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Displayed below are some selected recent viaLibri matches for books published in 1620

        Institutiones Theophilo Antecessore (Graeco Interprete)

      Symptimbus Samvelis Crispini, 1620. Hardcover (Vellum). Poor Condition/No Dust Jacket. Size: 8mo - over 7 3/4" - 9 3/4" tall. 329 pp. Text is in multiple languages. Text body is clean, and free from previous owner annotation, underlining and highlighting. Binding is loose but is not detached. Major water damage to covers and text. Quantity Available: 1. Shipped Weight: 1 - 2 pounds. Category: Language & Linguistics; Non-English Language::Greek; Non-English Language::Latin; Pictures of this item not already displayed here available upon request. Inventory No: 001260. .

      [Bookseller: Lotzabooks]
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        [5 etched print series:] 1) Divers combats.Series of 6 unnumbered prints including title-print. 2) Diverses especes d[']animaus faits apres nature.Series of 7 unnumbered prints including title-print. 3) Veuës et païsages du Chasteau de Longuetoise et des environs.6 unnumbered prints, including title-print, from a series of 12. 4) [Views near Paris].Series of 4 numbered prints, published without title. 5) [Pastoral views].Series(?) of 2 unnumbered prints without title. Paris, [Jacques Lagniet (ads 1, 3), Jacques van Merlen (ad 4), unknown publisher (ads 2, 5)], [ca. 1660]. Small 4to (16.5 x 13 cm). Five series of small oblong folio etched views (16 x 21.5-23 cm; plate size: 10 x 17 to 12.5 x 21.5 cm), 3 complete, 1 incomplete and 1 documented only as separate prints. Each print folded to form a double leaf and mounted on a stub so that it can open flat. Gold-tooled, dark green goatskin morocco (ca. 1890).

      Bartsch V, Flamen 112-117 (ad 1), 093-095, 099-100, 103 (ad 3), 105-108 (ad 4), 110-111 (ad 5) and supp. 520-526 (ad 2); Robert-Dumesnil, Flamen 365-370 (ad 1); 382-388 (ad 2); 524-526, 530, 531, 534 (ad 3); 520-523 (ad 4); 561-562 (ad 5). Five series of finely executed and well-printed etchings by Albert Flamen, mostly in their first states and all in early states, the five series showing: 1) cavalry fighting viewed from the thick of the battle; 2) wild and domestic animals on or around a farm; 3) views of Château de Longuetoise and its surroundings in Chalo-Saint-Mars, southwest of Paris; 4) views of several areas near Paris; and 5) pastoral views in an unidentified location. Flamen (ca. 1620?-1693 or soon after), a painter, draughtsman and etcher born in Bruges, worked in Paris from 1648 to 1692. He belonged to the French school of Callot and worked mostly after his own designs.With two gold-stamped morocco bookplates. With a faint stain in the upper right corner of the prints in series 3 and 4, but still in very good condition. The hinges are worn, but the binding is otherwise very good. Lovely and rare etchings, mostly in their earliest states, including three complete series.

      [Bookseller: Antiquariaat FORUM BV]
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        5 etched print series:]1) Divers combats.Series of 6 unnumbered prints including title-print.2) Diverses especes d[']animaus faits apres nature.Series of 7 unnumbered prints including title-print.3) Veuës et païsages du Chasteau de Longuetoise et des environs.6 unnumbered prints, including title-print, from a series of 12.4) [Views near Paris].Series of 4 numbered prints, published without title.5) [Pastoral views].Series(?) of 2 unnumbered prints without title. Paris, [Jacques Lagniet (ads 1, 3), Jacques van Merlen (ad 4), unknown publisher (ads 2, 5)], [ca. 1660]. Small 4to (16.5 x 13 cm). Five series of small oblong folio etched views (16 x 21.5-23 cm; plate size: 10 x 17 to 12.5 x 21.5 cm), 3 complete, 1 incomplete and 1 documented onl

