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

        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]
 1.   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]
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        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]
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        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]
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        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]
 5.   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]
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        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]
 7.   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]
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        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]
 9.   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]
 10.   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]
 11.   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]
 12.   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]
 13.   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]
 14.   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]
 15.   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]
 16.   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]
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        Plate from 'Academie de l'Espee' [Tab. XXIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Adrian Matham. Very good condition apart from several tears along the extreme edge of the top margin and a small brown spot in the top left-hand side of the image. 19 x 27 1/4 inches. 21 x 29 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]
 18.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Schelte Adams Bolswert. Very good condition apart from a 3/8" tear in the right margin and a few small orange spots in the lower part of the image. 19 x 27 1/4 inches. 19 7/8 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]
 19.   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 few small tears at the extreme edge of the top margin and some light foxing. 18 3/4 x 27 1/4 inches. 21 7/8 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]
 20.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from some mild creasing. 19 x 27 3/8 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]
 21.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving Crispyn Van den Queborne. Very good condition. 18 7/8 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]
 22.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition. 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]
 23.   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 a few light foxing marks in the top margin. 18 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]
 24.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Crispyn Van den Queborne. Very good condition apart from some light foxing in the margins. 18 7/8 x 27 inches. 20 3/4 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]
 25.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition. 19 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]
 26.   Check availability:     Biblio     Link/Print  


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

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Willem Jacobsz Delff. Very good condition apart from a skillfully repaired 5/8" tear in the top margin. 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]
 27.   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 several tears at the extreme edges of the sheet. 18 7/8 x 27 1/8 inches. 21 3/4 x 29 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  


        Academie de l'Espée... ou se demonstrent par reigles mathematiques sur le fondement d'un cercle mysterieux la theorie et pratique des vrais et jusqu'a present incognus secrets du maniement des armes a pied et a cheval

      [Leiden: B. & A. Elzevir], 1628. Large folio. (20 3/4 x 15 1/2 inches). Engraved title, portrait of the author, 9 plates of coats-of-arms, 46 plates of fencing (44 double-page) by Crispin de Pass (1), Wilhelm Jacob Delff (3), J. Gilli (6), Crispian Queborn (6), S. or B. Bolswaert (5), Salomon Saurius (3), Andreas Stockius (3) and others. (One plate supplied from another copy with hand-colouring). Early 18th-century vellum over pasteboard, panelled in gilt, the flat spine in seven compartments divided by decorative rolls, lettered in the second and third (wear to head and foot of spine). The most sumptuous book on fencing ever produced, with plates which combine a strong design sense with beauty and historical importance, executed by some of the greatest engravers of their day. Thibault's theories of successful fencing using movement and mathematical principles are all beautifully pictured, and the work as a whole is a triumphant symbiosis of engraving and fine typography. The book 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 work 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.). Brunet V 815; Copinger 4705; Lipperheide 2960; Rosenwald 1427; Vigeant p.125; Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        [ TRIGONOMETRY ] Kurzer doch gründlicher Bericht/ von Calculation der Tabularum Sinuum, Tangentium vnd Secantium. Sampt deroselben gebrauch/ in Solvierung oder aussrechnung aller flachen Triangel: in zweyen Theilen begriffen: ... auss dem Niderländischen transferirt vnd mit einem nohtwendigen Register an Tag gegeben/ Sampt einer Vorrede M. Danielis Schwenters Professoris Norici, vnd angehefften Tabulis Sinuum, Tangentium vnd Secantium, in theilen/ deren der halbe diameter 10000000. begreifft. [ orig. title: Driehouckhandel ]

      Nürnberg: Simon Halbmayer, 1628. Vellum bound First German edition of a Dutch work published earlier in Stevin's Wisconstige Gedachtnissen (Complete Works) (1605-08) Very Good Duodecimo. 2 complementary works bound in one volume. Contemporary vellum over boards. Slight wear to edges and corners. Many pages have foxing, more so in the pages of the Axiomata. A few pages have very slight tears at foredge. A small rectangle has been cut from the lower corner of the first free endpaper. Binding has a small nick at foredge of back board. Vellum slightly scuffed. with light soiling. [24]154 [10], [182] p. Large printer's device on last page. Many simple geometrical woodcut illustrations, primarily of triangles. Contains the first 2 parts of Stevin's work on trigonometry translated into German from the original Dutch, with 4 axioms (Pitisci Axiomata) from Bartolomeo Pitiscus added by Schwenters in his forward. The second part of the book is a work consisting of tables for sine, tangent and secant added by Schwenters. The work does not include the 3rd part of Stevin's Trigonometry, which covered spherical triangles - indeed, Schwenters states Stevin did no writing in this area, which is incorrect. The original edition of this work is titled "Driehouckhandel". The translator for this work is unknown and was perhaps Schwenter himself, but appears not have had access to a complete copy. (Struick, Principle Works of Simon Stevin, II B p. 755). Less desirable than Dutch editions but still a scarce work on Trigonometry by one of the more important mathematicians of the early Dutch independence period. Simon Stevin (1548-1640) was a Dutch bookkeeper, mathematician, engineer, and science advisor to Maurits (Maurice) of Nassau, stadholder of the United Provinces. Stevin helped set up an engineering school and advised in a number of major nautical related projects. Steven in most well known for introducing decimal fractions to Europe in 1585, though his original arcane notation was abandoned shortly thereafter. He is also known for creating a "land yacht", powered by sails that could move before the wind faster than a horse. On at least one instance he, Maurits, and over 20 others put it to entertaining use on a beach. In all a lovely copy of the book.

