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

Displayed below are some selected recent viaLibri matches for books published in 1628

        "Berncastel".

      1628. Kupferstich aus Meisners Schatzkästlein, 1628. ca. 9,5 x 14,5 cm.. Ansicht der Stadt Bernkastel, rechts im Vordergrund allegorische Darstellung. Titelleiste "Glück und Glass, wie bald bricht das". Unterhalb der Darstellung "Cum ridet Fortuna nimis, cave, rumpitur ultro, Cum splendent, facile vitrea vasa crepant.". Darunter die deutsche Übersetzung. Erstmals 1623 erschienen, hier vorliegend in der zweiten Auflage von 1628 mit der Numerierung "4" rechts oberhalb der Darstellung.

      [Bookseller: Antiquariat Peter Fritzen]
 1.   Check availability:     ZVAB     Link/Print  


        Pia desideria lib. III. Ad urbanum VIII. Editio 5. [!] emendate.

      Antwerpen, Hieronymus Verdussen, 1628.. (14), 444, (2) SS., l. w. Bl. Mit gest., ill. Titel, gest. Wappenfrontispiz (Wappen des Papstes Urban VIII.) und 46 ganzseitigen Textkupfern (verso zumeist unbedruckt). Pergamentband der Zeit auf 3 durchzogenen Bünden mit übergreifenden Deckelkanten und goldgepr. grünem Rückenschildchen. Bindebänder fehlen. 8vo.. Sehr frühe lateinische, wahrscheinlich zweite Ausgabe mit den Kupfern von Bolswert. Diese Ausgabe nicht bei de Backer, Landwehr oder Praz. Das einflußreiche, erstmals 1624 in Antwerpen erschienene Emblembuch des Brüsseler Jesuiten H. Hugo (1588-1629) war seinerzeit sehr beliebt und erlebte bis 1756 allein 42 lateinische Ausgaben. "Each emblem with a Bible quotation engraved in the plate [...] perhaps the most influential religious emblem book" (Landwehr). Die hübschen emblematischen Tafeln sind die Originalkupfer der Erstausgabe; ihr Schöpfer Boetius v. Bolswert (um 1580-1633) gilt als einer der bedeutendsten Kupferstecher des Barock. "Von den mit vielen kleinen Blättern illustrierten Büchern verdien[t] namentlich noch Erwähnung [...] Herm. Hugos 'Pia desider[i]a" (vgl. Thieme/Becker 4, 254f.). - Papierbedingt etwas gebräunt, teils auch (finger-)fleckig. Titel mit zeitgenöss. hs. Besitzvermerk des Kölner Jesuitenkollegs. Am vorderen Vorsatz hs. Besitzvermerk "Ex libris N. J. Houben [...] 1814". - Vgl. de Backer/Sommervogel IV, 513, 6. Praz 376ff. Landwehr 345 (EA bei Aertssen, 1624).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
 2.   Check availability:     ZVAB     Link/Print  


        Synopsis universae..., Fillucci V.,1628, scarce book

      Synopsis universae..., ,. Synopsis vniversae theologiae moralis, de Christianis videlicet officijs, & casibus conscientiae, ad formam cursus qui in Collegio Romano Societatis Iesv praelegi solet. Vincenzo Filliucci Ex officina Marci Vvyon, 1628 kl. 8°, 15x8 cm., original vellum binding, some wormholes, XX leaves, 940 pp.. Vincenzo Filliucci Jesuit moralist; b. at Sienna, Italy, 1566; d. at Rome 5 April, 1622. Having entered the Society of Jesus at the age of eighteen and made the usual course in classics, science, philosophy, and theology, he professed philosophy and mathematics for some years, and later became rector of the Jesuit college in his native city. Being summoned to Rome to fill the chair in moral theology in the Roman College, he taught there for ten years with great distinction. Paul V appointed him penitentiary of St. Peter's, a post he filled until his death in the following pontificate. Fillucci's greatest work, "Moralium Quaestionem de Christianis Officiis et Causibus Conscientiae Tomi Duo", appeared in 1622, together with a posthumous "Appendix, de Statu Clericorum", forming a third volume, has frequently been reprinted in several counties of Europe. A "Synopsis Theologiae Moralis", which likewise appeared posthumously in 1626, went through numerous editions. Fillucci is also known for his excellent "Brevis Instructio pro Confessionibus Excipiendis" (Ravensburg, 1626); this work is generally published as an appendix in all subsequent editions of his "Synopsis." Besides these published works, there is a manuscript, "Tractisde Censuris", preserved in the archives of the Roman College. As an authority in moral theology, Fr. Fillucci has ever been accorded high rank, though this did not save him from the attacks of the Jansenists. The "Provincial Letters" of Pascal, and Les Extraits des Assertions" makes much capital out of their garbled quotations from his writings; while, in the anti-Jesuit tumult of 1762, the "parlement" of Bordeaux forbade his works, and the "parlement" of Rouen burnt them, together with twenty-eight other works by Jesuit authors. Sources Sommervogel, Bibl. de la C. de J., III, 735; IX, 340; de Backer, Bibl des Ecrevains de la Comp. de Jesu, I, 308; Hurter, Nomenclator Literarius, I, 364..

