Text. Leder der Zeit mit goldgepr. Rückenschildchen und reicher Rückenvergoldung. Brunet III/1217. Rücken mit Fehlstellen. Berieben. Seiten leicht gebräunt. Alter Vorbesitzervermerk auf 1. Blatt. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Fatzer ILAB]
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        Le Rabelais Réformé par les Ministres et nommement par P. du Moulin ... pour response aux boufonneries inserées en son livre de la vocation des Pasteurs

      New edition, after the first published in 1619. Rare. Full brown speckled calf contemporary. Back tooled raised. Lack in head cover. A pale yellow wetness footer on the entire volume. 3 wormholes tail. Copy to the pleasing appearance. The Jesuit Pierre Garasse (1585-1630) is well known for his eccentricities and his diatribes of great violence, up to rudeness and obscenity; it takes in this book his Protestant counterpart (also well known for the same qualities) and his works, notably on the vocation of pastors. Accusing him of being fed Rabelais, Garasse takes in this book look like a Protestant denouncing the misdeeds of a brother. The style is very happy satirical, allegorical poems combining burlesque and the more direct attacks. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Par Christophle Girard A Bruselle 1620 Pet. in-8 (10,5x17,5cm) 240pp. relié

      [Bookseller: Librairie Le Feu Follet]
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        Unparteyischer Anweiser, was vor denckwürdigste Sachen von Anno 1650 biss 1659 im Römischen Reiche von Anno 1655 biss 1659 zwischen den Schweden, Pohlen, Mosscowittern und derer alliirten. Und von Anno 1657 biss 1659 zwischen den Nordischen Königen vorgefallen seyn. Zu guter Erinnerung geställt von G. G.

      kl.-8. 52 Bll. u. 1 gefalt. Kupferkarte. Kart. 1 gefalt. Taf. fehlt. Durchgeh. schmaler Wasserrand. 1 Ansicht von Cronenburg fehlt (liegt in Kopie bei). EA. Goedeke III, 29, 28 VD17 14:084320E - Georg Greflinger (Pseud. Celadon), 1620 in Neunburg vorm Wald - 1677 in Hamburg, gilt als erster deutschsprachiger Zeitungsredakteur im heutigen Sinne, der für den Nordischen Mercurius, ein seinerzeit modernes Publikationskonzept entwickelte. Er besuchte das evangelische Gymnasium in Regensburg, liße sich 1646 in der Hansestadt als Schriftsteller nieder. Schon 1654 wurde er von seinem Freund Johann Rist zum poeta laureatus gekrönt und in den Elbschwanenorden aufgenommen. Als Dichternamen gebraucht er Seladon und Celadon. In Hamburg war Greflinger sowohl als Übersetzer wie auch als Gelegenheitsdichter ungemein produktiv. Literarhistorischen Ruf erlangte seine Übersetzung des Cid von Pierre Corneille (die erste in Deutschland). In den Jahren 1663/65 begann Greflinger mit der Herausgabe der Zeitung Norddeutscher Mercurius, die von seinen Söhnen bis 1730 fortgeführt wurde. Hier ordnete er die Nachrichten schon nach thematischen Rubriken, behandelte relevante Themen ausführlicher und baute sogar lokale Nachrichten mit ein. Er verwendete verschiedene feuilletonistische Elemente. Als erster Zeitungsroman erschien Die Entdeckung der Insel Pines, welcher zwar utopisch war, jedoch zu der Zeit von den Lesern als wahrer Bericht verstanden wurde. Greflinger zählt zu den frühesten deutschen Journalisten. Das heute übliche Ressort-System geht im Wesentlichen auf ihn zurück. (Siehe auch: ADB IX, 625)

      [Bookseller: Antiquariat Burgverlag]
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        Logarithmorum canonis descriptio seu arithmeticarum supputationum mirabilis abbreviatio; II. Sequitur tabula canonis logarithmorum; III. Mirifici logarithmorum canonis constructio et eorum ad Naturales ipsorum numeros habirudines...

