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Displayed below are some selected recent viaLibri matches for books published in 1637

        Schriftstück mit eigenh. U. Fallon, 8. VII. 1637.

      1637. ½ S. Folio. "[...] Aus Unserer Cassa solle für den Rittmeister Fog sein hinterstelliger Monatsoldt benantlich dreyhundert Sechzehn Thaler [... kraft ...] dieses Zettel gezahlt, Und dermit in Rechnung belegt werden [...]". - Darunter die Quittung des Regiments-Sekretärs Daniel Spengel: "Dieweil Herr Rittmeister Schreibens undt Lesens ohnerfahrn Alß habe ich solches hiemit bescheint". - Bernhard von Sachsen-Weimar, "einer der berühmtesten Feldherrn des Dreißigjährigen Kriegs" (Wikipedia), war u. a. am Sturm auf Wallensteins Lager bei Fürth beteiligt gewesen und hatte nach dem Tod des schwedischen Königs in der Schlacht von Lützen die Führung des Heeres übernommen. "1633 konnte er Regensburg erobern und erlitt 1634 mit seiner Armee eine vernichtende Niederlage in Nördlingen. 1635 schloß er in Verhandlungen mit Richelieu den Vertrag von Saint-Germain-en-Laye, der ihn zum Verbündeten Frankreichs machte. Nach erfolgreichen Kämpfen in Burgund und Lothringen starb er 1639 wohl an Typhus" (DBE). - Auf unbeschnittenem, etwas gebräuntem Papier und mit kleineren Läsuren; die Verso-Seite mit zeitgen. Notiz von fremder Hand.

      [Bookseller: Antiquariat Inlibris]
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        1637 Miniature Single Column New Testament - Bible

      Imprinted at London by Robert Barker, printer, and assigns of John Bill. 1637. With title page (see pics) Complete except for missing the last page of the book of Revelation. Very scarce, KJV, in this size, New Testament. Scottish binding. Measures at 2" x 4"

      [Bookseller: Cross and Crown Rare Books]
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        Ic praestantissi mi operum posttumorum quae de ivre reliquit, tome 2 et 4

      1637. Hervetum du Mesnil. 1637. In-Folio.Carré. Relié plein cuir. Etat d'usage. Coins frottés. Dos abîmé. Intérieur frais. 2 tomes de 1500p environ, relié cuir, dos à nerf, caisson, fleuron, et tomaison doré sur dos, armes et filet doré sur plat, tome2 : plat émoussé avec manque de 1cm en vertical au milieu gauche,2ème plat avec quelques manques, coins frottés, mors légèrement fendus, manque de 3 cm sur coiffe en tête, coiffe en pied émousée, tome 4 : grand manque sur le dos et plats, coins frottés, mors légèrement fendus.2ème page de garde avec lettrage rouge et noir, gravure sur page de titre, lettrine. seconde édition: tome2 : Sive ivlius paulus et tome 4 : "Ivrisconsulti , recitationes solemnes.

      [Bookseller: Le-Livre.Com]
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        Baba Kamma Mi-Masekhet Nezikin/De Legibus Ebraeorum Forensibus

      1637. An Important Seventeenth-Century Scholar on the Jewish Law of Torts and Damages L'Empereur, Constantijn [1591-1648], Translator and Editor. Baba Kamma Mi-Masekhet Nezikin/De Legibus Ebraeorum Forensibus Liber Singularis. Ex Ebraeorum Pandectis Versus & Commentariis Illustratus. Leiden: Ex Officina Elzeviriorum, 1637. (Hebrew Title Romanized.) [xlviii], 306, [22] pp. Parallel Hebrew and Latin texts, commentary in Latin. Quarto (7-3/4" x 6"). Contemporary calf, gilt rules to boards, gilt spine with raised bands. Light rubbing to boards, moderate rubbing to extremities, some wear to spin ends, joints starting, corners bumped and somewhat worn, crack in text block between front free endpaper and title page, later armorial owner bookplate to front pastedown. Large Elzevier Solitary-Man device to title page. Some toning to text, annotation dated 1693 in miniscule hand near foot of title page. * Only edition. The holder of doctoral degrees in theology and law, L'Empereur was a prominent Dutch Hebraist and Orientalist. Also active as a lawyer, he was professor of theology and Hebrew at the University Harderwijk, later professor of Hebrew at the University of Leiden. His multi-faceted background is reflected in his heavily annotated translation of the Bava Kamma, a section of the Talmud dealing with torts and damages. Divided into ten chapters, it discusses damages caused without criminality, damages caused by a criminal act and compensation for damages. Thomas Jefferson owned a copy of this book. It is now part of the Jefferson collection at the Library of Congress. OCLC locates 20 copies in North America, 1 in a law library (UC-Berkeley). Sowerby, Catalogue of the Library of Thomas Jefferson 2462. Willems, Les Elzevier: Histoire et Annales Typographiques 459.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Manuscript on vellum signed. Kaiserebersdorf Castle near Vienna, 25. VIII. 1637.