      [Bookseller: Hammelburger Antiquariat]
 3.   Check availability:     ZVAB     Link/Print  


        Dreissigjähriger Krieg, Geschichte, Keller/Jocher, anno 1628, se

      Dreissigjähriger Krieg, ,628,. Dreissigjähriger Krieg, Geschichte, Keller/Jocher, anno 1628, selten DREISSIGJÄHRIGER KRIEG aEUR" (KELLER, J., UND W. JOCHER), Der Unierten Protestirenden Archif, darin(n) der Unierten Protestirenden vornembste Thathandlungen, Anschläg und zu des H. Röm. Reichs, der Römisch Catholischen Kaiser, Fürsten und Stände an tag gelegt werden. O. O. und Dr., 1628. 4°. 4 Bl., 318, 536 S. Pgt. d. Zt. mit tls. läd. Schließbändern, Monogramm CK auf dem Vorderdeckel und dat. 1628 (tls. mit Wurmlöchern, etw. fleckig, beschabt und bestoßen). Erste Ausgabe. aEUR" Holzmann-B. VI, 1358. Bircher A 2939. Koser, Kanzleienstreit, 80. ADB XIV, 102. aEUR" Die Verfasserschaft ist nicht ganz geklärt, nach Holzmann und Bohatta sind Keller und Jocher die Autoren, Koser schreibt die Autorschaft Wilhelm Jocher zu, Bircher nur Jakob Keller, ebenso Stieve in der ADB, "doch wirkte Jocher bei der Ausscheidung der zu veröffentlichenden Actenstücke mit." aEUR" Dem Werk zugehörig und beigefügt ist die 536-seitige Flugschrift "Appendix in qua Originalia ad hunc librum spectantia", die Koser ebenso Jocher zuschreibt. aEUR" "Die Appendix, die erste Sammlung von Acten zur Geschichte der Union, enthält nicht bloss solche Dokumente, die schon 1621 in der Anhaltischen Kanzlei auszüglich mitgeteilt waren, sondern auch eine grosse Anzahl der zu Heidelberg vorgefundenen Papiere, darunter einige schon 1624 in dem 'Beharrlichen General Rat' und der 'Holländischen Bundsverwandnuss' sowie 1625 in der Sammlung 'Camerarii epistolae selectae' publizierte Stücke" (Koser 81). aEUR" Leicht gebräunt, fast fleckenlos. Keller: Jakob K., geb. 1568 zu Säckingen in Schwaben, aEUR am 23. Febr. 1631 zu München, trat in seinem zwanzigsten Lebensjahre in den Jesuitenorden, lehrte in den Schulen desselben Humaniora, Philosophie, Moraltheologie und scholastische Theologie, und stand später den Collegien zu Regensburg und München als Rector vor. Beim Kurfürsten Maximilian von Baiern stand er in großer Gunst, und wurde von demselben mehrfach in Geschäften verwendet, [582] betheiligte sich auch lebhaft an den confessionellen Controversen seines Zeitalters; zu Neuburg an der Donau disputirte er mit Jakob Heilbronner, über welchen Redeact er eine besondere Schrift veröffentlichte. Aus seinen übrigen Controversschriften heben wir hervor: aEUR Papatus catholicusaEURoe auch in deutscher Bearbeitung unter dem Titel: aEUR Katholisches PapstthumbaEURoe, 1616 (2 Bde. Fol.)..

      [Bookseller: Hammelburger Antiquariat]
 4.   Check availability:     ZVAB     Link/Print  


        Westfalia Cum Dioecesi Bremensi. Per Gerardum Mercatorem Cum Privilegio. Amstelodami, Sumptibus Henrici Hondij. Altkolorierter Kupferstich von Gerard Mercator bei Henricus Hondius in Amsterdam.

      Amsterdam: Hondius, 1628.. 35 x 46,5 cm,. Zweiter Zustand der Mercator-Karte. Zeigt Ostfriesland, Oldenburg und Bremen. Oben links Rollwerkskartusche mit Titel und Maßstab. Vgl. van der Krogt, Koeman's Atlantes Neerlandici, Vol. I, 2301.1.2.1.114 // Der Mittelfalz oben etwas gebräunt, sonst sehr schöner Zustand. /galerie

      [Bookseller: Altstadt-Antiquariat Nowicki-Hecht UG (h]
 5.   Check availability:     ZVAB     Link/Print  


        VERDADERO ORIGEN DEL TRIBUNAL DEL SANTO OFICIO DE LA INQUISICION EN LOS REYNOS DE PORTUGAL

      - CONTRA LA FABULOSA HISTORIA DE su falso Nuncio: ESCRITO EN LATIN EN EL AÑO DE 1628 por el M. R. P. Fr. Antonio de Sousa, del Orden de Predicadores, Maestro de Sagrada Teologia, y Consejero en el de la Suprema y General Inquisicion de dicho Reyno. Traducido e añadido con varias Notas y un Discurso, por el Dr. D. Josef Marcos Hernandez, Abogado de los Reales Consejos, y del Colegio de esta Corte. Con licencia en Madrid, en la Oficina de AZNAR. Año 1789. De 15x10 cm. Com 279 pags. Encadernação inteira de pele com ferros a ouro na lombada e etiqueta vermelha. Inocêncio I, 295 "FR. ANTONIO DE SOUSA (2.º), sobrinho do antecedente, e como elle religioso Dominicano, Mestre na sua provincia, Deputado da Inquisição de Lisboa e do Conselho geral do Sancto Officio. - Foi natural de Lisboa, e m. em 1632.". Barbosa I, 398. Obra publicada originalmente em latim com o título "Aphorismi inquisitorum in quatuor libros distributi. Cum vera historia de origine S. Inquisitionis Lusitanae [sic], & quaestione de testibus singularibus in causis Fidei. / authore P. Fr. Antonio de Sousa Ulyssiponensi Ordinis Predicatorum" 1628. Location/localizacao: 3-A6-F-1