      Lyon: Bartholomaeum Vicentium, 1620. 2nd Edition. Hardcover. 8vo - over 7¾ - 9¾" tall. I. Logarithmorum canonis descriptio seu arithmeticarum supputationum mirabilis abbreviatio; II. Sequitur tabula canonis logarithmorum; III. Mirifici logarithmorum canonis constructio et eorum ad Naturales ipsorum numeros habirudines; Una cum Appendice.... Quibus accessere Propositiones ad triangula sphaerica.... Una cum Annotationibus aliquot doctissimi D. Henrici Brigii in eas, & memoratam appendicem. Three parts in one volume. Lyon: Bartholomaeum Vicentium, 1620. 8vo (191x128 mm), [8], 56; [92]; [2] 3-62, [2] pp., separate title page for each part, first title printed in red and black, last page of pt. 2 with privilege. Later quarter vellum; contents browned with occasional marginal dampstaining and minor worming at top gutter toward the end. ----Honeyman Sale 2292 (this edition); Dibner 106; Horblit 77a-b; PMM 116; Norman 1573; J. Shurkin, Engines of the Mind: A History of the Computer (New York, 1984), pp. 28-31; STC 18349 (original editions) - This copy is the First continental (Lyon) edition of Napier's 1614 description and canon of logarithms and posthumous 1619 treatise on their construction; second issue, with first title dated 1620 instead of 1619. III: "His 'Description of the Wonderful Table of Logarithms' is unique in the history of science in that a great discovery was the result of the unaided original speculation of one individual without precursors and almost without contemporaries in his field. Napier began work on his tables in 1594, but it was twenty years before he was ready to publish them, in this thin quarto volume of ninety pages" (PMM). Napier's logarithms reduced multiplication and division to a simple process of addition and subtraction, and the extraction of roots to division. "The idea of using logarithms in mathematics was accepted almost instantly, and the slide rule, one of the most important offspring of logarithms, lasted for more than 300 years, until solid-state electronics finally replaced it" (Shurkin, p.30). Napier's invention was immediately adopted by mathematicians both in England and on the continent, including Briggs and Ursinus, who introduced logarithms to Kepler. The book's impact on the art of navigation cannot be underestimated: "Probably no work has ever influenced science as a whole, and mathematics in particular, so profoundly as this modest little book. It opened the way for the abolition, once and for all, of the infinitely laborious, nay, nightmarish, processes of long division and multiplication, of finding the power and the root of numbers..." (D.W. Waters, The Art of Navigation in England in Elizabethan and Early Stuart Times, New Haven, 1958, p.402). Henry Briggs saw the immense power of Napier's tool and "with his strong navigational bent" put the work into English so that it could be "of very great use for Mariners... a booke of more than ordinary worth, especially for Sea-Men" (Waters, p.404). Fine.

      [Bookseller: Milestones of Science Books]
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        Le Rabelais Réformé par les Ministres et nommement par P. du Moulin ... pour response aux boufonneries inserées en son livre de la vocation des Pasteurs

      Par Christophle Girard. New edition, after the first published in 1619. Rare. Full brown speckled calf contemporary. Back tooled raised. Lack in head cover. A pale yellow wetness footer on the entire volume. 3 wormholes tail. Copy to the pleasing appearance. The Jesuit Pierre Garasse (1585-1630) is well known for his eccentricities and his diatribes of great violence, up to rudeness and obscenity; it takes in this book his Protestant counterpart (also well known for the same qualities) and his works, notably on the vocation of pastors. Accusing him of being fed Rabelais, Garasse takes in this book look like a Protestant denouncing the misdeeds of a brother. The style is very happy satirical, allegorical poems combining burlesque and the more direct attacks. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Par Christophle Girard A Bruselle 1620 Pet. in-8 (10,5x17,5cm) 240pp. relié

      [Bookseller: Librairie Le Feu Follet]
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        Lettera Al M.R.P. Tarquinio Galluzzi Della Compagnia Di Giesu. Di Mario Guiducci. Nella quale si giustifica del l'imputazion dategli da Lottario Sarsi Sigenfano nella Libra Astronomica, e Filosofica ...