      [Bookseller: Motte & Bailey, Booksellers]
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        Compendium librorum Politicorum de Papanâ & Hispanicà Monarchià. Zwey Discurs Bruder Thomas Campanellen, Von des Bapsts vnd Spaniers vermeinter rechtmessiger gewalt vnd deroselbigen mit dem Römischen vnd Türckischen Keyser vergleichunge ja vorzuge. Darinne er die sonst von jhme gerichtete Bäpstliche vnd Spanische Monarchie von newest kürtzlich zu stützen ... Allererst aus einem Welschen Mscr. verdeutzscht vnd mit einer widerlegung apostillirt von einem Mannlichen Rivalem der Klugheit

      O. O. und Dr., (1628).. 36 Bll. Marmorierter Pappband. 4°. 20 x 16 cm. VD17 14:003665E. - Motto mit Chronogramm: VbI nos oDIo Papæ, HIspanIqVe, & A More ChrIstI nostrI perseqVentes. - Der erste Diskurs über die Konstantinische Schenkung, der zweite über den Kampf um die Vorherrschaft über die slawische Bevölkerung zwischen Habsburg und dem Ottomanischen Reich. - Campanellas Organisation eines Aufstandes gegen die spanische Herrschaft in Süditalien brachte ihn in lebenslange Kerkerhaft. - Papier altersbedingt gebräunt.

      [Bookseller: Antiquariat Turszynski]
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        Annotationes in praecipua ac difficiliora sacrae scripturae loca

      Duaci [Douai]: Apud Gerardum Patté, sub signo missalis aurei, 1628. Folio in 6's (36 cm, 14.2"). [3] ff. (of 4, lacking title-leaf), 684 pp., [10] ff. Second edition" (but really third?) of commentary on the O.T. and N.T. by Willem Hessels van Est (Gulielmus Estius, 1542–1613), who studied classics at Utrecht and religion at Louvain, and was Chancellor at the University of Douai from 1595 until his death. Famous especially for exegetical writings, as herein, "Estius's reputation became so great among later scholars that the saying . . . 'Estius on the Epistles' became proverbial." (NCE) This edition was edited by Gaspard Dubois (Nemius, 1587–1667), whose dedication to Francis van der Burch, Archbishop of Cambrai, features his => engraved arms as a headpiece. First published in 1617, the text is in Latin printed in roman and italic, double-column, framed on each page by a double-ruled border, with elaborate woodcut initials and head- and tailpieces, many incorporating the Jesuit "IHS" and one of these => censored by an 18th-century hand. (Two large leaves are drawn in ink over objectionable putti parts!) The title-page, wanting in this copy, has been transcribed by the same(?) early hand in ink on the front fly-leaf recto and verso, and the imprint information is confirmed by the colophon on the last page, which features the woodcut printer's device and the date in roman numerals. Provenance: An inscription on the front fly-leaf verso gives three dates, 1682–1739, and the names Fido Springhere and Philippus Coisne(?); there is a second ex-libris inscription with the name Baptista Baelde(?) at top of dedication leaf; and a final inscription, "Fido Springhere 1686" on verso of last leaf, above colophon. Scarce: This edition => not in NUC Pre-1956, and WorldCat finds just three U.S. copies. McCrank, 871. On Estius, see: NCE, V, 558. Contemporary calf with an elaborate cartouche gilt at the center of each cover, rebacked to style with gilt-ruled raised bands and green gilt-lettered spine label; extremities repaired and new endpapers. Ex-library: old oval stamp on first page of dedication and accession number on p. 1 of text. Lacks title-leaf; various markings on verso of front endpaper; final two quires lightly creased; small marginal hole from natural paper flaw on three leaves; a few spots and smudges and one small tear, also from natural flaw. With occasional => underlining and marginalia in Latin, seemingly by the same hand that transcribed the title and inscribed the fly-leaf.