      [Bookseller: Livraria Castro e Silva]
 6.   Check availability:     IberLibro     Link/Print  


        Joseph and Potiphar's wife]

      1628 - Benezit: Eleve de son pere Abraham de Bruyn. Il entra, en 1601, dans le gilde d'Anvers. Cependant en 1617, il est deja fixe a Rotterdam. Il travailla avec Luc. de Leyde, Gilles van COninxloo et David Vinckboons. etc.Ses gravures son datees de 1592 a 1650.

      [Bookseller: Meir Turner]
 7.   Check availability:     AbeBooks     Link/Print  


        Decem e familia Burggraviorum Nurnbergensium Electorum Brandenburgicorum eicones, ad vivum expressae, eorumq(ue) res gestae, una cum genealogiiis fide optima collectae publicataeq(ue).

      Berlin, Runge 1628 - Jöcher I, 1812; Nagler XV, 83 ff. - Reich illustrierte Genealogie in erster Ausgabe der Burggrafen von Nürnberg und der Herzöge und Kurfürsten von Brandenburg mit emblematisch verzierten Porträts dieser Burggrafen, Herzöge und Kurfürsten, beginnend mit dem Burggrafen Friedrich IV., dem ersten Herzog von Brandenburg Friedrich I., den Herzögen Albrecht Achilles bis Georg Wilhelm X. und dem Herzog Friedrich Wilhelm als Kind (genannt später: der Große Kurfürst). Die oval eingefassten Porträts enthalten jeweils Sinnsprüche im Unterrand. Die Titelbordüre mit 24 Wappen der Burggrafen von Nürnberg und der Herzöge von Brandenburg ornamental verziert. Nach der Widmung an den regierenden Herzog Georg Wilhelm von Brandenburg eingebunden eine Kupfertafel mit dem Stammbaum der brandenburgischen Herzöge und Kurfürsten von 1417 bis 1619. Der Text ist mit zahlreichen ornamentalen Vignetten verziert. - Durchgehend sauberes Exemplar, leichte Bräunung Kupfertit. mit Bordüre, gest. v. Petr. Rollos, 2 Bl., 110 S. mit 12 Kupfer-Portr., 1 Kupfertafel Halbleder der Zeit mit Rückenvergoldung u. goldgepr. Rückenschild, Folio [Attributes: Hard Cover]

      [Bookseller: Buch & Kunst Antiquariat Flotow GmbH]
 8.   Check availability:     IberLibro     Link/Print  


        Iohn Barclay his Argenis. Translated out of Latine into English: the prose vpon his Maiesties Command...

      London, Printed by Felix Kyngston for Richard Meighen and Henry Seile, 1628. Quarto: [8], 256, 247-489, [1] p. (signatures: A4, B-Ii8, K2). Title continues: "by Sir Robert Le Grys, Knight: and the verses by Thomas May, Esquire. With a clauis annexed to it for the satisfaction of the reader, and helping him to vnderstand, what persons were by the author intended." This romance, written in Latin and first published in Paris in 1621, referred to real historical events and people under the veil of allegory. The Clavis, pp. 485-489: STC (2nd ed.) 1394. Has the armorial bookplate of famed collector Sir William Stirling Maxwel, 1818-1878. Title-page soiled, a few marginal repairs; bound in full leather with Stirling Maxwel's embossed arms; very good. Stock#OB636.

      [Bookseller: Bibliomania]
 9.   Check availability:     TomFolio     Link/Print  


        Pastoralis solicitudinis, sive de Officio, et Potestate Episcopi, tripartita descriptio...

      sumptibus Laurentii Durand 1628 in folio (cm 35x22), pp. 2 b., 26 nn. (occhietto, frontespizio, dediche, Ad lectorem, vari indici, 1 c.b., ritratto dell'A. inciso da L. Sphrinx a p/pag.), 376, 115 nn. di vari indici, 1 b., 519, 1 b., 23 (Apostolicae Constitutiones, et Decreta...), 3 b.; solida leg. coeva in p/pelle, ds. a 6 nervi con tit. e fregi in oro, tagli rossi e nastro segnalib.; 2 front. in rosso e nero con grandi vignette con motto, raffiguranti donna con torcia su cocchio trainato da cavallo alato posti all'inizio della 1^ e della 3^ parte, altra inc. con la Vergine tra i SS. Damasus e Gualterus a pag. 5 nn.; grande testatina alle armi di papa Urbano VIII a pag. 9 nn.; testatine, capil. e finalini, testo su 2 colonne. Il Weiss (vol. 1, p. 251), dice che l'A., figlio dell'avvocato del re del Portogallo, eguagli? suo padre nella conoscenza del diritto civile e canonico, fu autore di m. trattati, e nel 1648 ricevette da Filippo IV, il vescovato di Ugento, in terra d'Otranto, dove mor? l'anno seguente. Esemplare molto ben conservato, solo lievi fioriture della carta. 671/19

      [Bookseller: Libreria Antiquaria La Fenice]
 10.   Check availability:     maremagnum.com     Link/Print  


        Les Nouvelles. Tirées des plus célèbres Auteurs Espagnols. Première partie (seule parue).