      - Bartsch V, Flamen 112-117 (ad 1), 093-095, 099-100, 103 (ad 3), 105-108 (ad 4), 110-111 (ad 5) and supp. 520-526 (ad 2); Robert-Dumesnil, Flamen 365-370 (ad 1); 382-388 (ad 2); 524-526, 530, 531, 534 (ad 3); 520-523 (ad 4); 561-562 (ad 5). Five series of finely executed and well-printed etchings by Albert Flamen, mostly in their first states and all in early states, the five series showing: 1) cavalry fighting viewed from the thick of the battle; 2) wild and domestic animals on or around a farm; 3) views of Château de Longuetoise and its surroundings in Chalo-Saint-Mars, southwest of Paris; 4) views of several areas near Paris; and 5) pastoral views in an unidentified location. Flamen (ca. 1620?-1693 or soon after), a painter, draughtsman and etcher born in Bruges, worked in Paris from 1648 to 1692. He belonged to the French school of Callot and worked mostly after his own designs.With two gold-stamped morocco bookplates. With a faint stain in the upper right corner of the prints in series 3 and 4, but still in very good condition. The hinges are worn, but the binding is otherwise very good. Lovely and rare etchings, mostly in their earliest states, including three complete series.

      [Bookseller: Antiquariaat FORUM BV]
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        Ambassades et negociations de l'illustrissime et révérendissime Cardinal Du EDITION ORIGINALE

      à Paris: Chez Pierre Chaudiere, 1620. Fine. Chez Pierre Chaudiere, à Paris 1620, in-folio (23x35cm), (2) 724pp. (12), relié. - 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. - [FRENCH VERSION FOLLOWS] Edition originale, rarissime. On trouve le plus souvent, même dans les bibliothèques les seconde et troisième éditions de 1623 et de 1629, et surtout celle de 1633. A titre d'exemple, la Bibliothèque Nationale de France possède 13 exemplaires des Ambassades, 5 de 1623, 2 de 1629, et 6 de 1633, mais aucun de cette édition de 1620. 2 feuillets blancs avant le titre. Nous n'avons pas trouvé trace de cette édition dans les catalogues des bibliothèques en ligne, ni à la British Library, ni dans les catalogues anglais ou français, Russes, ect. Marque de l'imprimeur en page de titre, Lion et fleur de lys. L'édition de 1623 ajoutera un portrait et l'épitre à Pierre Brulard, à l'adresse de Antoine Estienne, ou Guillaume Loyson, les 2 feuillets blancs avant le titre inciteraient à penser que l'édition a été sortie hâtivement, dans l'attente de ces pièces. Reliure en pleine basane brune d'époque. Dos à nerfs richement orné. Pièce de titre en maroquin rouge.  Double filet d'encadrement sur les plats. Mors fendus en tête, et en queue pour le mors supérieur. Une estafilade avec manque sur le plat inférieur. Une tache brune sur ce même plat. Frottements. Quelques feuillets plus brunis ou jaunis et un manque de papier à un coin d'un feuillet, en marge. Rousseurs très pâles éparses. Bon exemplaire. Issu d'une famille calviniste, poète baroque et diplomate, la carrière de Du Perron ne prit son essor qu'après sa conversion, à l'âge de 21 ans (il deviendra par ailleurs un célèbre controversiste aux dépens des protestants). Il devint un proche d'Henri IV, et s'occupa activement de sa conversion, puis obtint l'absolution du roi à Rome, et la levée de l'interdit contre la France. Il retourna à Rome en tant que chargé des affaires de la France, et fit élire Alexandre de Médicis, parent de la reine, puis Paul V, dela famille Borghese. Enfin, il prit une part active aux Etats généraux de 1614. Les Ambassades sont un recueil de lettres rassemblées et précédées de sommaires et avertissements par son secrétaire César de Ligny, et retrace la vie politique de l'auteur. Ex-libris aux armes du Marquis de Rosambo, Louis Le Peletier (1747-1794).  

      [Bookseller: Librairie Le Feu Follet]
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        Le prototype ou tres-parfait et analogique exemplaire de l'art chimicq; a la phisique ou philosophie de la science naturelle. Contenant les causes principes & demonstrations scientifiq; de la certitude dudit art.