      [Bookseller: SessaBks, A Division of the Philadelphia]
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        “Der Wein Jud”

      1628. Rare first edition of this anti-Semitic broadsheet, a derisive attack on the perceived Jewish monopoly on the German wine industry during the Thirty Years War. A wealthy, Janus-headed merchant rides on a large wine barrel wagon, driven by a devil straight towards Hell’s flaming maw. Identified as Jewish by the circular patch on his jersey which Jews were required by law to wear in Germany, as well as the caricatured facial features, the figure draws on the iconographic tradition of Bacchus as well as the subversive mockery of Carneval parades. The rich allegory is reinforced by 20 Lutheran Biblical verses, many from the Old Testament, all aimed at depicting the prototypical Jewish wine merchant as a covetous and grasping profiteer for whom divine justice waits. The protagonist travels with vintner symbols including the watering-can helmet, weights and other measures, and a waving pennant with five wine-related icons, including the vintner’s horseshoe-shaped hoe and a siphon. While his bulging moneybags and fine clothing are clear signs of prosperity, the tally sticks and flaying knife in his left hand represent usury. With the terms “wine”, “brandy” and “vinegar” inscribed on his torso, he clearly controls all elements of the trade. His two faces are accompanied by the joint motto, “Lying in the barrel, lying in the countryside”, representing the double monopoly over both production and distribution. Although unsigned, the etching was most likely produced in the Rhine and Moselle region. One of the casks in the wine cellar in the upper left bears the date 1624, the year in which the archbishop of Trier renewed the commercial regulations permitting Jewish merchants to be involved in the wine trade. Based on the date inscribed on the well, the broadside was produced in 1628, after ten years of war. At that point, fields had been repeatedly plundered by Protestant and Catholic troops, and harvests were irregular at best. The failing crops forced farmers to mortgage their land; with each year they became more indebted to Jewish moneylenders. Jewish merchants also controlled a substantial portion of the wine distribution system, setting prices and further limiting the financial autonomy of vineyard producers. The wagon’s wheels are inscribed with six terms that describe the Jew’s dissolute means of forward progress: Advantage, Financiering and Preemption, Swindling, Deceitfulness and Questionable Measuring. Underneath the wagon are four insidious roots, labeled “Radix Omnium Malorum Avaritia” (“love of money is the root of all evil”, from 1 Timothy 6:9). Even the animals pulling the wagon—the lion Cruelty, the bear Voraciousness, and the wolf Rapaciousness—signify aspects of avarice. A bespectacled fox, the Jew’s alter ego, tows a netful of winegrowers after the cart, with one poor distributor collapsed on the ground. In the background, small scenes depict the Wine Jew’s work: at left devils are engaged in watering the wine in a commercial cellar, while at right a transaction between 4 men takes place in a vineyard—Harms refers to a provision by the Jewish Council in Trier between 1618-24 abrogating guilty verdicts. The broadside’s creator remains unknown; one of the wagon’s barrels bears the monogram “S.V.” A second, laterally transposed edition of the etching, also signed “S.V.”, appeared in 1629. A related unsigned 1629 broadsheet entitled “The Corn and Wine Jew” (with somewhat different text and image) extends the critique beyond the wine industry to corn and grain merchants who were also affected by poor harvests and increased dependence on the Jewish community.* Harms-Schilling I.170 (laterally transposed image, also signed “S.V.”, dated 1629).

      [Bookseller: Martayan Lan, Inc.]
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        MAP: Nova Europae Descriptio

      Amsterdam, 1628 >>FRAMED AND GLAZED (UV-Blocking Non Glare)<< / Splendid, large copper engraving map, coloured, Mercator, Amsterdam by Jodocus Hondius 1628 [Atlas sive Cosmographicae Meditiones] Map of Europe "Nova Europae Descriptio..." CARTOGRAPHER: Gerard Mercator (1512-1594) Mercator was a Belgian cartographer. Jodocus Hondius (1563-1612), sometimes called Jodocus Hondius the Elder to distinguish him from his son) was a Flemish artist, engraver, and cartographer. He is best known for his early maps of the New World and Europe, for re-establishing the reputation of the work of Gerard Mercator, and for his portraits of Francis Drake. He helped established Amsterdam as the center of cartography in Europe in the 17th century. DESCRIPTION: This is a large, wonderful coloured copper engraving map of Mercator by Hondius. It shows Europe for example with Scandinavia, Benelux, Germany, France, Spain, Italy. The map is decorated with a beautiful title cartouche. A very beautiful map. // Size of leaf appr.: 44.2 x 53.2 cm // Size of map appr.: 37.5 x 50.1 cm. If you want to receive the frame with the map. ask for a shipping quote. PHOTOS AVAILABLE UPON REQUEST.