      1637. Folio. Latin ms., ink on vellum. 156 unnumbered pp., 27 lines. Contemp. vellum binding with attractive giltstamped tendril border, fleuronnée corner stamps, gilt spine and two different giltstamped heraldic supralibros on the covers. All edges gilt. Inner margin shows two holes drilled through covers and interior for a decorative cord with the seal (now lost). Remains of ties. Collection of copies of Habsburgian documents relating to the Gonzaga family and the War of the Mantuan Succession, compiled by the Imperial Registry and signed by the Emperor, Ferdinand III. The collection, which unites documents by Frederick III, Maximilian I, Charles V, Maximilian II, Rudolf II, Matthias, Ferdinand II, etc., was probably drawn up for Duke Ferrante III Gonzaga, Duke of Guastalla (1618-78), to record and secure his claims upon the Duchy of Mantua (claims which lay in the interest of the Imperial family), while the War of Succession had ended a few years previously with Mantua becoming part of the French sphere of influence. - The Gonzaga family had ruled Mantua since 1328; in 1530, Federico II Gonzaga assumed the title of a Duke of Mantua. When the family gained control over the counties of Monferrato and Guastalla in the mid-16th century, they had reached their apogee of political, financial, and cultural importance. When Francesco IV Gonzaga died in 1612 without leaving a male successor, he was succeeded by his brothers Ferdinando and Vincenzo, both cardinals without children. Upon the death of Vincenzo II Gonzaga in 1627 the direct male line of the House of Gonzaga became extinct, causing a war of succession: Emperor Ferdinand II, husband of Eleanor Gonzaga, Vincenzo's sister, sought to re-attach the Duchy of Mantua to the Holy Roman Empire by transferring it to the Spanish-Imperial line of Gonzaga-Guastalla. This object was opposed by the older line of Gonzaga of Nevers and Rethel, supported by France. The conflict ended when Sweden entered the Thirty Years' War and Ferdinand required his troops in the principal theater of the war. The Duke of Nevers and Rethel became lord of the devastated and depopulated counties of Mantua and Monferrato, and France gained a foothold in Upper Italy. (Three quarters of a century later, however, the Imperial cause was to triumph after all: in 1708, the War of Spanish Succession re-attached Mantua to the Empire, while the Duke of Mantua and Monferrato sided with France) - The present compilation is intended to document the legal succession of the House of Gonzaga-Guastalla on the basis of archival material; this is underscored by the Imperial supralibros on the front cover (double-headed eagle with quartered escutcheon showing the fesses of Gonzaga and the Bohemian lion, bordered by a tendril desgin enclosing the four evangelists) and Guastalla's lion rampant within a crowned shield on the back cover. The documents repeatedly refer to the feudal righty of the House of Gonzaga-Guastalla, especially in the areas of Castiglione delle Stiviere and Castel Goffredo: "Ad perpetuam rei memoriam recognoscimus, ac postum facimus tenore praesentium universis, quod cum nobis submissime exponendum curavit. Illustris Ferdinandus Gonsaga, Priceps Castilionis à Stiveriis, Consanguineus et Princeps Noster charissimus, quem ad modum maiores olim sui ab Augustissimis Romanorum Imperatoribus & Regibus Praedecessoribus Nostris sacratissime recordationis super Marchionatu Castilionis à Stiverys, & Castro Guiffredi cum omnibus suis pertinentys investiti. Pater verò suus quondam Franciscus Gonsaga de eodem Marchionatu Castilionis et permutatione Castri Giuffredi [...] Matthias Romanorum Imperator semper Augustus [...] agnoscimus & notum facimus tenore praesentium universis. Quod cum Illustris Franciscus Gonsaga Princeps Castilioni à Stiverys, consanguineus et princeps noster charissimus, demisse Nobis esponi curavit, non tantum Maiores suos, verum etiam se ipsum à Predecessoribus Nostris Divis Romanorum Imperatoribus & Regibus praeclarissimae memoriae de Marchionatu Castilioni à Stiverys, et de Castro, et Terra Castri Guiffredi cum omnibus suis pertinentys investium, alijsque insignibus privilegys ornatum fuisse [...]". Signed at the end by Emperor Ferdinand III, with counter-signatures by the Aulic Councillors Conrad Hiltprandt and Johann Walderode.

      [Bookseller: Antiquariat Inlibris]
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        Philosophiae rationalis partes quinque. Videlicet: Grammatica, Dialectica, Rhetorica, Poetica, Historiographia, iuxta propria principia. Suorum operum tomus I.

      CAMPANELLA, Tommaso. Philosophiae rationalis partes quinque. Videlicet: Grammatica, Dialectica, Rhetorica, Poetica, Historiographia, iuxta propria principia. Suorum operum tomus I. Parisiis, apud Ioannem Du Bray, 1637 - 38. 3 volumi in - 4° antico, piena pergamena. Complessive 914 pp. (8), 152; (2), 491, (1 bianca); 85, (3), 258, (2) pp. Esemplare con le usuali arrossature dovute alla qualità della carta, minuscoli forellini di tarlo in margine ad un volume e qualche piccolo restauro marginale in poche pagine, peraltro ben conservato. Rara edizione originale. L' importanza dell' opera è evidenziata da Luigi Tirpo, nella sua Bibliografia degli scritti di Tommaso Campanella, pp. 116 - 119, n° 22.

      [Bookseller: Brighenti libri esauriti e rari]
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        Cabinet géométrique de M Le Clerc

      Eau-forte en couleurs,du XVIIIème siècle.380x245mm à la cuvette 450x310mm avec la marge. A Paris chez Chereau.Deux petites déchirures, réparées, en marge inférieure. Sébastien Le Clerc (1637 1714)ingénieur géographe professeur de perspective et membre de l'académie de peinture grave d'après ses propres dessins dont deux se trouvent dans les collections, de l'école des Beaux-Arts, Paris, et un autre au Science Museum de Londres. D'après Jombert, les dessins furent exécutés en 1711, une épreuve avant la lettre, conservée à la bibliothèque de l'Arsenal et datée 1712. Mais la gravure ne fut pas éditée du vivant de Le Clerc. CHEREAU Jacques graveur éditeur et marchand d'estampes. Natif de Blois( 1688-1776) élève de son frère François Chereau dit l'Aîné. Une déchirure réparée dans la marge supérieure

      [Bookseller: Charbonnel]
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        Bassanum