      - Paris, J. A. Joallin, 1620. Small 8vo (10.2 x 15.8 cm). Title page, [vii], 136, [xiv] pp. Contemporary mottled calf. Spine with gilt lines and floral vignettes. Red morocco label with gilt short-title. Marbled endpapers. Red edges.l Extremely rare (al)chemical treatise by the French nobleman René de la Chastre (1581-after 1663). According to Caillet, it contains the fundamental principles of the "Grand oeuvre", or the process of working with base metals to create the philosopher's stone. The work has a surprisingly modern sounding title. However, ".The words in the title might make the modern reader think that this work is indeed an experimental chemical treatise leading to an overall philosophy of natural science, but this is not the case. La Chastre's text is a traditional alchemical description of nature's perfection of gold and how the operator might duplicate its process in his laboratory" (Debus). A detailed biography, handwritten on old, blue paper, is tipped-in in front. Additionally on the front pastedown: two old sales catalogue records, as well as a loosely inserted newspaper clipping dated 1933, stating that the work is rare. The first catalogue clipping may describe this copy. Some shelf wear to spine and boards, otherwise a very good, complete copy. No auction records can be traced; we could find only one copy that was on the market in 1963 with Goldschmidt, Catalogue 127, Medicine and Science. Caillet II, 5899; Debus, "The French Paracelsians: The chemical challenge to medical and scientific tradition in early modern France", p. 47. [Attributes: Hard Cover]

      [Bookseller: Antiquariaat Schierenberg]
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        Scenografia teatrale

      1620. Acquaforte, inizio XVII secolo, da Bernardo Buontalenti. Magnifica prova, impressa su carta vergata coeva, irregolarmente rifilata alla linea marginale, in buono stato di conservazione. Non descritta, rara. 320 230

      [Bookseller: Libreria Antiquarius]
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        Italia antica di Cl. Tolomeo

      Bologna 1620 - Carta geografica tratta da "L'Italia" a cura di Fabio Magini, edito a Bologna tra il 1620 ed il 1640. La carta, unica carta tolemaica presente nell'atlante, deriva da quella di Gerard Mercator, pubblicata a Colonia nel 1578. Incisione in rame, in perfette condizioni. Meraviglioso esemplare, molto contrastato, di questa affascinante carta. R. Borri "L'Italia nelle antiche carte " (2011), scheda 19 Dimensioni 485 350mm

      [Bookseller: Libreria Antiquarius]
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        Illuminiertes deutsches Gebetbuch von 1620 HANDSCHRIFT

      8 Ledereinband Illuminiertes deutsches Gebetbuch von 1620Datiert 1620 mit 21 mehrfarbigen Initialen in gleichmässiger gothischer Hand geschrieben mit 15 bis 17 Zelen je Seite.Blindgeprägter Ledereinband auf Holzdeckeln auf 6 Bünden. Die Schliessen sind nur noch rudimentär erhalten. Insgesamt 264 Blatt oder 528 Seiten mit 21 2- bis 6-zeiligen illuminierten Initialen mit grün, rot, schwarz, gelb und weiss sowie hunderte ein- bis zweifarbiger Initialen in rot und schwarzDie Gebete der ersten drei Blätter sind datiert 1620 wobei der Haupttext von der selben gotischen Hand geschrieben wurde. Ein Vorbesitzer hat in gotischer Kursive siebzehn Gebete auf die ins gesamt acht Vorsatzseiten und die Seiten zwischen Vorwort und Hauptteil geschrieben.Vier der großen Initialen zeigen Rosenkränze (Rosenkreutzerbezug?). Zwei Absätze beziehen sich auf die Hl. Elisabeth. Wasserzeichen im Buch weisen auf die Zeit zwischen 1599 und 1629 in Holland hin.Die Bindung ist in gutem Zustand, wobei das Leder stark berieben und am Rücken etwas brüchig ist. Ein Riss befindet sich am oberen Rücken. Die Gelenke wurden zu einem früheren Zeitpunkt restauriert. Schliessen nur noch fragmentarisch vorhanden.