      [Bookseller: Louis Caron]
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        A Briefe Description of the Notorious Life Of John Lambe otherwise called Doctor Lambe. Together with his Ignominious Death. Quarto

      London: Printed in Amsterdam, 1628 [J. Sturt], 1810?. Modern 1/4 calf over marbled boards, some foxing and browning, else a very good copy; with the title vignette depicting Lambe&#39;s brutal murder The rare Sturt reissue of the sole contemporary work devoted to the life (and death) of Lambe, long-time denizen of King&#39;s Bench Prison, accused but acquitted of both witchcraft and rape, and ultimately clubbed and stoned to death by a London mob

      [Bookseller: Meyer Boswell Books, Inc.]
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        THE HOLY BIBLE, CONTAINING THE OLD TESTAMENT AND THE NEW. Newly Translated our of the Originall Tongues: And with the former Translations diligently compared and revised by his Maiesties speciall commandement. Appointed to be read in Churches

      London, Bonham Norton and John Bill, Printers to the Kings most Excellent Maiestie, 1628.. KING JAMES BIBLE with Apocrypha, 1628. Small 4to, 225 x 170 mm, 8¾ x 6¾ inches, engraved pictorial general title page and New Testament title page both with broad woodcut border representing the tents and shields of the 12 tribes, the 12 apostles, and the 4 evangelists with title in heart shape at centre, decorated head- and tailpieces and initials, printed in black letter, no pagination, text ends on Rrr8r, colophon on Rrr8r. Bound in at the front are the Genealogies of J.S. (John Speed) on (2) plus 34 numbered pages, followed by 4 unnumbered containing the Description of Canaan and the double page map. Collation: A8, A8-Rrr8, Xx1 and Xx2 are missing (Tobit chapters III-XI) and replaced with 3 leaves from another blackletter Bible, text differs slightly, also missing is the whole of signature Nnn (8 leaves from St. Paul&#39;s Letter to the Romans) and the text replaced with 10 leaves from a Bible printed in roman. Bound in full calf, decorated in blind, rebacked with original backstrip laid on, raised bands, blind rules, gilt lettered red morocco label, gilt date at foot, all edges red, marbled endpapers, no pagination to Bible. Two small neat repairs to Genealogy margin, no loss, tiny repair to lower margin corner of general title page, others to D8, Q1 and Q2, Xx3, Lll8, Qqq2, Rrr4 and 5, top margin of Ss6 and Eee2 (final page of Apocrypha with very slight loss of legibility), Ii6 torn across text, skilfully repaired, all still legibile, occasional light soiling to margins, a few stains on text, no loss of legibility, ink name in 1 margin with some ink smudges, some early writing in margins of colophon. A good sturdy copy (with 10 leaves replaced as noted). Darlow and Moule Volume I, page 159, No. 315, Herbert page 156, No. 411. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        Sir Francis Drake Revived: Calling upon this dull or effeminate age, to follow his noble steps for gold and silver. by this memorable relation, of the rare occurrences (never yet declared to the world) in a third voyage, made by him into the West-Indies, in the yeeres 72. and 73. when Nombre de Dios was by him and fiftie two others onely in his companie surprised. Faithfully taken out of the report of M. Christofer Ceely, Ellis. Hixom, and others, who were in the same Voyage with him. By Philip Nichols, Preacher. Reviewed by Sir Francis Drake himselfe before his death, and much holpen and enlarged by diuers notes, with his owne hand here and there inserted. Set forth by Sr. Francis Drake Baronet (his Nephew) now liuing

      London: printed for Nicholas Bourne, 1628. Small quarto. (7 7/8 x 6 1/8 inches). [8],80pp. plus contemporary manuscript list of pamphlets on one folded small format leaf bound in following titlepage. (Wormtrack to leaves from A2 to D1 with occasional loss of text, title lightly soiled with small tear in lower margin, dedication leaf with restoration to upper outer corner and repaired tear affecting text area, D4 with a repaired tear affecting text area). Modern brown half morocco over marbled boards by Bayntun of Bath, spine gilt in three unequal compartments with raised bands, lettered in gilt in the second compartment. One of the rarest works on Drake, describing his Caribbean raid of 1572 The second edition, after the first of 1626, of this account of Francis Drake&#39;s highly successful raid against the Spanish in Panama in 1572-73, one of his early Caribbean raids of plunder and harassment. Sabin states of this edition: "It differs from that of 1626 in having had the advantage of the incorporation of the errata of the latter date under the personal superintendence of the nephew of the great voyager. The last four leaves are larger than the rest of the book." The expedition of fifty-two Englishmen attempted to seize Nombre de Dios, but were repulsed when Drake was wounded in the shoulder. After many reversals and hardships, the British managed to waylay an entire pack train of Peruvian silver, bringing home a fortune. Drake&#39;s bold move was approved by Queen Elizabeth, who shared in the plunder, but the politics of his raid on Spain during a period of ostensible peace made it necessary for him to disappear to Ireland for several years after the event. Besides his success in plunder, on this expedition Drake became the first Englishman to see the Pacific Ocean. The book was originally written in a manuscript account of the expedition given to Queen Elizabeth on New Year&#39;s Day 1593. In his letter of presentation which serves as the introduction to the book, Drake suggests that, while it is pleasant to think of past victories, he would rather be undertaking new employment of the same sort. The opportunity soon presented itself, with more raids in the West Indies; and in 1596, just over three years after giving the manuscript to the Queen, the intrepid Drake died at sea off Puerto Rico during a raid on Spanish shipping. Thirty years after Drake&#39;s death, courtier Philip Nichols reworked and published the manuscript. The timing of publication of the first edition is significant. King James I, Elizabeth&#39;s successor, had been eager to placate the Spanish, and no publication so openly lauding raids on Spanish property would have been tolerated during his reign. James I died in 1625 and Sir Francis Drake Revived... was published the following year. European Americana 628/87; JCB (3)II:213; Sabin20838; STC 18545