      Paris, Pierre Billaine, 1628. - in-8. 8ff. (y compris le frontispice gravé) 256pp. 349pp. Plein vélin ivoire à recouvrements, titre manuscrit au dos (Reliure de l'époque). Première édition de la traduction française de 6 nouvelles espagnoles du début du XVIIs. Il s'agit de: I)."Les Esclaves Illustres". II). "Le Ravissement Heureux". III). "L'Infidelle Confidente". IV). "La Dévote Hipocrite". V). "L'Insolente Belle-mère". VI). "L'Hermaphrodite". Ces nouvelles proviennent des ouvrages de Gonzalo Cespedes y Menesses ("Historias Peregrinas", 1623), de José Camerino ("Novelas Amorosas" 1624) et de Francisco de Lugo y Avila ("Theatro Popular", 1622). Ce volume devait avoir une suite qui ne vit jamais le jour. Le traducteur est le littérateur Nicolas Lancelot, né près de Paris vers 1587, mort vers 1640. Il s'occupa particulièrement de littérature espagnole et traduisit plusieurs auteurs espagnols importants (Lope de Vega, Vera y Zuñiga, Mateo Alemán, etc.). Beau frontisice allégorique de Kaspar Isac. Ecritures anciennes au verso blanc du dernier feuillet, visibles au recto par transparence.

      [Bookseller: Librería Comellas]
 11.   Check availability:     IberLibro     Link/Print  


        Definiçoes e Estatutos dos Cavalleiros & Freires da Ordem de N.S. Jesu Christo, com a historia da origem, & principio della

      Pedro Craesbeeck, Lisboa 1628 - Lisboa, 1628. Pedro Craesbeeck, impressor del Rey. 274 pags., 4 gravuras; Para a Capa dos Professos; para a roupeta dos Professos; para a roupeta dos Noviços; para a capa dos Noviços. 28,5m. Enc. Encadernação inteira de pele da epoca. Exemplar em muito bom estado de conservação. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquário do Chiado]
 12.   Check availability:     IberLibro     Link/Print  


        OPERA OMNIA

      Alexander Pernetus 1628 - Editado en Genova, 2 Tomos en un volumen gran folio. 24 hojas, más 947 páginas, más 33 hojas de indice, más 1 hoja de cortesia. Sigue M.Senecae opera qvae extant:pluribus quám anteá Comentariis, Variis Lectionibus, Notis,& in his I.Dalechampij hactenús ineditis ad ordinem textus, literis & numeris praeeuntibus, Hac demvm editione illustrata.Haecomnia Studio & industruia T.de Ivges 1628. 4 hojas más 424 páginas, más 10 hojas, más 1 hoja de cortesia, más 148 páginas. [Attributes: Hard Cover]

      [Bookseller: Libros Madrid]
 13.   Check availability:     AbeBooks     Link/Print  


        Le blason des armoiries auquel est monstrée la manière que les anciens et Modernes ont usé en icelles. Traicté, contenant plusieurs Escus différens, par le moyen desquels on peut discerner les autres et dresser ou blasonner les armoiries.

      Paris, chez Rolet Boutonné 1628 - Petit in-folio (21,5 cm x 31 cm) demi-veau blond marbré, dos à 6 nerfs, décoré, titre doré sur maroquin rouge. Mors fendu d'un côté, tête et queue sur qq cm. coiffes manquantes. 5 ff 197 p. 1f. , tranches rouges, quelques traces de mouillures sans conséquence. Belle édition corrigée, et richement enluminée . ''Livre autant nécessaire que profitable à tous seigneurs, Gentils-hommes et à ceux qui parlent en public, pour savoir discourir des Armoiries : comme aussi à tous Peintres, Sculpteurs, Pourtrayeurs, Vitriers, Graveurs, Orfèvres, Tapissiers et autres qui travaillent sur les dites armes, pour en savoir les noms et mesures des choses qui s'y appliquent.'' Hierosme de Bara, né à Paris vers 1540 et mort à Genève vers 1600 est un peintre verrier, orfèvre et armoriste. C'est son livre-maitre consacré à l'héraldisme imaginaire. Il est à l'origine du graphisme moderne des armoiries et de la forme carrée de celle-ci. Il se désolait de l'usage irresponsable des armoiries par les roturiers parvenus. Exemplaire complètement colorié (603 blasons gravés sur bois).Sont ajoutés pages 100,112 et 114 six blasons omis par le graveur. Intérieur sain. Ouvrage très plaisant, précis et rare. Bibliothèque héraldique par Guigand n° 19. [Attributes: Hard Cover]