      Florence: Zanobi Pignoni, 1620. First edition, extremely rare, of this letter by Galileo's disciple Guiducci to his former professor of rhetoric at the Collegio Romano, Tarquinio Galluzzi, defending Galileo against Orazio Grassi's attacks in his Libra astronomica (1619). This is the rarest of the series of polemical publications which documented the "controversy of the comets," one of the most infamous polemics in the history of science. "The dispute over comets had consequences of great significance both to Galileo and to science in general, as the favorable reception of [Il saggiatore] led him to proceed with the publication of the much more famous Dialogue, for which he was later imprisoned by the Inquisition. That fateful event was in turn intimately connected with the rift between Galileo and the Jesuits, which was widened and made permanent, if indeed it did not originate, in the public dispute about comets. Thus the controversy is closely linked with some of the most dramatic events associated with the dawn of our modern era" (Drake, The Controversy on the Comets of 1618, p. vii). OCLC lists copies in US at Brigham Young, Harvard and Yale. ABPC/RBH list only the Frank Streeter copy (Christie's New York, 16 April 2007). In the latter part of 1618, three comets appeared in the sky over Italy, eliciting lively debate among astronomers as to their nature since, according to Aristotelian orthodoxy, objects beyond the moon could not change shape or state. Unable to observe the comets due to ill health, Galileo nevertheless discussed the phenomena with numerous visitors but made no move to express his opinions about the comets to the wider public. This changed when, in the following year, Orazio Grassi (1583-1684) gave a lecture at the Collegio Romano, published anonymously under the title De tribus cometiis anni 1618, and giving an interpretation of the events using Tycho Brahe's geocentric theories, which were acceptable to the Jesuits. Galileo construed this as an attack on his Copernicanism and published Discorso delle comete, a refutation of Grassi (although Grassi is not mentioned directly), under the name of his disciple Mario Guiducci (1585-1646). This in turn provoked a reply by Grassi, under the pseudonym Lotario Sarsi, who pretended to be a pupil of Grassi, entitled Libra astronomica ac philosophica, towards the end of 1619.   "Although [Federico] Cesi [the founder of the Accademia dei Lincei] and other Linceans urged Galileo to reply to the Libra, he was reluctant to do so. Guiducci and Cesi joined him in dismissing the idea of a satirical answer. Lagalla, whose former intransigent Aristotelianism had considerably abated during his years of contact with Cesi, approved Galileo's preference not to reply at all. Stelluti suggested that Galileo write a reply in the form of a long letter to be addressed to some friend and include his philosophical opinions, in the manner of Galileo's rebuttal of Colombe on floating bodies -- known to be his, though published over the name of Castelli" (Drake, Galileo at Work, pp. 278-9). With no prospect of a response from Galileo himself, in 1620 Guiducci decided to issue his own rebuttal to the Libra in the form of a letter to Galluzzi. "Guiducci did not try to answer Grassi's physical arguments. Instead he wrote a letter of complaint to a prominent professor of rhetoric at the Roman College, Tarquinio Galluzzi (1574-1649), who may well have been his teacher when he was trained there "with incredible and paternal love." The letter's main interest lies in Guiducci's claim to authorship of the Discorso [delle Comete] and in inflammatory ad hominem arguments against Grassi (immodest, biting, cutting, at best a copier of Galilean style) and Scheiner (plodding, inartistic, thieving, at best a copier of Galilean discoveries). Guiducci compared himself to a Clavius, who made a creative composition largely from the work of others, and to an Andrea del Sarto, who did not disdain to copy a picture by Raphael. By following Galileo, Guiducci exceeded Grassi by the same margin that Michelangelo outperformed Apelles. For the rest, Guiducci downgraded Galileo's comet theory to a possibility introduced merely for discussion, disposed of Grassi's experiments as "very fallacious and not free from suspicion of fraud," and neatly bettered Grassi in exegesis. In a verse in Daniel omitted by Grassi (and also not present in the King James version), an angel put out the fire when Shadrach and his friends entered the furnace. Guiducci genuflected ironically in the direction of Trent. "I do not mean to place my interpretation upon this, and I defer the matter completely and entirely to the declarations and expositions of holy doctors and professors of divinity; let them judge ... [whether] King Nebuchadnezzar saw the holy ones amid the flame... and let them say also whether or not it is praiseworthy to cite Holy Scripture in this manner." Checkmate. "Since Guiducci's letter did not answer Sarsi's main optical and physical arguments, and since the Jesuits advertised Grassi's Balance as a defeat for Galileo, his friends, notably the lynxes Cesi, Cesarini, Ciampoli, and Stelluti, urged him to respond" (Heilbron, Galileo, pp. 243-4). Galileo began to write Il Saggiatore, although this would not appear for another four years. The present work was for many years considered to be, like the Discorso delle comete, at least partly written by Galileo and the text was incorporated in all the editions of Galileo's works. Although this question is not yet settled definitively, Drake considers it to be "very unlikely, partly because of the notable differences in vocabulary and style, and partly because Galileo intended from the beginning to reply himself to Grassi even though he was slow in preparing his answer" (The Controversy on the Comets of 1618, p. 360, n. 24). Riccardi 1.646; not in Cinti (Galileo); Drake, The Controversy on the Comets of 1618, pp. 133-150. 4to (205 x 145 mm) , pp. [19], 20th century half calf, some very light spotting and faint water stain to lower right corner, otherwise fine and crisp.

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        THE HOLY BIBLE, CONTAINING THE OLD TESTAMENT AND THE NEW. Newly Translated out of the Originall Tongues: And with the former Translations diligently compared and revised, By his Maiesties speciall commandement.

      London, Bonham Norton, and John Bill, Printers to the Kings most Excellent Maiestie, 1620. KING JAMES BIBLE with Apocrypha and Concordance, 1620. Small 4to, approximately 215 x 155 mm, 8½ x 6¼ inches, engraved pictorial general title page and New Testament title page both with broad woodcut border representing the tents and shields of the 12 tribes, the 12 apostles, and the 4 evangelists with title in a heart shape at the centre, O.T. dated 1620, N.T. dated 1621, a few decorated head- and tailpieces and initials, printed in black letter, no pagination. Signatures: A8, A-Ggg8, I-Sss8, colophon below text on Sss8r, verso blank, signature Hhh omitted from foliation, catchwords correct, no text missing; Concordance: title page dated 1619, A-I8, K10, colophon on K10v dated 1620. Bound in full Victorian Divinty style calf, decorated with black rules and corner motifs, blind public library coat of arms to centre, bevelled edges, expertly rebacked to style with blind decoration, gilt title and gilt library number at tail, all edges red, endpapers renewed. Board edges scraped, withdrawn stamp to front pastedown, faint old library stamp to upper corner of O.T. title page, just affecting corner of image, a small blind stamp to top row of title page image, visible only on blank reverse, early ink signature on reverse of title page, repeated on 2 other blanks, top margins trimmed throughout, very occasional small pale brown stain, a little faint early scribble in 5 margins, 1 very small blank lower corner torn off (S7), very small closed tear to text at lower corner of Nnn1, no loss, 1 tiny ink spot, no loss of legibility. A very good clean sturdy copy. Darlow and Moule Volume I, No. 292; Herbert No. 379. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        PARTE ALPESTRE DELLO STATO DI MILANO. CON IL LAGO MAGGIORE, DI LUGANO E DI COMO.