      1637. "Rara veduta panoramica di Bassano Romano. Sulla sinistra emerge il monumentale palazzo del marchese Vincenzo Giustiniani II (1564 - 1637), il cui nome è riportato sul nastro tenuto da due putti, con al centro lo stemma araldico ""un'aquila ad ali spiegate al di sopra delle tre torri"". L'incisione viene attribuita a Valérien Regnard, incisore e stampatore attivo a Roma dal 1626 al 1650 circa. Da un disegno di Nicolò Lorenese La veduta è parte di una serie di incisioni pubblicata sotto il titolo Galleria Giustiniana, della quale non si conoscono né la data di stampa né lo stampatore Si tratta di due volumi di incisioni a bulino, per un totale di 330 tavole, delle più importanti opere classiche della collezione del marchese Vincenzo Giustiniani (1564 - 1637), ordinate per soggetti. Il primo volume è composto di 153 incisioni e riproduce 150 statue; il secondo consta di 169 tavole ed è prevalentemente dedicato a busti e rilievi. Il frontespizio dell'opera fu realizzato da François Du Quesnoy; due incisioni riproducono il ritratto del marchese, a opera di Claude Mellan. La datazione della Galleria Giustiniana costituisce un problema particolarmente composito, in primo luogo in ragione della natura del lavoro. Molti furono, infatti, gli artisti coinvolti nelle varie fasi della sua realizzazione. Fra questi, vi sono alcune personalità di grande spicco della scena artistica romana (oltre al Du Quesnoy, Giovanni Lanfranco, Pietro Testa e altri) ma anche autori quasi del tutto sconosciuti, per un totale di 16 disegnatori e 23 incisori. Claude Mellan vi ricoprì un ruolo di primo piano, e un'altra figura che assunse uno speciale rilievo fu Joachim Sandrart, il quale peraltro visse sei anni nel palazzo Giustiniani a S. Luigi dei Francesi. Altri artisti di un certo rilievo che fornirono i loro servigi per i due volumi, furono François Perrier, Cornelis Bloemaert, Theodore Matham, Michel Natalis (gli ultimi tre risedettero, come Sandrart, a palazzo Giustiniani), e probabilmente Giovan Francesco Romanelli, il ""Gio. Fran.co da Viterbo"", che risulta l'autore di un disegno per una tavola del secondo volume. L'impresa, inoltre, richiese tempi lunghi e modalità produttive assai articolate, e costò al Giustiniani una fortuna: ciò di cui un poco egli dovette anche vergognarsi, se in una missiva a Camillo Massimo, all'incirca dell'inizio del 1637, dichiarò: ""Avendo io fatta quest'opera di far intagliare le cose della mia Galeria, messa e raccolta insieme per un humor peccante, avuto di lunga mano con spesa continuata più che mediocre, non solamente nel costo delle statue, ma anco nello stesso intaglio de' rami; e conoscendo benissimo che questa spesa si poteva applicare ad altro uso pio, e più utile al prossimo, ho voluto in qualche parte supplire al mio mancamento"" (Algeri, p. 87). L'unica data riportata sulle incisioni è quella del 1631 che si trova sul ritratto del marchese presente all'inizio di entrambi i volumi. Sulla base del carteggio tra Rubens e l'amico Nicolas de Peiresc, e tra Peiresc e Cassiano Dal Pozzo, si può far risalire al 1636 la prima edizione del primo volume della Galleria e all'anno dopo la pubblicazione del secondo. Buona parte delle matrici della Galleria Giustiniana, ritenute a lungo disperse, sono state ritrovate ca. 15 anni fà a Genova tra le carte dell'archivio della famiglia Giustiniani e si trovano da alcuni anni in deposito presso l'Istituto Nazionale per la Grafica, dove sono state oggetto di studio, di restauro, di ristampa completa. Incisione al bulino, gora d'umido nel margine superiore, per il resto in ottimo stato di conservazione. Bellissimo esemplare di un'opera estremamente rara." Rare large view of Bassano Romano, Latium. The engraving is attribued to Valérien Regnard, Engraver and publisher, active in Rome from 1626 until his death, around 1650. After Nicolò Lorenese. From 1631 to 1637, art collector and patron Marchese Vincenzo Giustiniani commissioned engravings documenting his celebrated collection of antique sculpture. German, French, Flemish and Italian draftsmen and engravers collaborated in the endeavor, several of whom were residing at the Palazzo Giustiniani in Rome during these years. The ambitious enterprise resulted in the execution of about 330 copper plates and in a two - volume publication entitled Galleria giustiniana. Volume one is comprised of a title leaf, a portrait of Marchese Vincenzo Giustiniani (pl. 2), dated 1631 and signed Claude Mellan, a simulated tablet bearing an inscription (pl. 153), and 150 engravings of full - length statues. Volume two consists of a title leaf, five portraits of members of the Giustiniani family, a simulated tablet bearing an inscription (pl. 169), and representations of busts, reliefs, sacorphagi, altars and vases. Plates 153 - 168 are of buildings and properties belonging to the Marchese or commissioned by him, and of panoramas of Bassano and the island of Chios. The coat - of - arms of Marchese Giustiniani is engraved on the pedestal of each sculpture or within the plate mark. Forty - five engravings are signed by Cornelis Bloemaert (Le Blanc 149 - 197), 38 by Michel Natalis (Renier 88a - 124), 22 by Claude Mellan (IFF 209 - 230); others bear the names of Theodor Matham (Hollstein 44), Anna Maria Vaiana (I, 3, II, 33, 52; Bartsch 2 - 4) and the monogram of Giovanni Luigi Valesio (Ill. Bartsch, vol. 40, nos. 063 - 075). Joachim von Sandrart signed 30 plates in the role of draftsman or designer and supervised the work of several collaborators. Many engravings are unsigned. Roma Rome Giulia Fusconi, I Giustiniani e l'antico p. 620 - 621 800 275

      [Bookseller: Libreria Antiquarius]
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        Petri la Sena I. C. neap. Cleombrotus sive De ijs, qui in aquis pereunt, philologica dissertatio

      Typis Jacobi Facciotti, 1637. in 8°, pp. 8 nn., 192, 16 nn., leg. coeva in p / perg. molle rimontata con tit. manos. al ds., vignetta in rame al front. con le armi del cardinale Barberini a cui l'opera è dedicata, alcuni capil. L'opera è composta da 11 capitoli, con alcuni brani in greco, dedicati a personaggi morti per annegamento o per naufragio ed è ornata da 8 incisioni in rame n.t. tra cui la prima rappresentazione della barcaccia del Bernini; manca l'occhietto, antico piccolo restauro al dorso. ICCU \ TO0V \ 191620, raro. 353 / 29 359

      [Bookseller: Libreria Antiquaria La Fenice]
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        Terza scena Giardino di Venere

      1637. "Acquaforte, 1637, firmata in lastra in basso a sinistra. Da un soggetto di Alfonso Parigi. Dalla serie ""Le nozze degli Dei"". Splendida prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame o con sottilissimi margini, lieve restauro nella piega centrale, nel complesso in ottimo stato di conservazione." "Etching, 1637, signed at lower left. After Alfonso Parigi. From the ""Le nozze degli Dei"". A fine impression on contemporary paper, trimmed to the platemark or with small margins, repaired areas at cental fold, otherwise in very good condition." De Vesme - Massar 921 290 200

      [Bookseller: Libreria Antiquarius]
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        Chemin de la Croix, dédié à Monseigneur le Cardinal de Richelieu, par son humble et très obeissant serviteur S. le Clerc F. Collection de 36 planches.

      1637 - 1714. Chemin de la Croix, dédié à Monseigneur le Cardinal de Richelieu, par son humble et très obeissant serviteur S. le Clerc F. Collection de 36 planches. Raccolta completa di incisioni (mm. 85 x 60) del secolo XVII applicate su fogli bianchi in un volume in - 8° con una stupenda legatura settecentesca in pelle rossa profusamente decorata in oro ne dorso e su entrambi i piani. Le artistiche incisioni raffiguranti la Passione di Cristo sono opera di Sébastien Leclerc, disegnatore e incisore all' acquaforte e al bulino, nato a Metz nel 1637 e morto a Parigi nel 1714. Rara, graziosissima > in piccolo formato. Splendida la legatura. Le Blanc, Manuel de l' amateur d' estampes, II, p. 519, nn. 17 - 52.

      [Bookseller: Brighenti libri esauriti e rari]
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        Applausi festivi fatti in Roma per l'elezzione di Ferdinando III al regno de' Romani.