      [Bookseller: Rossignol]
 14.   Check availability:     IberLibro     Link/Print  


        HISTORIAE PATRIAE. Libri XX.

      apud Heredes Melchioris Malatestae 1628-1644 In-4 gr. (mm. 344x224), mz. pelle mod. con ang., tit. oro su tassello al dorso, 27 cc.nn., 471,(9) pp.num., inclusa la bellissima antip. allegorica, inc. in rame da Cesare Bassano; ornato da grandi capilettera silografati. La storia inizia con la fondazione di Milano da parte del leggendario principe gallo Belloveso e termina col 1313. "Prima edizione." Cfr. Predari, p. 126: "Opera incompiuta per la morte dell'A. avvenuta nel 1515. Grevio la ristampo' con note del Calveroni nel suo "Thes. Ant. Ital.", tomo II. "Uniamo", a completamento dell'opera, in vol. separato: TRISTANI CHALCI MEDIOLANENSIS HISTORIOGRAPHI, RESIDUA. Studio et opera Ioannis Petri Puricelli, Mediolanum, apud Malatestas, 1644; rilegato in p. pergam. antica, tit. oro su tassello al dorso, cc.nn. 22, pp.num. 120,(2), c.b. 1., con grande vignetta inc. al frontesp. Vi sono contenuti: "Historiae patriae liber XXI e XXII - Nuptiae Mediolanensium Ducum.. - Nuptiae Mediolanensium et Estensium Principum.. - Nuptiae Augustae..". Con quest'aggiunta il Calchi arriva fino al 1323 della storia di Milano. Il Ripamonti volle continuare la narrazione ed è per questo che la sua opera comincia come terza decade. Cfr. Argelati,I,p.II,426 - Cat. Hoepli,580 - Brunet,I,1469 - Graesse,II,13 - Lozzi,I,2610. Al frontesp. due restauri margin. per manc., altrim. esemplare ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
 15.   Check availability:     maremagnum.com     Link/Print  


        DEFINIÇÕES E ESTATVTOS DOS CAVALLEIROS & Freires da Ordem de N. S. Iesu Christo, com a historia da origem, & principio da della.

      - EM LISBOA: Por Pedro Craesbeeck, impressor del Rey, Anno M.DCXXVIII. [1628]. In fólio de 26,5x19 cm. com [viii], 274, [xiv] pags. Encadernação do século xviii inteira de pele com nervos, rótulo vermelho e ferros a ouro na lombada. Ilustrado com 2 (de 4) gravuras com as diferentes cruzes da ordem impressas a vermelho. Bela impressão seiscentista com a folha de rosto enquadrada por moldura tipográfica e capitulares xilográficas ao longo do texto. Exemplar da variante com a pag. 215 bem numerada e a 251 mal numerada (253), com ex-libris coevo na folha de rosto ?De Fr. Jozé Meis.es[?] gramoxo comprou a Franc. Corte Real da [?] por 500.?, leves manchas de humidade, antigas e marginais. 1.ª edição. Samodães 1016. ?Livro estimado. Primeira edição. Muito rara.? Inocêncio II, 132. ?Contem, alem do prologo (onde se transcrevem as bullas da fundação da Ordem, e da união do seu mestrado á Corôa, etc.) quatro livros ou partes; na 1.ª se tracta da fundação e creação da ordem, com o que lhe diz respeito: na 2.ª do provimento das commendas, obrigações dos commendadores, etc.: na 3.ª da jurisdicção ecclesiastica, e modo de a exercitar: na 4.ª dos privilegios da ordem; terminando por um rol de todas as commendas, e designação do rendimento de cada uma.? Location/localizacao: 3-A4-E-9

      [Bookseller: Livraria Castro e Silva]
 16.   Check availability:     AbeBooks     Link/Print  


        Sylva Sylvarum: or A Naturall Historie in Ten Centuries. (and) New Atlantis.

      Printed by J[ohn] H[aviland] for William Lee at the Turkes Head., London. 1628 - [14] + 258pp + [12] + 44 + 4pp. With additional title page signed 'Tho Cecill Sculp'. New Atlantis has a seperate title page. Lacks portrait frontis. Bookplate of James Wharton ' General in the British Army ' on paste down fep, together with signatures of two later previous owners. Worming and flaking to some page edges. Some damp staining and browning. Some pages of 'New Atlantis' cropped, without loss of text. Fair copy only in chipped and rubbed quarter calf with marbled boards. [Attributes: Hard Cover]

      [Bookseller: Elaine Beardsell (ABA,PBFA )]
 17.   Check availability:     IberLibro     Link/Print  


        Celeberrimi fluvii Albis nova delineatio / Das Ertzstift Bremen. Altkolor. Kupferstich von Chr. Moller bei W. Blaeu. Amsterdam, 1628. Zwei Karten auf einem Blatt. Je 15,3 x 53,3 cm.,

      1628 - Gewicht in Gramm: 500

      [Bookseller: Antiquariat Schramm]
 18.   Check availability:     AbeBooks     Link/Print  