      1620. La tavola opera del celebre matematico, astronomo e geografo padovano Giovanni Antonio Magini è inserita nell'atlante "L'Italia" pubblicato postumo dal figlio Fabio a Bologna nel 1620. La figura del Magini rappresenta un punto imprescindibile della produzione cartografica italiana, infatti grazie al suo lavoro ridisegnò la penisola attuando una precisa sintesi degli elementi raccolti dai suoi predecessori ed in parte da lui stesso, ottenendo un risultato nettamente superiore ai precedenti, sia per quanto riguarda il suo contorno e le coordinate delle varie località, sia per quanto concerne la ricchezza delle indicazioni. In particolare, il lavoro paziente ed accurato svolto dal Magini nel procurarsi i dati sui confini degli stati italiani non era mai stato compiuto dai suoi predecessori. L'importanza dell'opera del Magini è testimoniata dal fatto che sarà presa ad esempio per tutto il corso del XVII secolo da editori del nord Europa che si limitarono a copiare o modificare le sue carte.Bibliografia: Motta, p. 3; Arrigoni-Bertarelli, n. 1023; Colombo-Rondanini-GRSD, p. 16 e p. 19; Cremonini 1991, p. 19, n.15. Aliprandi, vol. II, p. 216.

      [Bookseller: Libreria Trippini Sergio]
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        Logorithmorum Canonis Descriptio, Seu Arithmeticarum Supputationum Mirabilis abbreviatio. [- Sequitur Tabula Canonis Logarithmorum; Mirifici Logarithmorum Canonis construction; Annotationibus aliquot ... Henrici Briggii].

      Lyons: Bartholomaeus Vincentius, 1620. Second (first obtainable) edition of his 'Contructio' (Horblit 77b, 1619), with the first Continental edition of the 'Descriptio' (Horblit 77a, 1614) - "The work which in the history of British science can be placed as second only to Newton's Principia" (Evans 4). "His 'Description of the Wonderful Table of Logarithms' is unique in the history of science in that a great discovery was the result of the unaided original speculation of one individual without precursors and almost without contemporaries in his field." (PMM 116). "Logarithms provided a most important advance in the art of calculation because they reduced multiplication and division to a process of addition and subtraction, and extraction of roots to division." (Dibner 106). "Napier's invention of logarithms was immediately adopted by mathematicians both in England and on the continent, including Briggs and Ursinus, who introduced logarithms to Kepler." (Norman). Kepler "expressed his enthusiasm in a letter to Napier dated 28 July 1619, printed in the dedication of his 'Ephemerides', 1620." (DSB). The 'Descriptio' "contains fifty-seven pages of text explaining the uses of logarithms in both plane and spherical trigonometry and ninety pages of tables. The method of producing the table was not described, but Napier indicated that should this work be suitably received, he would publish another (the Constructio) on how they were calculated. ... He died before he could complete the task, but his son Robert Napier completed and published it in 1619. Napier's 1614 publication is always referred to as the 'Descriptio', and the 1619 volume as the 'Constructio'." (Tomash). "Napier also did work in spherical trigonometry and in his 'Rabdologiae seu Numerationes per Virgulas libri II', Edinburgh, 1617, announced another important invention, 'Napier's Bones'. These were rods which could be used to find the product of two numbers in a mechanical way, the quotient of one number divided by another, and square and cube roots. They were the precursors of seventeenth-century and modern calculating machines." (PMM). "Mechanized addition and substraction were introduced in 1642 by Pascal, then 19 years old." (Dibner 107). This edition (the second of the 'Constructio' and first Continental edition of the 'Descriptio') was published together with a small appendix containing annotations by Henry Briggs on base-ten logarithms (see Norman 339).Presumably most readers were concerned mainly by the applications of logarithms, their construction being of interest only to mathematicians and compilers of tables. While the Descriptio was reprinted many times, and translated into English as early as 1616, the Constructio had to wait until 1889 before an English translation was produced. The offered work is the first reprinting of the two works and is today the earliest accessible edition of the Constructio (the Macclesfield copy of the 1619 edition appears to be the only copy to have appeared at auction in the past 30 years). The last copy of the first edition of the Descriptio sold for $72,000 (Christie's 2007.) In a very few copies of the Lyons edition the title page of the Descriptio carries the date 1619. MacDonald remarks: "On the issue of the Edinburgh edition of 1619, Barthold Vincent would appear to have set out at once about the preparation of an edition for issue at Lyon with the date 1619 on the title. ......A possible explanation of this may be that the title-page was originally set up with the date MDCIX, but when it was found that the whole work could not be issued in that year, the date was altered to MDCXX, and a few copies may have been printed before the alteration. The only copy we have found is in the Bibliotheque Nationale." This edition: Honeyman 2292; Erwin Tomash Library N5; Kenney 3071; Macdonald pp.141-43. Three parts in one vol. (as issued), 4to (190 x 128 mm), pp. [viii], 56; [92: tables]; 62, title printed in red and black, mildly browned, some gatherings with a small worm whole trace in the upper right corner (not effecting text), in all a good copy in a fine contemporary vellum binding.

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        Tutte le opere divise già in V Parti, mà adesso per maggior commodit ?del Lettore, in IV. volumi ristrette et di nuovo con somma accuratezza ristampate

      One of five editions called "At the testina" (because of Machiavelli's portrait repeated in securities), printed in Geneva in the early seventeenth, around 1620. This is neither the first nor the second issue of which characteristics are known, but the last three, which differs snack.Binders modern brown cardboard speckled the bradel. back smooth. parts of title in red morocco. In a perfect state. Copy of freshness. S.n. S.l. [Geneve] 1620 16x22,5cm (4) 441pp. et (4) 140pp. et 364pp. [i.e. 362] et 185pp. (14-1 bl.) (2f. Pl.) et (4) 189pp. 5 volumes reliés

      [Bookseller: Librairie Le Feu Follet]
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        Instauratio magna [Novum organum]....