      Facciotti, 1637. In 4° (220x155); pagg. 90 (mal numerate 92), 1 carta bianca, 72, frontespizio inciso in rame a piena pagina con allegorie e stemma di Ferdinando D'Asburgo sostenuto da putti alati. Assai raffinato l'apparato iconografico rappresentato da 11 belle tavole a piena pag. f.t. ripiegate più volte, incise in rame da Luca Ciamberlano su disegni originali di Orazio Turiani e Niccolò Torniolo. Grandi incisioni in legno ai capilettera che sono inscritti entro grandi vignette, fregi silografici. Piena pelle ottocentesca con note editoriali incise in oro al dorso. Prima edizione di quest'opera che venne redatta per l'elezione a re di Roma nel 1636 di Ferdinando d'Asburgo re d'Ungheria e di Boemia, futuro imperatore del Sacro Romano Impero. Per l'occasione furono organizzati grandiosi festeggiamenti su commissione del cardinale Maurizio di Savoia, che fece trasformare la piazza antistante Monte Giordano, in un grandioso teatro barocco su progetto di Orazio Turiani. Le tavole descrivono l'enorme apparato allestito per l'incoronazione, la ricchezza dei fasti, gli effetti pirotecnici, oltre a molte decorazioni architettoniche. Bell'esemplare, stampato su carta forte, che presenta fioriture marginali, alcune tracce di umidità, qualche piccolo strappo marginale alle tavole. Nota manoscritta al frontespizio, rifilato di circa 1 cm al margine superiore. Ruggeri 797; Berlin Kat. 3046; Olscki, Choix, 17483,"Ouvrages courieux surtout pour les planches des machines pyrotecniques dressées pour l'occasion"; Fagiolo Bibl. della festa barocca a Roma, 134.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        La Tersicore o vero scherzi, e paradossi poetici sopra la beltà delle donne fra' difetti ancora ammirabili, e vaghe. In Fiorenza, nella nuoua stamperia d'Amadore Massi, e Lorenzo Landi, 1637

      1637. in - 8, pp. 125, (1), manca l'ultimo bianco; leg. coeva in pergamena floscia, titolo calligrafato lungo il dorso. L'occhietto è seguito da un bel frontespizio figurato inciso. Prima edizione, che raccoglie ''50 sonetti fondati principalmente sopra l'autorità d'A. Seneca il morale'', ed un capitolo che concatena in rima i terzetti degli argomenti di ognun sonetto. Adimari, uno tra i maggiori protagonisti del Seicento fiorentino, ci propone un bizzarro intreccio tra richiami alla tradizione classica, gusto del paradosso e intenti moraleggianti. Esalta la bellezza delle donne a dispetto dei loro difetti morali (bugiarda, dispettosa, insensata..) ed ancor più di quelli fisici (calva, gobba, guercia, nasuta, monocula..). Sono le bellezze irregolari e non convenzionali che vengono paradossalmente descritte in questi 50 poemi. ''An eloquent sample of baroque poet's obsession with feminine tainted beauty .. Adimari attempts to do what Renaissance mock encomia would not: affirm women's beauty despite their defects and physical flaws'' (P.Bettella, The Ugly Woman .. in Italian poetry. University of Toronto Press, 2005) Il fiorentino Adimari (1579 - 1649), tra gli esponenti più apprezzati della poesia barocca italiana, pubblicò altre tre raccolte e ne compose altre tre inedite, tutte intitolate ad una delle 9 Muse). Buon esemplare (nota di possesso del 1666 all'occhietto).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        The Interpreter: Or Booke, Containing the Signification of Words. Wherein is Set for the True Meeting of all, or the Most part of Such Words and Termes, as are Mentioned in the Law Writers.

      William Sheares, London 1637 - Second edition, 1637. First published 1610. Early law dictionary in what appears to be the original or contemporary binding. Full brown leather with blind ruled lines to covers and spine, but with title, author and some subtle decorations added in neat handwriting with a gilt pen probably in the 20th century, and what appears to be 18th or early 19th century decorative gilt borders around the far outer edges of the front cover. Unpaginated, 7.75" tall, about 1.75" thick. Pastedown endpapers present but separated with fragments of older printed text in English visible between covers. Some external wear and chipping, binding sound with one gathering slightly loosened, very minor insect damage to the far top inner margins throughout most of the book, some old initials on what is now the exposed verso of the front pastedown along with a large rubber stamped "BOND" in purple, and a more modern name and address stamp in blue on the verso of the title page - which unfortunately bleeds through to the top of the title page, just above and to the right of the title, page age-toned but generally very clean with additional darkening and dampstaining to the title page and preface. The author's name, Cowell, is neatly handwritten on the upper outside corner of the text block. [Attributes: Hard Cover]

      [Bookseller: Resource Books, LLC]
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        Le Nozze degli dei favola [...]

      Firenze Amadore Massi et Lorenzo Landi 1637 1 In-4 Veau blond[Avec :] Relazione delle nozze degli dei favola dell abate Gio : Carlo Coppola [...]. Firenze, Amadore Massi et Lorenzo Landi, 1637. Livret du spectacle. In-4 de : I/ (1) f.bl., (4) ff. dont 1 frontispice gravé, 104 pp. et 7 planches gravées sur double page ; II/ 50 pp., (1) f., (2) ff.bl. Restaurations au feuillet de titre et à 3 autres ff. Relié en veau blond du XVIIIe siècle, dos à nerfs restauré, pièce de titre de maroquin rouge, roulette dorée sur les coupes, tranches marbrées. Coins restaurés. RARE EDITION ORIGINALE DE CE TRES BEAU LIVRE DE FETE ITALIEN ECRIT PAR COPPOLA A L'OCCASION DU MARIAGE DU GRAND DUC FERDINAND II ET DE LA PRINCESSE D'URBINO, COMPLET DU RARE LIVRET DU SPECTACLE. L'illustration superbe consiste en 1 frontispice sur lequel on voit l'ouverture du théâtre et 7 planches sur double page gravées par Stefano della Bella d'après Alfonso Parigi. Bon exemplaire de ce rare livre de fête italien illustré par Stefano della Bella. L'exemplaire Schaefer, relié en maroquin moderne, fut vendu pour plus de 19 000 $ à la vente Sotheby's NY du 8 décembre 1994 (lot 64, adjugé 17 000 $), soit plus de 100 000 fr. il y a près de 16 ans. A.M. Nagler, Theater Festivals of the Medici, pp. 162-174; Vinet 612; Vesme & Massar, Della Bella, 918-925; Cicognara 1445; Vinciana 209; Berlin Kat. 4116; BL 17th-Century Italian I, p. 259; Brunet II, 262; Ruggieri 795; Lipperheide 2746. ***Rare first edition of this very beautiful Italian festival book written by Coppola on the occasion of the great duke Ferdinand II and the princess of Urbino's wedding, complete with the rare booklet of the show. A good copy of this rare Italian festival book illustrated by Stefano della Bella. Bound in 18th century light-brown calf. *** Très bon

      [Bookseller: Librairie Camille Sourget]
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         [ÎLES de LÉRINS]. Description des isles de Ste Margrite & St Honorat. Et des forts et redouttes que les Espagnols y ont faitz et la reprisse de partie desditz forts et redouttes par l'armée navalle de Sa Majesté commandée par Monsieur le comte de Harcour. Désignée par St Clair Ingénieur de Sa Majesté.