      [Bookseller: Antiquariat Arzt - Der Buecherdoktor]
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        Venere sorge dal mare

      1620 - Acquaforte, circa 1620-30, priva di dati editoriali. Magnifica prova, ricca di toni, impressa su carta vergata coeva priva di filigrana, rifilata al rame, leggere abrasioni al verso, in ottimo stato di conservazione. L'opera è attribuita dal Bartsch, che descrive l'esemplare all'Albertina di Vienna, alla scuola di Guido Reni. Crediamo ci siano notevoli affinità stilistiche con la mano di Giovannio Andrea Sirani. Timbro di collezione al verso non identificato. Etching, circa 1620-30, without printing details. A magnific impression, with a good plate tone, printed on contemporary laid paper, trimmed to the platemark, light abrasion on verso, otherwise very good condition. Ascribed by Bartsch to the school of Guido Reni; we believe there are significant stylistic affinities with the hand of Giovanni Andrea Sirani. Unknown collector's mark on verso. Bartsch XVIII, n. 32: Bertelà. Incisiori Bolognesi ed Emiliani del '600, n. 1054. Dimensioni 166 222mm

      [Bookseller: Libreria Antiquarius]
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        Histoire de Louys XI, Roy de France : Et des choses mémorables advenues de son Règne, depuis l'an 1460 jusque à 1483. Aultrement dicte, la Chronique Scandaleuse.

      Imprimée sur le vray Original 1620 - Escrite par un Greffier de l'Hostel de ville de Paris. Imprimée sur le vray Original - 1620 - 396 pages et 20 feuillets (Table des matières). Portraict du Roy Louys XI. Ex-libris de Nicolas Joseph Foucault. Complet & Contrôlé. Reliure plein veau havane de l'époque. Dos à nerfs orné et doré. Armes dorées de Nicolas Joseph Foucault au centre des plats. Tranches rouges. Roulette dorée sur les coupes. Quelques légers frottements sur les plats. Pas de rousseur. Bon état. Format in-12°(16x10). Jean de Roye (1425-1495) est un juriste et administrateur français, auteur présumé d'une chronique du règne de Louis XI connue sous le nom traditionnel de Chronique scandaleuse. La Chronique de Jean de Roye (1425-1495) embrasse tout le règne le Louis XI. Source de premier ordre pour l'histoire de Paris en particulier, elle a été reproduite en partie dans les Grandes Chroniques de France et par Antoine Vérard dans la Chronique Martiniane. [Attributes: Hard Cover]

      [Bookseller: Livres et Collections]
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        Kaine Diatheke Novvm Iesv Christi D.N. Testamentum, Com Notis Iosephi Scaligeri in Locos Aliquot Difficiliores Nunc Primum Edita. Additus Etiam Syllabus Iocorum Noui Testamenti, De Quorum Sensu, & Applicatione Ad Controuersa Religionis Christianae.

      Colonia Allobrogum (Cologny près de Genève). Apud Petrum de la Rouiere. 1620, - in-4to, 453 p. + 18 p., texte en grec, exemplaire interfolié de feuilles blanches remplis de notices manuscrites, ex-libris ms. ?D. Durandus?, parchemin souple d?époque. Début de fente dans la charnière sup. Joseph Just Scaliger (1540-1609), was a French scholar who studied in Paris, becoming a Calvinist in 1462. He fought with the Huguenots, was a professor at Geneva, and succeeded J. Lipsius at Leyden University. De Jonge, in his Study of the NT, concludes that Scaliger"s wrote his notes at different times, prior to 1593, without intending them to be published. He also stresses Scaliger"s importance for biblical criticism, noting that Scaliger alone in his time had a deep-rooted lack of trust of the current New Testament text. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Darlow & Moule, 4667.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Tes Kaines Diathekes hapanta = Novum Iesu Christi D.N. Testamentum, com notis Iosephi Scaligeri in locos aliquot difficiliores nunc primum edita. Additus etiam syllabus Iocorum Novi Testamenti, de quorum sensu, & applicatione ad controversa Religionis Christianae capita hodie lis est