      [Bookseller: Donald Heald Rare Books]
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        SIR FRANCIS DRAKE REVIVED: CALLING UPON THIS DULL OR EFFEMINATE AGE, TO FOLLOW HIS NOBLE STEPS FOR GOLD AND SILVER. BY THIS MEMORABLE RELATION, OF THE RARE OCCURRENCES (NEVER YET DECLARED TO THE WORLD) IN A THIRD VOYAGE, MADE BY HIM INTO THE WEST-INDIES, IN THE YEERES 72. AND 73. WHEN NOMBRE DE DIOS WAS BY HIM AND FIFTIE TWO OTHERS ONELY IN HIS COMPANIE SURPRISED

      London. 1628.. [8],80pp. plus contemporary manuscript table of contents leaf bound in following titlepage. Small quarto. Modern three-quarter brown morocco and marbled boards by Bayntun, spine gilt. Bookplate on front pastedown. Titlepage a bit soiled, small closed tear in lower margin with no loss. Dedication leaf and leaf D4 each with a closed tear, repaired and with no loss. Worm hole expertly repaired in titlepage and first dedication leaf, proceeding through the following ten leaves of text, touching two or three letters on each page. Overall, a very good copy. The second edition, after the first of 1626, of this account of Francis Drake&#39;s highly successful raid against the Spanish in Panama in 1572-73, one of his early Caribbean raids of plunder and harassment. Sabin states of this edition: "It differs from that of 1626 in having had the advantage of the incorporation of the errata of the latter date under the personal superintendence of the nephew of the great voyager. The last four leaves are larger than the rest of the book." The expedition of fifty-two Englishmen attempted to seize Nombre de Dios, but were repulsed when Drake was wounded in the shoulder. After many reversals and hardships, the British managed to waylay an entire pack train of Peruvian silver, bringing home a fortune. Drake&#39;s bold move was approved by Queen Elizabeth, who shared in the plunder, but the politics of his raid on Spain during a period of ostensible peace made it necessary for him to disappear to Ireland for several years after the event. Besides his success in plunder, on this expedition Drake became the first Englishman to see the Pacific Ocean. The book was originally written in a manuscript account of the expedition given to Queen Elizabeth on New Year&#39;s Day 1593. In his letter of presentation which serves as the introduction to the book, Drake suggests that, while it is pleasant to think of past victories, he would rather be undertaking new employment of the same sort. The opportunity soon presented itself, with more raids in the West Indies; and just over three years after giving the manuscript to the Queen, the intrepid Drake died at sea off Puerto Rico during a raid on Spanish shipping. Thirty years after Drake&#39;s death, courtier Philip Nichols reworked and published the manuscript. The timing of publication of the first edition is significant. James I, Elizabeth&#39;s successor, had been eager to conciliate the Spanish, and no publication so openly lauding raids on Spanish property would have been tolerated under his reign. James I died in 1625 and SIR FRANCIS DRAKE REVIVED... was published the following year. A most important piece of Drakeiana. EUROPEAN AMERICANA 628/87. SABIN 20838. STC 18545. JCB (3)II:213.

      [Bookseller: William Reese Company - Americana]
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        Les Oeuvres D'ambroise Pare

      Paris, Nicolas Buon, 1628. Hardcover. Very Good. Folio. [24], 1320, [114] p. : illus., ports. ; 35 cm. Professionally repaired and bound in contemporary leather. Gilt lettering and design on spine. Minimal shelfwear. French. Writing on inside front board. Missing title page. Clean, unmarked pages with toning. Please feel free to view our photographs. Ambroise ParÃ?© (c. 1510 ââ?¬â?? 20 December 1590) was a French surgeon. He was the great official royal surgeon for kings Henry II, Francis II, Charles IX and Henry III and is considered as one of the fathers of surgery and modern forensic pathology. He was a leader in surgical techniques and battlefield medicine, especially the treatment of wounds. He was also an anatomist and invented several surgical instruments.