      Paris, Melchior Tavernier, 1637. 405 x 533 mm. Très rare carte gravée figurant les îles de Sainte-Marguerite et Saint-Honorat, formant l'archipel de Lérins dans la baie de Cannes. Dressée par l'ingénieur Saint-Clair, elle fut publiée en 1637 par Melchior Tavernier dans son Théâtre géographique du royaume de France, puis par Pierre Mariette en 1650 dans le Théâtre géographique de France. La carte représente les escadres de navires commandées par Menty, Treillebois et de Poincy. Les deux îles furent reprises en 1637 par le comte d'Harcourt aux Espagnols qui l'occupaient depuis 1635. Graveur, imprimeur et hydrographe du roi, Melchior Tavernier, frère du célèbre voyageur Jean-Baptiste, fut à l'origine du développement de la cartographie française gravée du XVIIe siècle. Bel exemplaire aux contours coloriés à l'époque. Pastoureau, TAVERNIER II C.

      [Bookseller: Librairie Le Bail]
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        Les images ou tableaux de platte peinture des deux philostrates sophistes grecs et des statues de Callystrate. Mis en François par Blaise de Vigenère, Bourbonnois, Enrichis d'Arguments et d'Annotations...

      Paris, Mathieu Guillemot, 1637. in-folio, titre- 8ff.n.ch.- 921pp.- 23ff.n.ch.- 2ff. blancs. Relié veau blond, encadrement double filet doré, dos à nerfs, caissons double filet doré, médaillon au centre des caissons, pièce de titre. (Reliure de l'époque). Magnifique livre illustré baroque : 67 grandes figures (environ 19 x 24 cm) gravées en taille-douce par Th. de Leu ; Léonard Gaultier, Jasper Isaac, etc. Antoine Caron a fourni plus de la moitié des dessins. Nombreux bandeaux et culs-de-lampe gravés sur bois. Au sujet des gravures de Gaultier, voir Fonds Français V, p.502 - Quirielle, "Bio-bibliogr. des écrivains anciens du Bourbonnais" décrit longuement les différentes éditions de ce beau livre (la plus ancienne date de 1614, celle-ci est la dernière), et reproduit l'étonnant titre gravé par Jasper Issac : de l'une des fenêtres d'une vaste et étrange composition architecturale, Vigenère contemple le groupe des muses que domine un rocher d'où s'élance Pégase. Blaise de Vigenère est né à Saint-Pourçain-sur-Sioule en 1523. Il est le traducteur très érudit de nombreux auteurs anciens et l'auteur de plusieurs ouvrages cabalistiques. "Les Plattes peintures", attribuées à l'orateur grec Philostrate de Lemnos et placées généralement à la suite des œuvres de Philostrate d'Athènes, sont la description des 76 tableaux qui décoraient le portique du temple de Naples. Remises en lumière par Filippo Giunta et publiées par Alde dès le début du XVI°s., elles ont été traduites et publiées en français en 1578, sans illustrations, par le savant bourbonnais Blaise de Vigenère. Il proposait ainsi aux artistes une étude de l'histoire de l'art et de ses règles de composition, le tout empreint d'hermétisme. "Le Dieu Midas ; le Géant Atlas ; les Satyres ; les Amours ; la Naissance de Mercure ; la Naissance de Minerve ; la Chasse des Bestes Noires (vénerie pratiquée par Henri IV) ; Vénus éléphantine ; Narcisse ; Cassandre ; Antigone ; Hercule parmi les Pygmées ; etc. - "La suite de Philostrate par Blaise de Vigenère, Bourbonnois" (pages 558 à 848) contient 3 gravures non signalées par Quirielle, qui en dénombre en tout 65 (pages 601 ; 757 et 873). Brunet ne compte que 58 gravures. Après une description pourtant détaillée, Quirielle dit : "Cette sèche description ne peut donner qu'une idée bien insuffisante de l'aspect de ce livre qui, par le mérite de ses illustrations, le bon style et l'excellente facture de sa typographie, est un des plus beaux livres de la bibliothèque bourbonnaise". Tchemerzine "Livres à figures du XVII°s.", p. 502. - W. Mc.Allister Johnson in "Gazette des Beaux-Arts, mai-juin 1963 : "With the appearance of an illustrated edition, the Images ou Tableaux de Platte Peinture..., we have passed a millestone in late Renaissance iconography". - J. Ehrmann in "Antoine Caron, peintre de la cour de Valois", 1955 : "Le livre de Philostrate eût un succès considérable avec ses douze éditions et son influence fut importante dans tous les domaines, mais ce que l'on peut confirmer à la lumière de l'œuvre de Caron, c'est que cet ouvrage, placé habituellement en tête de la production du XVII° siècle à cause de sa première édition illustrée de 1614 est en réalité une œuvre du siècle précédent". - Cat. Bérès "2° vente", n° 78 : exemplaire de Thou, édition 1615. - Le tirage des gravures est bien net et contrasté. L'une, cependant, est mal venue (Venus Éléphantine). Reliure manipulée : charnières ouvertes, coiffes arasées, coupes frottées ; mouillure angulaire à l'angle inférieur tout au long du volume, s'accentuant au dernier quart du volume, marges du titre légèrement pulvérulentes.

      [Bookseller: Librairie Devaux]
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        Relacion Universal legitima, y verdadera del sitio en que esta fundada la muy noble, insigne, y muy leal Ciudad de Mexico, cabeça de las Provincias de toda la Nueva Espana. Lagunas, Rios, y Montes que la cinen y rodean. Calçadas que las dibiden.

      Mexico Francisco Salbago 1637 1 In-folio Veau brun4 parties reliées en 1 volume in-folio de (2) ff., 31 ff., 41 ff. (chiffrés par erreur 42), 41 ff. chiffrés 1 à 28 puis 29 à 39 (les ff. 17-18 sont répétés), (1) f., 11 ff. Exemplaire complet. Relié en veau brun, dos lisse orné, gardes renouvelées, tranches rouges. Charnières frottées. Reliure de l'époque. TRES RARE EDITION ORIGINALE DE CET " OUVRAGE PRECIEUX POUR L'HISTOIRE DE MEXICO ".C'est l'histoire de tous les travaux faits pour préserver la ville des inondations, dont celle de septembre 1629 fut la plus désastreuse. La quatrième partie fut imprimée plus de trois mois après la publication de l'ouvrage, et cette pièce (ainsi que la fin de la troisième partie) manque généralement. Elle a été insérée dans les exemplaires par ordre du vice-roi, en raison des observations judicieuses qu'elle présentait ". Précieux exemplaire, bien complet de la rarissime quatrieme partie, conservé dans sa reliure de l'époque". Leclerc, Bibliotheca Americana, 1095 ; Brunet, I, 1739 ; Graesse, Trésor de livres rares, 103 ; Sabin 11693 ; Medina, La imprenta en México, II, 484. ***Very rare first edition of this precious work for the history of Mexico City. Written 8 years after the terrible flood that devastated Mexico City in 1629. A precious complete copy, with the very rare fourth part, preserved in its contemporary brown calf binding.*** Très bon

      [Bookseller: Librairie Camille Sourget]
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        Cardinal du titre de la Très Sainte Trinité, Archevêque et Comte de Lyon et Grand Aumônier de France.