      London: John Bill, 1620. 1st Edition. Hardcover. Folio - over 12 - 15" tall. Folio (283 x 175 mm). [12] 1-172, 181-360, 1-36 [2] pp., including engraved title by Simon van der Pass, woodcut headpieces and historiated initials. Signatures: ?2 ¶4 (A-C)6 (D-2S)4 2T6, (a-d)4 e4(-e3). With the initial blank, colophon and errata on e4r, e3 cancelled as usual. "Parasceue, ad historiam naturalem, et experimentalem" with divisional title, separate pagination and register. Early 19th-century speckled calf (front board detached) with gilt spine and black letting piece gilt, marbled endpapers. Internally crisp and unmarked, which only very minor spotting in places. Provenance: Lady Jane Davy* (armorial bookplate to front pastedown); Edward Hilton Young, Lord Kennet of the Dene (armorial bookplate to front pastedown); B. Quaritch (collation note), Sotheby's sale June 4th 1935, lot 430. A fine copy with important provenance. ----Dibner 80; Horblit 8b; PMM 119; Norman 98; Sparrow 17; Gibson 103b; DSB I, pp.373-5; Pforzheimer, App. 1. FIRST EDITION, second issue of Bacon's manifesto for a new philosophy of scientific method, relying on laws deduced from observation and investigation. Bacon originally conceived his revolutionary work in six parts, of which only the first and second parts, the De augmentiis scientiarum (1623, a greatly expanded version of the Advancement of learning) and the Novum organum were completed. More than a mere portion of the Instauratio, however the Novum organum, as its title implies, "contains the central ideas of Bacon's system, of which the whole of the Instauratio is only the development" (Pforzheimer, p. XXI). Bacon's aim was to lay an entirely new foundation for science, "neither leaping to unproved general principles in the manner of the ancient philosophers nor heaping up unrelated facts in the manner of the 'empirics'" (DSB I, p.374). He conceived a new method of acquiring knowledge of the world through observation, experiment and inductive reasoning, which he envisioned as a tool for the "total reconstruction of sciences, arts and all human knowledge... to extend the power and dominion of the human race... over the universe.. Bacon made no contributions to science itself, but his insistence on making science experimental and factual, rather than speculative and philosophical, had powerful consequences.... As a philosopher Bacon's influence on Locke and through him on subsequent English schools of psychology and ethics was profound. Leibniz, Huygens and particularly Robert Boyle were deeply indebted to him, as were the Encyclopedistes and Voltaire..." (PMM). His vision inspired the creation of the Royal Society and the other early scientific academies. The celebrated engraved title shows a ship sailing through the pillars of Hercules with the motto 'Multi pertransibunt et augebitur scientia' (Many will pass through and knowledge will be multiplied). The second issue as here has the e3 cancelled, and previously blank e4 printed with errata and colophon omitting the name of Bonham Norton. Only a very few copies of the first issue are known. *Lady Jane Davy (1780-1855) was the wife of Sir Humphry Davy. Already once a widow at the age of 32, she married him in 1812 just two days after he was knighted following the proclamation of the Regency. Sir Davy, "now married to a wealthy woman, was able to resign all his positions at the Royal Institution, Royal Society and Board of Agriculture. In some ways their relationship sounds like an inverted plot of a Jane Austen novel and this may explain why Jane Davy did not like Pride and Prejudice published at the start of 1813. [Sir] Davy told a friend that after his marriage, 'I shall be able to devote my whole time to the pursuit of discovery'. This proved to be very far from the case, although he did invent the miners' safety lamp at the Royal Institution in 1815. The Davys toured the Continent between 1813 and 1815 and her domineering behaviour was memorably captured in Michael Faraday's letters. On their return the Davys purchased 26 Park Street, Grosvenor Square, which became their London house for the remainder of both their lives." (F. James, Royal Institution Blog, 2014). She and Davy established an important literary and scientific salon in London. Although there is no ownership signature by Humphry Davy in our copy, numerous copies of books are known that have been presented to him by their authors and which bear Lady Jane's bookplate. The bookplate depicts a simplified variant of the baronet coat of arms created by the Prince Regent and awarded to Humphry Davy in 1818. A central element of this coat of arms is a fire contained by chains. Francis Bacon, or "Lord Bacon" as he was referred to by his eighteenth-century admirers was cited approvingly by many of the leading lights of the Enlightenment, including Diderot, Lavoisier, and Davy. Modern scholars seem agreed: Bacon was the most influential mind to regard knowledge as subject to constant growth and a practical enlightenment scientist such as Humphry Davy had no doubt that Bacon was the "first philosopher who laid down plans for extending knowledge of universal application; who ventured to assert, that all the science could be nothing more than expressions or arrangements of facts. (A. Q. Curzio & M. Fortis, Research and Technological Innovation, 2005, p.23). Very Good....