      [Bookseller: SequiturBooks]
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        THE HISTORIE [HISTORY] OF THE WORLD. In Five Books

      London: Printed for H. Lownes, G. Lathum, and R. Young, 1628. Fourth edition. Folio (pages 339 x 218 mm); complete with 8 folding plates and: The Minde of the Front [by Ben Jonson, with 120 cm paper triangle replaced in the corner, no text affected.], printed title with portrait of Raleigh [inserted from a different copy and with a 75 mm repaired tear to a corner, no text affected], engraved title [also inserted from a different copy], The Preface [32 pgs.], Contents [28 pgs.], 1-669, To the Reader [2 pgs.], Chronological Table [26 pgs.], and Alphabetical Table [26 pgs.]. In contemporary full calf boards with significant stains and wear, partially repaired and rebacked, retaining early spine labels. A few minor stains or smudges to text pages, but generally clean and unworn. All eight folding plates are attached and in attractive condition. & & Raleigh&#39;s monumental, unfinished work written between 1607 and 1611, while he was imprisoned in the Tower of London, deals with Biblical history in books one and two and then Greek and Roman history in books three, four and five. Unfinished because Raleigh was beheaded in 1618, before he could complete the next part. This book forms the core of Raleigh&#39;s literary legacy, although his fame also rests upon his exploration for "El Dorado," the City of Gold in South America. STC 20640; Sabin 67560.

      [Bookseller: Whitmore Rare Books]
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        Annotationes in praecipua ac difficiliora sacrae scripturae loca

      Apud Gerardum Patte sub signo missalis aurei Duaci [Douai]: Apud Gerardum Patté, sub signo missalis aurei, 1628. Contemporary calf with an elaborate cartouche gilt at the center of each cover, rebacked to style with gilt-ruled raised bands and green gilt-lettered spine label; extremities repaired and new endpapers. Ex-library: old oval stamp on first page of dedication and accession number on p. 1 of text. Lacks title-leaf; various markings on verso of front endpaper; final two quires lightly creased; small marginal hole from natural paper flaw on three leaves; a few spots and smudges and one small tear, also from natural flaw. With occasional => underlining and marginalia in Latin, seemingly by the same hand that transcribed the title and inscribed the fly-leaf.. Folio in 6's (36 cm, 14.2"). [3] ff. (of 4, lacking title-leaf), 684 pp., [10] ff. Second edition" (but really third?) of commentary on the O.T. and N.T. by Willem Hessels van Est (Gulielmus Estius, 1542&#150;1613), who studied classics at Utrecht and religion at Louvain, and was Chancellor at the University of Douai from 1595 until his death. Famous especially for exegetical writings, as herein, "Estius's reputation became so great among later scholars that the saying . . . 'Estius on the Epistles' became proverbial." (NCE) This edition was edited by Gaspard Dubois (Nemius, 1587&#150;1667), whose dedication to Francis van der Burch, Archbishop of Cambrai, features his => engraved arms as a headpiece.First published in 1617, the text is in Latin printed in roman and italic, double-column, framed on each page by a double-ruled border, with elaborate woodcut initials and head- and tailpieces, many incorporating the Jesuit "IHS" and one of these => censored by an 18th-century hand. (Two large leaves are drawn in ink over objectionable putti parts!)The title-page, wanting in this copy, has been transcribed by the same(?) early hand in ink on the front fly-leaf recto and verso, and the imprint information is confirmed by the colophon on the last page, which features the woodcut printer's device and the date in roman numerals.Provenance: An inscription on the front fly-leaf verso gives three dates, 1682&#150;1739, and the names Fido Springhere and Philippus Coisne(?); there is a second ex-libris inscription with the name Baptista Baelde(?) at top of dedication leaf; and a final inscription, "Fido Springhere 1686" on verso of last leaf, above colophon.Scarce: This edition => not in NUC Pre-1956, and WorldCat finds just three U.S. copies.

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


        GIUDITIO POLITICO SOPRA LA VITA DI LUIGI XI RE DI FRANCIA + SPECCHIO DELLA SCIENZA POLITICA + HISTORIA VERACE DELLE GUERRE + GENEALOGIA DELLA REAL CASA DI BORBONE+ DE GLI STATI DI FRANCIA+INTERROTTA CONTINUAZIONE+ IL PRINCIPE GLORIOSO+ LA PRINCIPESSA