      Document in-folio manuscrit signé de la main du Cardinal de Richelieu qui nomme le sieur Comte de Vennes prieur de Saint Rambert en poste de directeur spirituel et temporel du couvent de Ste Ursule de Montbrison en Forez. À Lyon, le 24 mars 1637, sceau de cire rouge recouvert de papier, aux armes du Cardinal. C'est à la demande du couvent que cette nomination intervient, n'ayant à l'époque aucun syndic, les religieuses ne pouvaient intervenir dans le procès en cours au Bailliage de Montbrison, concernant les bien de feu M. Francoys du Barry.Beau document, somptueusement encadré de tissu violet sur un fond de tissu noir et large baguette dorée (encadrement moderne 71,5 x 54 cm au total) et en très bel état.

      [Bookseller: Librairie Ancienne Clagahé]
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        DESCRIZIONE DELLEFESTE fatte in Firenze per le reali nozze de Serenissimi Sposi Ferdinando II, Gran Duca di Toscana, e Vittoria Principessa d'Urbino. In Fiorenza, per Zanobi Pignoni, 1637

      Zanobi Pignoni, 1637. in - 4, pp. 55 e una bianca, legatura moderna in cartone e carta marmorizzata. Armi araldiche degli sposi sul titolo, una testata e una iniziale istoriata alla pag. 3, una grande tavola ripegata fuori testo incisa in rame da Stefano Della Bella raffigurante il Balletto equestre, d' invenzione di Agnolo Ricci, nei Giardini di Boboli. L'incisione è divisa in 17 scomparti di misure diverse: quello più grande al centro raffigura un anfiteatro tondo con un arco di trionfo, un carro trainato da 4 elefanti ed un dragone morto. Le altre sezioni rappresentano il "carro d'amore" ed i vari movimenti dei cavalieri. La dettagliata derscrizione della tavola di Della Bella figura nelle pagine 36 a 54 del testo. Varie altre pagine sono dedicate al commento dell'opera "le Nozze degli Dei" che fu recitata nel contesto della Festa per nozze. Esemplare ben conservato.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Sacra Famiglia con S. Elisabetta e S. Giovannino

      1637. Acquaforte, circa 1637 - 40, priva di dati editoriali. Bellissima prova, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione. Le figure di Elisabetta e del piccolo Giovanni compaiono in controparte rispetto al disegno attribuito al Cantarini conservato a Brera e databile, secondo Emiliani al periodo 1637 - 40. L'opera deriva probabilmente da un dipinto dell'artista andato perduto, un tempo di proprietà della famiglia Boscoli di Parma. La composizione è semplice e ariosa e la testa del San Giuseppe è di chiarissima matrice reniana. L'incisione è dunque databile al periodo bolognese dell'artista, appena successivo al litigio con Guido Reni (1637 - 39). Bellissimo esemplare. Ex collezione: Martin - von - Wagner - Museum der Universität Würzburg (Lugt 2541c). W.S. (non identificato, Lugt 2650c) Etching, about 1637 - 40, without publishing details. Excellent work, printed on contemporary laid paper, with margins, in perfect condition. The figures of Elizabeth and the infant John appear in counterpart to the drawing attributed to Cantarini stored at Brera and, according with Emiliani, datable to the period 1637 - 40. The work probably comes from a painting by the artist lost, once property of the family Boscoli of Parma. The composition is simple and airy and the head of St. Joseph is clear matrix of Guido Reni. The etching is then dated to the Bolognese period of Cantarini, just after the quarrel with Guido Reni (1637 - 39). Beautiful example. Ex collection: Martin - von - Wagner - Museum der Universität Würzburg (Lugt 2541c). W.S. (unidentified, Lugt 2650c) Bartsch, 19.133.9; Bellini, pp. 68 - 69, 11; Nagler, p. 409. Dimensioni 183x126. 183 126

      [Bookseller: Libreria Antiquarius]
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        Terza scena Giardino di Venere

      1637. Acquaforte, 1637, firmata in lastra in basso a sinistra. Da un soggetto di Alfonso Parigi. Dalla serie "Le nozze degli Dei". Buona prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame o con sottilissimi margini, nel complesso in ottimo stato di conservazione. Firenze 1610 - 1664 Stefano della Bella fu uno degli incisori più interessanti e originali nella Firenze del XVII secolo e può considerarsi l'unico geniale continuatore dell'opera del Callot. La sua educazione artistica ebbe inizio a Firenze nella bottega degli orafi Gasparo Mola e Orazio Vanni ad una precisione di segno tipica dell'orafo resterà caratteristica del suo stile. Studiò poi presso Giovanni Battista Vanni e forse anche presso il Cantagallina e Cesare Dandini, ma ben presto, come afferma il Baldinucci "posta da parte la pittura, si diede tutto all'intaglio". Il suo vero maestro può considerarsi Jacques Callot, l'incisore francese che soggiornò a lungo a Firenze lasciando una forte impronta nel panorama artistico della città. Lorenzo de' Medici prese a proteggere il piccolo Stefanino,e dal 1633 al 1636 lo invitò a Roma, dove l'artista studiò realizzando numerose copie dall'antico,da Polidoro e dove incise la sua prima opera importante: l'Entrata a Roma dell'ambasciatore di Polonia Giorgio Ossolinsky nel 1633. Nel 1639 Stefano partì per Parigi, con una pensione di Lorenzo dè Medici, e dove si trattenne fino al 1650 circa. Questi sono gli anni più importanti della sua carriera durante i quali lavorò insieme ad Israel Sil vestre, con gli editori Langlois, Ciartres e Pierre Mariette. Intorno al 1647, durante un viaggio in Olanda, dove eseguì le acqueforti con le vedute del porto di Amsterdam, incontrò Rembrandt e da quella data notiamo una eco profonda dell'arte dell'olandese nella grafica del Della Bella. De Vesme - Massar 921 290 x 200 mm

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Natalis Comitis Mythologiae, sive Explicationis fabularum, libri decem: in quibus omnia propè naturalis & moralis philosophiae dogmata contenta fuisse demonstratur.