      Apud Petrum de la Rouiere (Pierre de la Rovière), Genevae (Geneva) 1620 - Quarto (8 3/4 x 6 3/4"). [8], 16pp (Introductory text in Latin), 453, [1]pp (Text of the Gospel in Greek). Modern full parchment with calligraphed title in black ink to spine. On title, a row of type ornaments is printed over the publisher's original place ("Coloniae Allobrogum"). Title within architectural border. Decorative head-, tailpieces and initials. This New Testament in Greek is a reprint of Plantin's edition of 1584 (Darlow & Moule 4645). The same printer published an octavo edition in 1619 (reissued in 1631), and published quarto editions of the Greek text only in 1619 and 1620 (our copy).Greek text (not divided into verses, with verse numbers in the margin); Introductory text "In sacrarum literarum lectionem . exhortatio" by Johannes Oecolampadius, according to Reuss. Scaliger's notes and "Syllabus locorum," in Latin (p. 1-16). For more information, see Darlow & Moule 4667.Covers partly age-toned. Ex-library copy with stamp on inside of front cover, inner gutter of first leaf, and at lower margin of last leaf (not affecting lettering). Minor and sporadic age-toning / foxing throughout. Contemporary underlining and marginalia throughout. Introductory text in Latin, New Testament in ancient Greek. Binding and interior in good+ to very good condition. [Attributes: Hard Cover]

      [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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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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        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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        Das Oesterreichische Heer von Ferdinand II., Römisch Deutschen Kaiser, bis Franz Josef I., Kaiser von Oesterreich. Lfg. 1-20.

      80 handkol. Orig. Lithographien in Orig. Lieferungsumschlägen, Blattgr. ca 21x29 cm, zusammen in grauer Kartonschachtel, hs. beschriftet, die Blätter sind tlw. schwach stockfleck. u. gebr., Taf. 1 an Oberkante m. kl. Einriss, Umschläge leicht staubfl. u. an den Rü. geringf. eingeriss., insges. guter Zustand. Uniformen des österreich. Heeres von 1620-1835.

      [Bookseller: Antiquariat Löcker]
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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]

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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.

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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]

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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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        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, Lutetiae Parisiorum 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. [Attributes: Soft Cover]

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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

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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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        World navigator map Porcacchi 1620 scarce antique map

      1620 - Libro Terzo- Discorso Intorno alla carta da Navigare (World navigators map) Issued ca. 1620, Venice by Porcacchi, Tommaso likely engraved by G. Porro Fine early 17th century engraved map of the world. Rhumb lines impart a strong nautical feel which is captured in the title above indicating it is to be seen as a map of navigation for voyages of discovery & exploration. Delightful small "miniature" map. Text around the map & on verso, as always for Porcacchi maps. Map remains well preserved. Some light age wear or surface spotting/ soiling which is visible within the scan. Charming miniature antique map entirely worthy of hanging for display. A cartographic depiction captured in a manner entirely unique to this era. Sheet measures c. 11 1/2" H x 7 3/4" W. Printed area measures c. 4" H x 5 5/8" W Tooleys Dictionary of Mapmakers, v. 3, [R9311]Paper and image remains overall clean & sound. Old maps & prints often display small minor repairs on the back, could have uneven blank margins, might have extraneous fold-lines or other small minor age flaws which do not detract from the visual appeal or value. Condition is carefully considered in arriving at our price. A picture is worth a thousand words. The images are a major part of the item description. Please examine closely, what you see is what we will send you. [note: we grade conservatively and always seek to disclose any noteworthy flaws.].

      [Bookseller: RareMapsandBooks]
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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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        I carichi militari

      In Venetia, Appresso Evangelista Deuchino 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.". [Attributes: Hard Cover]

      [Bookseller: CASELLA STUDIO BIBLIOGRAFICO ALAI-ILAB]
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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]
 39.   Check availability:     NVvA     Link/Print  


        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]
 42.   Check availability:     NVvA     Link/Print  


        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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