      APPRESSO BAREZZO BAREZZI 1628 In 8. Dim. 22x16,5 cm. Pp. (16)+222, 104, (16)+72, 28, 140+(4), 71+(1), 103, 42+(2). Rara raccolta del 1628 delle principali opere di Pierre Matthieu (1563-1621) scrittore, poeta, drammaturgo e storiografo tradotte da diversi autori. Il volume raccoglie otto opere tutte stampate a Venezia da Barezzo Barezzi (1560-1643 circa) nel 1628. Sette opere sono scritte da Matthieu, solo una "De gli Stati di Francia et della lor possanza" è di Matteo Zampini (1519-1600). Quest'ultima è un'indagine storica sulle origini e natura degli stati e pone in relazione il loro potere con il potere regale. Lo scritto ebbe un notevole successo al tempo ed una certa influenza sul pensiero politico. La prima opera, prima traduzione italiana, descrive la vita di Luigi XI di Francia (1423-1483). La seconda è una sorta di dizionario di scienza politica dalle cui voci trarre una generale lezione di moralità. La terza è la descrizione della guerra fra Francia e Spagna fino alla Pace di Veruins (1598). La quarta è una genealogia della Reale Casa Borbone dal Re Faramondo sino ad Enrico IV. La sesta e settima descrivono la vita ed imprese eroiche di Enrico IV re di Francia e Navarra (1553-1610). L'ottava è la vita di Santa Elisabetta d'Ungheria (1207-1231) dedicata ad Elisabetta primogenita del Re Enrico IV. Interessante ensemble di opere di politica seicentesca rilegate in un bel volume in pergamena coeva. Ex libris al frontespizio della prima opera. In buone condizioni. Collazionata e risultata completa. Copertina in piena pergamena coeva in buone condizioni generali con lievi usure e parti mancanti ai margini e dorso. Legatura in discrete condizioni con qualche pagina staccata. All'interno le pagine si presentano in buone condizioni con rare fioriture ma lievi gore d'umidità. Usure al margine destro della quarta opera. Rinforzo al verso dell'occhietto della prima opera e del suo frontespizio con usure. SEgno di tarlo marginale all'ultima carta del voluem senza perdita di testo. Scarce collection of 1628 of the most important works written by Pierre Matthieu (1563-1621) writer, poet, dramawriter, and historian translated by different authors. The volume collects eight works all published in Venice by Barezzo Barezzi (1560-1643 circa) in 1628. Seven works have been written by Matthieu, only one "De gli Stati di Francia et della lor possanza" is written by Matteo Zampini (1519-1600). This last wotk is an historycal analysis abotu the origins and nature of states and put in relationship their power with royal power. The writing had a great success in that time and a certain influence in political thought. The first work, first italian translation, describes the life of Louis XI of France (1423-1483). The second one is a sort of dicitonary of political science from which assume a general lesson of morality. The third one is the description of the war between France and Spain until the Peace of Veruins (1598). The fourth one is a genealogy about the Royal Borbon House from the King Faramondo untilt he King IV. The sixth and seventh work describe the life and heroic happening of Henry IV king and France and Navarra (1553-1610). The eight one is the life of Saint Elisabeth of Hungary (1207-1231) dedicated to Elisabeth first daughter of the King Henry IV. Interesting ensemble of works of politics of the XVII century in a beautiful volume of parchment cover. Ex libris in the title page of the first work. In good conditions. Collationed and complete Full parchment coeval cover in good general conditions slightly worn with missing parts in the edges and spine. Binding in fair conditions with some page detached. Inside pages are in good conditions with occasional foxings but with slight humidity stains. Wearings in the right edge of the fourth work. Reinforcement in the verso of the false title page of the first work and his title page with wearings. Worming in the edge of the last page of the volume with no loss of text.

      [Bookseller: Libreria Sephora]
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        Corpus Iuris Civilis, quo Ius universum Iustinianeum comprehenditur : Pandectis, ad Florentinum Archetypum expressis. Codice, cum optimis quibusque editionibus collato (2 Tomes - Complet)

      Ex Typographia Antonij Vitray 1628 Cum notis repetitae quintùm praelectionis Dionysii Gothofredi i.c. quibus inter caetera variae lectiones, leges similes ... Additae et Institutionum Novellarum Iustiniani, Leonis, feudorum epitoma, edictum perpetuum ... Accesserunt authenticae seu Novellae Constitutiones Graecae..., 2 vol. in-folio reliure d'origine plein veau restaurée au XIXe , dos en demi-basane à 6 nerfs et plats de papier, Ex Typographia Antonij Vitray, Lutetiae Parisiorum, 1628, Tome I : 11 ff., 1982 col. (verso imprimé en grec) ; Tome II : 7 ff., 1048 col., 7 ff., 1 p., 874 col., 1 f., 1 p., col. 455-564 ; 2 ff., 128 col., col. 677-700 Complet. Monumentale édition du "Corpus Juris civilis" par Denys Godefroy, connue sous le nom de "Vitray" qui en est l'Imprimeur (cf Osmont, Dictionnaire Typographique, 208). Etat satisfaisant (rel. restaurée anciennement fort. frottée en coupes, mq. en coiffes, mq. 3 gardes volantes, qq. mouill., ex-libris manuscrit "Henry de Montaigne" et ex-libris gravé contrecollé "J. B. Albespy Burdigala") pour cette "Edition très estimée & recherchée par les Curieux. ... Elle est connue dans le Commerce sous le nom de son Imprimeur" (De Bure, 1060). C'est la plus estimée des éditions de Godefroy, avec l'édition Elzévir. Latin