        La sage folie de Spelte. Poëte & historiographe du roy d'Espagne. Traduite d'italien en françois par Louys Garon. [Première partie: La sage folie, fontaine d'allegresse, mere des plaisirs, reyne des belles humeurs : pour la defense des personnes Ioviales, à la confusion des archisages & protomaistres. Seconde partie : La delectable folie, support des capricieux, soulas des fantasques , nourriture des Bigearres : pour l'utilité des cerveaux faibles, & retenuë des boutadeux].

      chez Claude Larjot. 1628 - - chez Claude Larjot., A Lyon _1628, in 12 (9x15cm), (24) 192pp. (12) , (8) 407pp. (1bc) (14)., 2 parties reliées en un vol. - Edition originale française. La première édition du texte italien est de 1607. Illustrée de deux frontispices allégoriques signés Gr. Huret. Edition peu courante. Un exemplaire à la BN de France de 1628, et un autre à la British Library. Rien dans les catalogues collectifs français et anglais. Plein Vélin d'époque à rabats. Dos lisse avec titre à la plume en partie illisible. Traces de lacets. Rousseurs pâles éparses. Antonio Maria Spelta (1559-1632) fut un écrivain, un érudit et un historien de Padoue, c'est en se souvenant de l'Eloge de la folie d'Erasme qu'il écrivit ce recueil composé d'une part de réflexions sur la folie, d'autres de sujets variés allant des astrologues aux chasseurs, d'anecdotes historiques. La première partie tend davantage à dresser un éloge de la folie, malgré la satire toujours présente, alors que la seconde partie dresse un tableau des hommes et des professions en proie à la folie, au fantasque et à la vanité. La plume alerte et mordante de Spelta croque à merveille le portrait de la folie dans ses moindres atours. Livre singulier. (24) 192pp. (12) , (8) 407pp. (1bc) (14). [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
 19.   Check availability:     AbeBooks     Link/Print  


        Iohn Barclay his Argenis. Translated out of Latine into English: the prose vpon his Maiesties Command...

      London, Printed by Felix Kyngston for Richard Meighen and Henry Seile, 1628. Quarto: [8], 256, 247-489, [1] p. (signatures: A4, B-Ii8, K2). Title continues: "by Sir Robert Le Grys, Knight: and the verses by Thomas May, Esquire. With a clauis annexed to it for the satisfaction of the reader, and helping him to vnderstand, what persons were by the author intended." This romance, written in Latin and first published in Paris in 1621, referred to real historical events and people under the veil of allegory. The Clavis, pp. 485-489: STC (2nd ed.) 1394. Has the armorial bookplate of famed collector Sir William Stirling Maxwel, 1818-1878. Title-page soiled, a few marginal repairs; bound in full leather with Stirling Maxwel's embossed arms; very good. Stock#OB636.

      [Bookseller: The Owl at the Bridge]
 20.   Check availability:     TomFolio     Link/Print  


        [Power of attorney, begins:] Sepan quantos esta carta de poder vieren, como you don Luis Geronimo Ferna[n]dez de Cabrera y Bobadilla ... Conde de Chincon ... ortogo todo mi poder cumplido

      Odon [Spain]: No publisher/printer, 1628. Folio (32 cm; 12.5"). [6] ff. In 1628 the Conde de Chinchon had just finished serving as the Treasurer General of the Consejo de Aragon and was preparing to travel to Peru to be the viceroy and captain general of that New World region. He served in that role from 1629 to 1639. The Count had extensive land, business, and political matters that had to be overseen while he was in Southern Hemisphere, and in this printed form => specifically printed for him he gives his power of attorney to Jose de Carvajal Agurto, "my secretary"; Juan de Olabarria, "my accountant"; and Juan de Alderete. They are empowered to administer his estates, collect rents, and to do "other diverse things." Considerable detail is given concerning the extent of their power, including appearing in his stead before courts and councils, dealing with lawyers, agents, and the clergy, and much more. => Never before have we seen a power of attorney printed specifically for a newly appointed viceroy and specifically stating that he needs it because he is to be a viceroy in the New World. Signed by several witnesses and with the Count's paraph. Bound in half cordovan morocco with marbled paper sides. Light waterstaining at edges and along center fold.

      [Bookseller: SessaBks, A Division of the Philadelphia]
 21.   Check availability:     Biblio     Link/Print  


        De Universa Muliebrium Morborum Medicina, Novo Et Antehac a Nemine Tentato Ordine Opus Absolutissimum

      Bibliopolio Frobbeniano, 1628-01-01. 3rd. Hardcover. Very Good. 3rd edition. 4to, contemporary vellum. Folding table. [24], 226, [22]; [4], 541, [41] pages. Internally toned, but clean and unmarked.Rodrigo de Castro (1546-1627) was a Marrano doctor who fled the Inquisition and settled in Hamburg. Friedenwald ('Jewish Luminaries in Medical History', pp 54-56) calls him "one of the foremost physicians in establishing gynaecology in the Renaissance period". The first part of this extensive work treats female anatomy, conception, obstetrics and breast-milk; the second part, describing female diseases, has a section on pregnant women. References: Krivatsky 2287. EJ V, 244. Wellcome II 312.Provenance: Contemporary signature of Olaus Rigelius. From the library of Alfonso Cassuto, a noted collector of books authored by Iberian Jews. Cassutoâ??s book plate on front paste down. An interesting thought is the impact of the loss of men like Castro on Spain and Portugal and its connection to the downfall of Iberian power in the forthcoming centuries.