      Pauli Frambotti, 1637. In - 8° (225 x 155 mm ) pp. [44] 614,56 [4] una tavola ripiegata illustra i segni zodiacali, oltre a 106 xilografie nel testo, capilettera e finalini incisi, qualche pagina brunita. Numerose parti del testo sono in greco. Lagatura in piena pergamena coeva, abile restauro alle cuffie. Titolo manoscritto al dorso. Ottimo stato. La prima edizione di quest'opera venne pubblicata a Venzia nel 1568, seguirono diverse edizioni a conferma della grande fortuna del libro, ma solo a partire dalla quarta edizione del 1616, l'opera fu pubblicata con le ricche illustrazioni che troviamo anche in questa quinta edizione. Manca al Cat. Vinciana. M. FOSCARINI, Della letteratura veneziana 1854. Natale CONTI Nacque probabilmente a Milano nel 1520, dove si era trasferita la sua famiglia, di origine romana. Fanciullo, fu condotto poi dai genitori a Venezia. L'unica testimonianza sicura che si abbia circa il luogo della sua nascita è un'osservazione del Conti stesso. Nelle sue Historiae (l. IX, 1581, c. 182), dopo aver lodato la cortesia dei Milanesi, egli aggiunge: "neque illud dico, quod nostri eo migrarint Roma antiquitus, unde propter bella postea Venetias, cum essem parvulus profugerunt, sed quia res docet ita esse". Nelle sue opere il Conti si definisce costantemente "Venetus", e tale lo ritiene il Foscarini (p. 303), senza negare d'altra parte una sua nascita a Milano "per caso", sulla scorta dei Picinelli (p. 325). Per il più recente biografo, il Cranz (p. 31), il Conti, di famiglia veneziana, sarebbe nato e morto in Milano. Le notizie biografiche che lo riguardano sono estremamente scarse, connesse con la pubblicazione dei suoi scritti che lasciano intravedere, d'altronde, una accurata preparazione letteraria. Nella seconda metà del Cinquecento riunì l'ampio materiale mitologico e leggendario raccolto nel corso delle sue ricerche in un'ampia enciclopedia, dedicata al re di Francia Carlo IX, pubblicata a Venezia nel 1568 con il titolo Mythologiae sive explicationes fabularum libri X. Lo Schoell (p. 27) e il Guillon (p. 121) ne citano una prima ediz. del 1551, il Tiraboschi (p. 843) una del 1561 - 64: se realmente vi furono, queste edizioni possono presumibilmente considerarsi abbozzi di quella veneta del 1568. Si tratta di un repertorio mitologico, compilato su fonti latine e greche, quali consultate direttamente, quali di seconda mano, che il Conti, secondo quanto scrive alla fine dell'opera, fu indotto a pubblicare, contro la sua volontà, da Renaldo Ferreri e Valerio Faenzi. Come già constatava il Fabricius (p. 330), assunto della Mythologia era dimostrare che quasi tutti i principi della filosofia naturale e morale sono contenuti nelle favole antiche. La Mythologia ebbe qualche fortuna come libro di cultura e testo scolastico come dimostrano le numerose ristampe. Fu pubblicata anche una traduzione francese con il titolo di Mythologie, c'est à dire explication de fables, contenant les généalogies des dieux, les céremonies de leurs sacrifices, leurs gestes, adventures, amours et presque tous les précepts de la philosophie naturelle et morale..., par J. de Montlyard, Lyon 1604, 1607, 1612; Rouen 1611; Paris 1627 (rivista da J. Baudoin). Nel riconoscere che i mitologisti italiani esercitarono durante il sec. XVI in Europa un effettivo predominio, lo Schoell fa la storia delle edizioni della Mythologia, di cui la seconda (Venezia 1581) ebbe gran voga in Francia (come dimostra l'ampio uso che ne fece P. Bayle nel suo celebre Dictionnaire) e in Germania per l'interesse suscitato dall'interpretazione morale dei miti. Il poeta inglese George Chapman, attirato dalla possibilità di spiegare storicamente e naturalisticamente le leggende pagane, si servì largamente del manuale del C. nei suoi poemi The Shadow of Night (1594) e Andromeda liberata (1614). La fortuna della Mythologia del Conti nelle scuole, in concorrenza con la Historia... de deis di Lilio G. Girardi (1548), durò fino al 1700, quando il suo manuale fu integrato da opere più moderne e scientifiche come la Theologia gentilis del Voss. Nell'ultima parte della sua vita, il Conti si dedicò in prevalenza a studi di carattere storico, e pubblicò a Venezia nel 1572 l'opera Historiarum libri X, in cui era trattato il periodo che va dal 1545 al 1556. I biografi assegnano concordemente la sua morte al 1582, e questa avvenne probabilmente a Venezia. (di Roberto Ricciardi da Treccani)

      [Bookseller: Studio Giuseppina Biggio]
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        The great assize, or, Day of iubilee delivered in foure sermons, upon the 20 chapt. of the Revel. ver. 12, 13, 14, 15: whereunto are annexed two sermons upon the I. chapter of the Canticles, vers. 6, 7.

      London: Printed by Iohn Okes, and are to be sold by H. Blunden at his shop in Corn-hill neare the Royall Exchange 8vo (14.1 cm; 5.625"). [6], 182, 185–307, [3], 309–88, 373–86. Lacks added engr. t.-p. & pp. 183–84.. 1637 Smith (1584–1665), an English clergyman and trusted mentor of theologian Richard Baxter (1615–91), produced several often reprinted publications, of which this is one. This edition of six sermons is advertised as "the ninth impression, corrected, amended, and and much enlarged," but an interesting prefatory note from the printer claims it is the first truly correct edition as Smith was "dwelling far distant from the City, and having a Pastorall charge to attend upon, could not attend the Press" for earlier printings. Provenance: Round armorial bookplate of Baronet Heathcote of Hursley on front pastedown; bookplate of Thomas Vernon of Hanbury (1654–1721) dated 1703 attached to title-page verso. Later in the Howell Bible Collection, Pacific School of Religion (properly released), with library bookplate tucked in front cover. Copies of any early edition of this text are scarce, and => searches of NUC, COPAC, and OCLC reveal only three known copies, this copy one of only two in North America, and now deacessioned. Two other reported copies in COPAC are false. The other North American copy is described in the library's catalogue record as "Imperfect: leaves B4-B5, C3 and V7 lacking; faded and stained in places, spine broken; covers detached. Contemporary calf, Cambridge–style binding with raised bands ruled in blind and gilt-lettered red leather spine label, covers double framed and panelled in blind, board edges rolled in gilt; rebacked, new endpapers, added engraved title-page and one leaf of text.lacking, covers rubbed with some loss of leather. Moderate age-toning with the very occasional spot;; two leaves with corners torn and loss of a letter or two but not sense, one with a small hole, another two repaired. Bookplates as described above, call numbers on title-page verso, rubber-stamp on title-page and one leaf of text. => Imperfect, but worthwhile.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Antiquae Urbis Splendor hoc est Praecipua Eiusdem Templa, Amphitheatra, Theatra, Circi, Naumachiae, Arcus Triumphales, Mausolea, Aliaque, Sumptuosiora, Aedificia, Pompae Item Triumphalis et Colossaearum Imaginum Description.