      [Bookseller: Librairie Du Cardinal]
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        DELL?HISTORIA DI S. LUIGI IX Re di Francia e delle cose più memorabili occorse nella Guerra da lui fatta con Saracini per l?acquisto di Terra Santa. E di quello che, mentre regnò, accadè in altre Provincie Libri Quattro del Signor... Tradotta di Francese in Italiano dal Signor Gio. Battista Parchi.

      s.n. [colophon Francesco Baba] 1628 in-4 antico, pp. (8), 308, (36), rileg. mod. m. perg. con tass. e tit. oro al d. con nervi, angoli, piatti in carta dec. Marca tipogr. in legno al front. e ripetuta al fine. Dedicat. ad Angelo Contarini. Storia delle imprese del sovrano francese (1214-1271), il ?Re Santo?, cattolico appassionato, celebre per le sue crociate e per aver fondato un famoso ospedale, fu canonizzato da Papa Bonifacio VIII. Piantanida 486. Bell?esempl. [246]

      [Bookseller: Studio Bibliografico Scriptorium]
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        Veduta del Louvre

      Acquaforte, circa 1628, firmata in lastra in basso a sinistra. Esemplare nella tiratura Fagnani, con l?aggiunta della bellissima cornice ornamentale incisa dal Tardieu. Bellissima prova, impressa su carta vergata coeva con filigrana ?il nome di Gesù? (Lieure 56 tipica dell?edizione Fagnani), rifilata al rame, tracce di colla al verso, per il resto in buono stato di conservazione. Rara. Bibliografia: Lieure 667. Dimensioni 520x445. Etching, 1628 circa, signed on lower left plate. Example edited by Fagnani, with the beautiful decorative frame engraved by Tardieu. Beautiful work printed on contemporary laid paper with ?name of Jesus? watermark (Lieure 56 typical of Fagnani?s edition), trimmed to platemark and with signs of glue on verso, otherwise in good condition. Rare. Lieure 667. Dimensioni 520x445

      [Bookseller: Libreria Antiquarius]
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        Dell' Historia de S. Lvigi IX, Re di Francia, e delle cose pi memorabili occorse nella guerra da lui fatta con Saracini

      In Venetia: Francesco Baba, 1628. [8], 308, [36] p., index, 24.5 cm. (4 leaves, A-Vv4) (Qq2 misnumb. Rr2). Title continues: "per l?acquisto di Terra Santa. Tradotta di francese in italiano dal signor Goi. Battista Parchi." Engraved t.-p.; imprint from colophon. Translated from Histoire de Sainct Louys roy de France, IX du nom, XLIIII du nombre. First pub. Paris, 1610. Pierre Matthieu (1563-1621) was French royal historiographer under Henri IV and Louis XIII. This history of Louis IX and the Seventh Crusade was published at a time when Islamic forces, Turkish and African, were threatening in the Mediterranean and Eastern Europe. This copy has deckled edges and wide borders, but must have been near a fire as there are gray pre-scorch markings. stock#OB775. Bound in beautiful full leather, blind-tooled, by Hope Bindery.

      [Bookseller: The Owl at the Bridge]
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        The Holy Bible : containing the Old Testament and the New newly translated out of the originall tongues and with the former translations diligently compared and 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 ] .. 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]
 47.   Check availability:     UKBookworld     Link/Print  


        Compendium librorum Politicorum de Papanâ & Hispanicà Monarchià. Zwey Discurs Bruder Thomas Campanellen, Von des Bapsts vnd Spaniers vermeinter rechtmessiger gewalt vnd deroselbigen mit dem Römischen vnd Türckischen Keyser vergleichunge ja vorzuge. Darinne er die sonst von jhme gerichtete Bäpstliche vnd Spanische Monarchie von newest kürtzlich zu stützen ... Allererst aus einem Welschen Mscr. verdeutzscht vnd mit einer widerlegung apostillirt von einem Mannlichen Rivalem der Klugheit.

      36 Bll. Marmorierter Pappband. 4°. 20 x 16 cm. VD17 14:003665E. - Motto mit Chronogramm: VbI nos oDIo Papæ, HIspanIqVe, & A More ChrIstI nostrI perseqVentes. - Der erste Diskurs über die Konstantinische Schenkung, der zweite über den Kampf um die Vorherrschaft über die slawische Bevölkerung zwischen Habsburg und dem Ottomanischen Reich. - Campanellas Organisation eines Aufstandes gegen die spanische Herrschaft in Süditalien brachte ihn in lebenslange Kerkerhaft. - Papier altersbedingt gebräunt.

      [Bookseller: Antiquariat Turszynski]
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        [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

      No publisher/printer Odon [Spain]: No publisher/printer, 1628. Bound in half cordovan morocco with marbled paper sides. Light waterstaining at edges and along center fold.. 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.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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