      [Bookseller: SequiturBooks]
 22.   Check availability:     Biblio     Link/Print  


        Nouvelle histoire des choses plus memorables advenues tant és Indes Orientales, qu'autres pays de la descouverte des Portugais

      A remarkable source of information on Jesuits exploits in India, China & Brazil. 1628. Arras. G. Bauduin. In 12mo (168 mm x 102 mm). 5 ff. + 977 (i.e. 975) + 26 ff. Recent flexible vellum. A very fresh, crisp and clean copy, with minor toning to a few folios, else fine. Third edition of the second part, the only part to be reprinted separately, thus complete ?as this edition does not contain any other parts. First published as a part of Jarric?s ?Histoire des choses memorables advenuestant les Indes Orientales, que autres país de la decouverte des Portugais?, 1610 and the portion the most information on Brazil. This part is mainly based don Luiz de Guzman and deals with Africa, Brazil, India & China and so it constitutes a valuable and early source of information. ?Father du Jarric?s work, in spite of being a compilation (mostly from Fernao Guerreiro, Relacam Anual) is very valuable for the study of the Jesuits in Brazil [making a reference that it is indeed the second part that contains the most references on Brazil]?. Du Jarric (1566 ? 1617) was a French Jesuit Priest; although he never actually got to travel and perform missionary labour himself, he advocated to the narration of the travels of his fellow churchmen, mainly those of the Society of Jesus. The work contains an array of ?mainly- voyages and relations to and from Portuguese domains. Borba de Moraes, 426 (ref.). De Backer ? Sommervogel, IV, 751. Sabin, 35790.

      [Bookseller: Hs Rare Books]
 23.   Check availability:     Biblio     Link/Print  


        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 reuised by his Maiesties speciall commandement : Appointed to be read in churches

      Imprinted at London : By Bonham Norton and Iohn Bill Printers to the Kings Most Excellent Maiestie, M.DC.XXVIII., [ 1628 ] . 0. 4to. 9.00" x 6.75" x 2.50". A very good 17th century black letter bible, in a black morroco leather binding (probably 19th century?). Simple blind stamp decoration. Edges rubbed and bumped. Smooth spine with dulled gilt title: Holy Bible - Common Prayer. Brown endpapers. The book begins with; The Booke of Common prayer... (title absent, but otherwise complete). Followed by "The Genealogies..." - Complete. Bound with: "A Description of Canaan..." - Double-page map. Followed by the Holy Bible, beginning with an engraved general title, dated 1628, 7 preliminary leaves, ending with;"The names and order of all the Bookes..." The Old Testament ends on Ss 6a. Family history details to verso - Dawson & Groomes 1792 - 1850. The Apocrypha ends on Eee 2b. Followed by the New Testament, beginning with an engraved title-page (dated 1628). Family history details to the verso; Woodward and Nicholls 1661 - 1744 .The New Testament ends on Rrr 8a with a colophon. Bound with: "The Whole Booke Of Psalmes...Company of Stationers, 1629." - All Psalmes present but missing the last leaf of Prayers. Clean Black letter text in double columns throughout. A well preserved 17th century bible. Referenced by Herbert 412 / Darlow & Moule 316 / STC 2282 . .

      [Bookseller: Beckham Books Ltd]
 24.   Check availability:     Biblio     Link/Print  


        Corpus Iuris Civilis quo ius universum Iustinianeum comprehenditur: Pandectis, ad Florentinum archetypum espressis.

      Paris, Antoine Vitray, 1628. - (24) SS., 96 Spp., (40) SS., 1982 Spp., (1) S. Mit gest. Frontispiz. Goldgepr. roter Maroquinband der Zeit mit Deckelfileten und Eckfleurons sowie floralen Bordüren. Goldgepr. florale Verzierung am Rücken; goldgepr. blaues Rückenschildchen; Stehkantenvergoldung. Dreiseitiger Rotschnitt; Marmorvorsätze. Folio. Eindrucksvoller erster Band des Corpus juris civilis mit prachtvollem Kupferstichfrontispiz. Anstelle der einst von Accursius glossierten Ausgabe erstellt Dionysius Gothofredus eine mit Noten versehene Ausgabe ohne die Glosse, die einen Kompromiss der textkritischen Arbeit darstellte. Sie bestimmte als "Littera Gothofrediana" die juristische Rechtsquellenlage bis zum 19. Jahrhundert. Bestimmend für Markt und Editionen war der Druckort Lyon; daneben entwickelte Paris eine eigene Richtung in textkritischen Editionen und hatten den Beititel "Littera Parisiensis", mit dem man sich von Lyon ("Littera Lugdunensis") abzugrenzen suchte. - Am Vorsatzblatt hs. Besitzvermerk "Ex bibliotheca Petri Davidis Felles" sowie "Cavarik" am Titel. Einband fachmännisch restauriert; innen teils wasserrandig und braunfleckig. Graesse III, 503.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 25.   Check availability:     AbeBooks     Link/Print  


        Pia desideria lib. III. Ad urbanum VIII. Editio 5. [!] emendate.