      [Bookseller: Milestones of Science Books]
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        Ambassades et negociations de l'illustrissime et révérendissime Cardinal Du Perron

      Chez Pierre Chaudiere. First edition, very rare. It is found more often, even in LIBRARY second and third editions of 1623 and 1629, and especially that of 1633. For example, the National Library of France has 13 copies of embassies, 5 1623, 2 1629, and 6 of 1633, but none of this edition 1620.Bound in full brown sheepskin contemporary. Back to ornate nerves. part of title in red morocco. Double framing net on the boards. Mors cracked head, and tail to the upper joint. With a slash missing on the lower flat. A brown spot on that same dish. Friction. A few yellowed or browned leaves and a lack of paper at a corner of a sheet on the sidelines. Good copy. Chez Pierre Chaudiere A Paris 1620 in-folio (23x35cm) (2) 724pp. (12) relié

      [Bookseller: Librairie Le Feu Follet]
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        Introduction géométrique par Monsieur Mathion.

      fin XVIIe. ____ MANUSCRIT INEDIT de ce traité de géométrie de Odot-Louis Mathion (Dijon, 1620-Savigny en Touraine, 1700). Ce bénédictin et mathématicien bourguignon n'a pas publié de livre, mais on connait de lui trois articles dans le « Journal des savants » : sur une nouvelle montre « minutale » (1676), un compas graduateur (1691) et une « Geographiae astronomica synopsis » (1696) en hexamètres. On conserve aussi une lettre adressée à Huygens de 1669 (Correspondance, lettre N° 1780), dans laquelle il donne, à la demande de Mariotte, ses observations sur l'arc-en-ciel. Cette même lettre contient la première mention de l'étoile variable Mira Ceti, appelée alors l'étoile du cou de la Baleine. Ce manuscrit est d'une belle écriture très lisible. Il est illustré de très nombreux croquis à la plume. Il s'agit soit d'un cours de géométrie, que Mathion dispensait alors, mais on ignore où, soit du projet d'un livre qu'il n'a jamais publié. Au verso du titre un ex-libris héraldique a été arraché et une signature a été malheureusement grattée. Autre signature sur le dernier feuillet, d'une écriture différente : « Monsieur Dufort Mousquetaire du Roy ». Papillon, Bibliothèque des auteurs de Bourgogne II, 38.*****. In-12. [160 x 96 mm] Collation : (2), 198 pp. Vélin. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        Horae Subseciuae: Observations And Discourses.

      London: [Eliots Court Press] for Edward Blount, 1620. 1st Edition. Hardcover. 8vo - over 7¾ - 9¾" tall. 8vo (163 x 108 mm). [8] 1-222, [4] 223-324, [2] 325-417 [1], [2] 419-503 [1], [2] 505-542 pp. Signatures: A4 (B-X)8 Y4 Z8 (Aa-Kk)8 (Ll-Mm)4 (Nn-Oo)8, P8 a blank, errata on A8v. Includes separate title-pages for the following sections: A discourse upon the beginning of Tacitus , A discourse of Rome, A discourse against flatterie, A discourse of lawes. Contemporary English calf, rebacked to style (extremities rubbed, corners scuffed). Internally little browned and spotted in places, occasional annotations in contemporary hand (mostly cancelled in ink), title-page soiled and backed with paper to restore chipped blank margins. Five text leaves with small tear at lower or upper margin, costing a few letters (this does not affect the text of the discourses by Hobbes). Beside the mentioned defects, still a very good copy. ----STC 3957 (2nd ed.). FIRST EDITION of one of the scarcest and most portentous works of Jacobean literature, the Horae Subseciuae is famous not only for the significan appeal of the essays ascribed to WILLIAM CAVENDISH, but also - even more important - for the three discourses now known to have been authored by the great philosopher THOMAS HOBBES and to constitute his earliest published work: "A Discourse upon the Beginning of Tacitus," "A Discourse of Rome," and "A Discourse of Lawes." The attribution of these three essays in the Horae Subseciuae to HOBBES has become generally accepted. He was thought for 300 years a candidate for authorship. However, the discovery by Strauss in the 1950s of a manuscript at Chatsworth of the 'Horae Subsecivae' in Hobbes' hand, and still more the Wordprint analysis of Reynolds and Saxenhouse (Thomas Hobbes: Three Discourses: A Critical Modern Edition of Newly Identified Work of the Young Hobbes, Chicago: University of Chicago Press, 1995), seem to have been generally convincing. Certainly, having read their analysis, and not forgetting the weaknesses and presuppositions inherent in Wordprint analysis (and other such statistical analyses of authorship), their work is far more convincing than dissenting voices such as Fortier ("Hobbes and 'A Discourse of Lawes': The Perils of Wordprint Analysis," Review of Politics, 59:4 (Fall, 1997), pp. 861-87). For example, Aravamudan in "Hobbes and America" (Carey and Festa, eds., Postcolonial Enlightenment, Oxford: Oxford University Press, 2009) and Rahe's chapter "Thomas Hobbes's Republican Youth" in his Against Throne and Altar: Machiavelli and Political Theory under the English Republic (Cambridge: Cambridge University Press, 2008), both explicitly affirm Hobbes' authorship of the three discourses in light of the work of Reynolds and Saxenhouse and the responses their work generated. Rahe also argues strongly for the similarity of philosophical argument between "A Discourse of Lawes" and Hobbes' later "De Cive" and "Leviathan." Thomas Hobbes of Malmesbury (1588-1679) is a towering figure not only of English political theory, but of English literature generally. Aside from 'Leviathan,' he translated both Thucydides and Homer into English, took an active (if curmudgeonly) part in the court of Charles II, and wrote half-a-dozen other minor masterworks of political theory. In his own time and since, Hobbes has remained a figure of extraordinary controversy, having been accused of atheism in the 17th century, amorality in the 18th and 19th, and authoritarianism in the 20th. At the same time, though, his works have given rise to a greater body of literature than any other English political philosopher, from works by Locke and Clarendon in the 17th century, to the works of Oakeshott in the 20th. William Cavendish, 2nd Earl of Devonshire (c. 1590 - 20 June 1628) was an English courtier and politician who sat in the House of Commons from 1614 until 1626 when he succeeded to the peerage and sat in the House of Lords. Cavendish was the second son of William Cavendish, 1st Earl of Devonshire, by his first wife Anne Keighley. Very Good.