      Antwerpen, Hieronymus Verdussen, 1628. - (14), 444, (2) SS., l. w. Bl. Mit gest., ill. Titel, gest. Wappenfrontispiz (Wappen des Papstes Urban VIII.) und 46 ganzseitigen Textkupfern (verso zumeist unbedruckt). Pergamentband der Zeit auf 3 durchzogenen Bünden mit übergreifenden Deckelkanten und goldgepr. grünem Rückenschildchen. Bindebänder fehlen. 8vo. Sehr frühe lateinische, wahrscheinlich zweite Ausgabe mit den Kupfern von Bolswert. Diese Ausgabe nicht bei de Backer, Landwehr oder Praz. Das einflußreiche, erstmals 1624 in Antwerpen erschienene Emblembuch des Brüsseler Jesuiten H. Hugo (1588-1629) war seinerzeit sehr beliebt und erlebte bis 1756 allein 42 lateinische Ausgaben. "Each emblem with a Bible quotation engraved in the plate [.] perhaps the most influential religious emblem book" (Landwehr). Die hübschen emblematischen Tafeln sind die Originalkupfer der Erstausgabe; ihr Schöpfer Boetius v. Bolswert (um 1580-1633) gilt als einer der bedeutendsten Kupferstecher des Barock. "Von den mit vielen kleinen Blättern illustrierten Büchern verdien[t] namentlich noch Erwähnung [.] Herm. Hugos 'Pia desider[i]a" (vgl. Thieme/Becker 4, 254f.). - Papierbedingt etwas gebräunt, teils auch (finger-)fleckig. Titel mit zeitgenöss. hs. Besitzvermerk des Kölner Jesuitenkollegs. Am vorderen Vorsatz hs. Besitzvermerk "Ex libris N. J. Houben [.] 1814". Vgl. de Backer/Sommervogel IV, 513, 6. Praz 376ff. Landwehr 345 (EA bei Aertssen, 1624). [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 26.   Check availability:     AbeBooks     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving, coloured by hand, by Egbert van Panderen. (Occasional small marginal tears). 18 13/16 x 27 inches. 21 3/16 x 29 7/8 inches. A fine hand-coloured print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 27.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. IX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Egbert van Panderen. Very good condition. 18 7/8 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 28.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. III]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition apart from some mild creasing and a small orange spot in the lower right side of the image near the plate number. 19 x 27 1/4 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 29.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XVI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Pieter van Serwouters. Very good condition. 18 7/8 x 27 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 30.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Egbert van Panderen. Very good condition apart from some light soiling in the top left side of the image and margin. 19 x 27 1/2 inches. 20 3/8 x 30 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 31.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXVIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving Andries Jacobsz Stock. Very good condition. 19 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 32.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition apart from a few skillfully repaired losses in the margins and several tears in the top margin. 18 7/8 x 29 1/8 inches. 21 1/2 x 29 1/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 33.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXV]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Saloman Savery. Very good condition apart from a small brown spot in the lower right side of the image. 19 x 27 inches. 20 3/4 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 34.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXXIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from several skillfully repaired losses in the margins. 19 x 27 1/4 inches. 21 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 35.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. IIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolus Petri Lastman. Very good condition apart from several skillfully repaired small losses and tears in the margins. 19 x 27 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 36.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. X]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by 'Rob. beaudoux'. Very good condition apart from a small loss in the lower right corner, a few skillfully repaired tears in the top margin, and several small tears at the extreme edge of the bottom margin. 18 7/8 x 27 1/8 inches. 21 1/2 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 37.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Peter Isselburg. Very good condition apart from a few several skillfully repaired losses in the top margin, several small tears at the extreme edges of the margins, and an orange spot in the center of the image. 19 x 27 inches. 21 3/4 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 38.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXVII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Saloman Savery. Very good condition. 19 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 39.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Adrian Matham. Very good condition apart from a skillfully repaired loss in the right margin. 19 1/8 x 27 3/8 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 40.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XIX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Pieter van Serwouters. Very good condition. 18 1/2 x 27 inches. 21 x 29 1/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 41.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from a small orange spot in the left side of the image. 18 7/8 x 27 1/8 inches. 21 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 42.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXIX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving Schelte Adams Bolswert. Very good condition apart from some light foxing in the margins, a skillfully repaired 1" tear in the left margin, and a 3/8" tear in the top margin. 18 7/8 x 27 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 43.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Andries Jacobsz Stock. Very good condition apart from several skillfully repaired small losses and tears in the margins. 19 x 27 1/2 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 44.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXIIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Saloman Savery. Very good condition. 18 7/8 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 45.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Schelte Adams Bolswert. Very good condition apart from several skillfully repaired losses and tears in the margins. 19 x 27 inches. 21 1/2 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 46.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XVIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from a few light foxing marks in the bottom margin. 18 7/8 x 27 1/8 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 47.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. X]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by 'Rob. beaudoux'. Very good condition apart from some mild rippling. 18 7/8 x 27 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 48.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XVII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Pieter van Serwouters. Very good condition apart from a few light foxing marks in the bottom margin. 19 x 27 1/4 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 49.   Check availability:     Biblio     Link/Print  

______________________________________________________________________________


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


Copyright © 2018 viaLibri™ Limited. All rights reserved.