      [Bookseller: Milestones of Science Books]
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        Exercitationes philosophicæ quibus universa fere discutitur philosophia theoretica, et plurima ac præcipua Peripateticorum dogmata evertuntur ... cum gemino indice.

      [Leyden]: in bibliopolio Commeliniano sumptibus viduae Joannis Comelini, 1620. First edition, extremely rare, of one of the earliest modern works on atomism. "Gorlaeus is counted among the founders of modern atomism, which he proposed as an alternative to Aristotelian matter theory. Because of his notion of atomic compounds, he is also regarded as a contributor to the evolution of chemistry" (DSB). "When David Gorlaeus (1591-1612) passed away at 21 years of age, he left behind two highly innovative manuscripts. Once they were published [as the present work, and as Idea physicae (1610), his work had a remarkable impact on the evolution of seventeenth-century thought. However, as his identity was unknown, divergent interpretations of their meaning quickly sprang up. Seventeenth-century readers understood him as an anti-Aristotelian thinker and as a precursor of Descartes. Twentieth-century historians depicted him as an atomist, natural scientist and even as a chemist. And yet, when Gorlaeus died, he was a beginning student in theology. His thought must in fact be placed at the intersection between philosophy, the nascent natural sciences, and theology" (Lüthy). This is a very rare book. In his review of Lüthy's book in 2012, Henri Krop wrote: "until now Gorlaeus's life and ideas have remained basically unknown because both his elaborate Exercitationes philosophicae and his Idea physicae are extremely rare and copies were unavailable in Dutch public libraries. (However since 1986 the libraries of both Leiden and Leeuwarden have acquired copies of the former.)" We have been unable to locate any copies in auction records. "Gorlaeus's atomism, which took center stage in his Idea physicae, is however more fully embedded in the Exercitationes philosophicae. There, philosophy is defined as "the naked knowledge of entities" and thus identified with ontology. Each discipline, wrote Gorlaeus, tackles one type of entity, whereby physics deals with natural entities. His ontology distinguishes between self-subsisting entities (entia per se), which are defined as numerically unique, fully existing, unchanging, and indivisible, and the accidental compositions (entia per accidens) that are brought about when several entia per se gather. This view of reality is essentially atomistic, although primarily in a metaphysical sense. By denying universals and allowing only for individuals, it is also heavily indebted to medieval nominalism. The only self-subsisting entities are God, angels, souls, and physical atoms, whereas all other entities, including humans, are transitory composites. Gorlaeus's definition of man as an "accidental being," which he took from Taurellus, was to be used in a 1641 university disputation by René Descartes's friend Henricus Regius and triggered the first conflict between Descartes and the Aristotelian university establishment. Since that episode Gorlaeus has, somewhat misleadingly, been seen as a forerunner of Cartesianism. "Although his atomism is primarily metaphysical, Gorlaeus spent much time and effort to apply it to the realms of physics and chemistry. Rejecting Aristotle's concept of place, he maintained that atoms move in an absolute space, which does not necessarily have to be filled. Possessing quantity, atoms are furthermore extended, and they come in two types, namely dry (as earth atoms) and wet (as water atoms). All natural bodies can be resolved into these two types of atoms. Fire is explained in terms of the friction of closely packed atoms, while air is defined as a real, but non-elementary substance, which fills all voids and which is capable of transmitting celestial heat, but not of combining into compounds. When bodies rarefy, this is due to the entrance of air between the atoms; air itself cannot be rarefied or condensed. The emergent physical and chemical properties of higher-level compounds are due to the mixing of the elementary qualities of wet and dry with the so-called "real accidents" of warm and cold, which are communicated to the elementary atoms from the ambient air. Within this framework, Gorlaeus explained the most common physical and chemical properties of substances as a "temperament" created by the interacting atoms under the influence of ambient heat or cold. Although he demonstrated a certain ingenuity in this enterprise, he was yet forced to introduce additional elements such as heaviness, which is a divinely "impressed downward force." Divine providence is also responsible for the aggregation of atoms into the more complex bodies" (DSB). Gorlaeus' contributions are the more remarkable given his short life (1591-1612). When he died, at age 21, he was a student of theology. "From the correspondence of his father, David Gorlaeus Sr., it appears that alchemical interests were being cultivated in his family. Still, the interests of the younger Gorlaeus in natural philosophy had above all philosophical and theological sources. As for philosophy, as an undergraduate student at Franeker between 1606 and 1610, Gorlaeus followed the comparatively innovative natural science course of Henricus de Veno, who incorporated recent developments in the fields of astronomy, meteorology, and natural philosophy into his otherwise Aristotelian framework. By 1610, Gorlaeus had furthermore come under the influence of Julius Caesar Scaliger's Exercitationes exotericae (1557), which explained a range of natural phenomena in terms of corpuscles and interstitial voids. Scaliger figures as the only recent author in Gorlaeus's two books and is quoted with great frequency. "Whereas Scaliger depicted himself as an Aristotelian and anti-atomist, Gorlaeus's strongly anti-Aristotelian physics relied fully on the interaction of atoms. In order to understand why a theology student should have ended up developing such a system, one must consider his circumstances in 1611. A crisis pitting two currents of Calvinism against each other was just then reaching its acme at Leiden University's theological faculty, where Gorlaeus had recently enrolled. The point of departure for the conflict had been the non-orthodox view of one of the professors, Jacob Arminius, that the election of the faithful to heaven was not predestined by God since eternity, a view that was combated by his colleague Franciscus Gomarus. The so-called Arminian conflict, which quickly turned into a national and indeed international affair, had strong political overtones, but conceptually revolved around such philosophical concepts as the nature of divine and human causality, time and eternity, place and ubiquity, and determinism and free will. When Arminius died in 1609, Conrad Vorstius was chosen to succeed him, but upon his arrival at Leiden in 1611 was expelled speedily on charges of heresy. Some of the alleged heresies, which King James I of England stooped to rebut in person, were said to reside in his physicalist understanding of God, an understanding that had been inspired, it was charged, by the metaphysics of the German professor of medicine Nicolaus Taurellus. The point is that Gorlaeus, who was a partisan of the Arminian cause, quickly acquainted himself with the writings of both Vorstius and Taurellus, and his atomism can be understood as a radicalization of the ontology he had found particularly in Taurellus's metaphysics" (ibid.). Christoph Lüthy, David Gorlaeus (1591-1612): An Enigmatic Figure in the History of Philosophy and Science, Amsterdam, 2012. 8vo (154 x 89 mm), pp. [xxviii], 352. Contemporary half vellum, manuscript title on spine, some worming to lower and upper parts of the spine, internally fine and clean.

      [Bookseller: SOPHIA RARE BOOKS]
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        Les delices de la poesie françoise, ou, dernier recueil des plus beaux vers de ce temps

      Chez Toussaint du Bray. New edition after the first published in 1614. Rare. Print in italics. Velin full time. Smooth back silent. A snag with lack of 1cm2 back. Lower right corner (1cm) calcined in the first 30 sheets with sometimes reached a blackened letter. Light foxing to p. 240 lower right corner with some text. First board holding only a few cowards seams. Important collection of contemporary poetry in the French language together Duperron, Malherbe, Racan Méziriac, Monfuron, Touvant, Motin, The Picardière, Maynard, Hodey, Le Breton, Brown, D'urfé ... The book contains a great many poems by author. According to the foreword, this book is a compendium of previously published two books: "The delights of poetry Francoise" (1618) and "The second book of poetry delights of Francoise" (1620) by Jean Baudoin, increased by 112 new parts. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Chez Toussaint du Bray à Paris 1620 Très fort in-8 (11x16,5cm) (24) 1180pp. relié

      [Bookseller: Librairie Le Feu Follet]
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        Rhinocerons

      1620. "Due incisioni, impresse su un foglio di carta vergata con filigrana ""scudo con santo inginocchiato sormontato da stella"" - risalente alla fine del XVI sec. - raffiguranti entrambe il rinoceronte, disegnate ed incise, acquaforte e bulino, da Antonio Tempesta. L'immagine sulla sinistra è chiaramente ispirato al celebre rinoceronte di Albrecht Dürer, eseguito nel 1515. La xilografia del Dürer, sia per la curiosità che un animale non europeo dovette destare, sia per la fama dell'incisore tedesco, diventò ben immediatamente famosa, basti pensare che Alessandro de' Medici (1510-1537) adottò proprio il rinoceronte corazzato e il corno appuntito, come proprio emblema. La scelta del rinoceronte dureriano ad apertura dell'opera ha il significato di un omaggio al maestro di Norimberga, ma è al tempo stesso il riconoscimento di un modello iconografico obbligato. In maniera quasi rispettosa, Tempesta affianca al modello poco realistico del Durer, una seconda figura di rinoceronte, in cui tutti gli elementi fantasiosi del primo spariscono per dar vita ad una illustrazione zoolicamente più corretta. Le due immagini furono pubblicate nella serie ""Nuova raccolta de li Animali più curiosi del mondo..."", di Antonio Tempesta, opera che conobbe numerose edizioni, dopo la prima edita nel 1620 da Giandomenico de Rossi, di cui costituivano la tavola d'apertura (il rinocerone dureriano) e la decima (il rinoceronte rivolto a sinistra). L'opera è un bestiario, privo di testo, che comprende in buona parte la prima e ampia iconografia zoologica, ma anche animali fantastici della tradizione mitologica, come il grifone o il satiro marino. Le immagini dell'opera, nella prima edizione 222, erano distribuite su 111 fogli oblunghi, con due lastre stampate per ciascun foglio. Ciascuna immagine ha una didascalia con il nome dell'nimale raffigurato in latino e in italiano. Foglio in ottimo stato di conservazione, con i margini originali. Dimensioni del foglio: 415x280 Dimensioni della singola incisone: 137x97"

      [Bookseller: Libreria Antiquarius]
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