      4 parts in one volume, incl. title, dedication, and 166 fine etched plates by Lauro showing a wide array of images of the city of Rome, including monuments and ruins from the Roman era as well as more recent additions during the Renaissance and Baroque eras, ranging from views of temples, amphitheaters, circuses and triumphal arches to depictions of myths and allegories. Title page rubbed and chipped at edges and with some significant stains; numerous instances of waterstains throughout the volume, mostly marginal; a few plates towards the beginning of the volume bound out of order. Oblong large 4to. Early vellum, edges rubbed, minor soiling, some splitting along spine.. Rome (Vitale Mascardi) 1637. Ex-libris copy. Rossetti 6077; Borroni 7995/5; Olschki 17385.

      [Bookseller: F.A. Bernett Books]
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        SANTOS DE LA CIUDAD DE SEVILLA Y SU ARÇOBISPADO: FIESTAS QUE SU SANTA IGLESIA METROPOLITANA CELEBRA AL ILUSTRISIMO SEÑOR DEAN Y CABILDO DE LA MESMA SANTA IGLESIA.

      - 17 hh.(incluído frontis grabado)+374 pp.+3 hh. Enc. en pergamino de época. 20,5x15,5. Por Francisco de Lyra. Sevilla, 1637. "Palau ref. 244906: "Se ha censurado esta obra por fundarse en los falsos cronicones. Una de las principales impugnaciones la escribió Martín Anaya y Maldonado".La obra de Quintanadueñas se enmarca en el ámbito de la literatura devocional, un género que, durante mucho tiempo y sobre todo en la Baja Edad Moderna, despertó el interés y la atracción de un importante número de lectores. En este sentido, las hagiografías o historia de las vidas de los santos se convirtieron en pleno siglo XVII en verdaderos paradigmas para los fieles, ya que constituían una fuente inagotable de donde extraer miles de ejemplos a imitar. Estas obras nos relatan todas las peripecias que acontecen al futuro santo, desde su nacimiento hasta el anhelado momento en que se reviste de categoría celestial. El lector, atraído por estas singulares historias, dará rienda suelta a su imaginación y "acompañará" al santo en su "camino de perfección".Además, estas fantásticas narraciones, muchas veces revestidas de gran realismo, se leían en los púlpitos como sermones y se incluían en los calendarios anuales, de los que se hacían versiones cortas del santo de cada día. Precisamente, Quintanadueñas, en la dedicatoria de su obra Santos de la ciudad de Sevilla que hace al cabildo catedralicio hispalense, fechada el 4 de febrero de 1637, se refiere a los motivos que le impulsaron a escribir esta obra, relatar la vida de aquellos santos que dicha instancia, por acuerdo capitular de 1624, declaró "por naturales de esta ciudad y diócesis, para que como a tales se les pagase el debido culto, solemnizando su día, celebrando su fiesta con el augusto sacrificio de la misa y la sagrada pensión del divino oficio"." LIBROS ANTIGUOS [Attributes: Hard Cover]

      [Bookseller: Librería Anticuaria Galgo]
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        Tablas chronologicas, universales de España, desde el año mil y ochocientos, de la creacion del mundo, en que la començò a poblar el Patriarca Tubal, hasta nuestros tiempos, por 3799. años .

      Zaragoza, En el Hospital Real, y General de Nuestra Señora de Gracia, 1637. - 8°, contemporary limp vellum (hinges gone, text block loose in binding), title vertically in manuscript on spine. Typographical border on title page. Typographical headpiece and woodcut initial on p. 1. Dampstaining to upper and lower margins, with slight loss to typographical border around title page, and some damage to lower blank margins of final 16 leaves, touching a few letters of text, but without any loss. Still, overall in good condition. Old manuscript signature ("Chaves") in ink on verso of title page. Some old ink marginalia. (3 ll.), 145 pp. *** FIRST and ONLY EDITION of this timeline of the rulers of Spain and important ecclesiastical figures, with biographical and historical annotations. The entries range from 5 to 20 lines.The author was a pastry cook in Zaragoza. Several other works appeared under his name.*** Palau 140203 (cites Biblioteca Nacional de España, without mention of any copy having been offered for sale). Nicolao Antonio I, 48. Jiménez Catalán, Siglo XVII, 368. Latassa II, 157. Simón Díaz, Bibliografia de la literatura hispanica, XIII, 2808. HSA p. 313: imperfect. Not in Salvá or Heredia. CCPBE locates four copies: Biblioteca Municipal de Zaragoza, Seminario Mayor o Conciliar de San Julián, Cuenca, Biblioteca Pública Episcopal del Seminario de Barcelona, and Palacio Real-Biblioteca-Madrid. Rebiun locates a single copy, at Universitat Ramon Llull. Porbase locates a single copy, in the Biblioteca Nacional de Portugal (with some worming). KVK (44 databases searched) repeats Biblioteca Nacional de España, Biblioteca Nacional de Portugal, Bibliothèque nationale de France, and Sachsische Landesbibliothek, adding Österreichische Nationalbibliothek. Not located in NUC. [Attributes: First Edition]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        Memoires of the lives, actions, sufferings & deaths of those noble, reverend, and excellent personages, that suffered by death, sequestration, decimation, or otherwise, for the Protestant religion, and the great principle thereof, allegiance to their soveraigne, in our late intestine wars, from the year 1637, to the year 1660. and from thence continued to 1666. With the life and martyrdom of King Charles I.

      First edition of pro-Royalist biographical sketches for "above a thousand Persons" killed during the English Civil Wars. Major figures discussed include King Charles I, Lord Herbert of Cherbury, Sir Kenelm Digby, Jeremy Taylor, and Inigo Jones and Sir Charles Lucas, among others, following a short essay on the "Preparatives to the last Civil War, from 1550 to 1640."Upon publication the book did not receive rave reviews -- Anthony Wood (1632-95), antiquary and historian of Oxford University, claimed there "are almost as many errors as lines," yet this text is an excellent example of how the losing side chose to interpret events during early post-war years (DNB online).Provenance: The Howell Bible Collection, Pacific School of Religion (properly released).

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
 28.   Check availability:     Direct From Bookseller     Link/Print  


        De Quadrupedib'. Digitatis Viviparis Libri tres, et de Quadrupedib' Digitatis Oviparis Libri duo....

      Bononiae, apud Nicolaum Tebaldinum, 1637. Folio (345 x 235 mm). pp. (6), 718, (16), with engraved title and 130 woodcuts in the text of which some full-page. Later half calf, spine in 5 compartments with red and blue gilt lettered label (head of spine a bit chafed). First edition. Aldrovandi's complete natural history works consist of 11 works, he spent 45 years amassing the material. The volumes on birds and insects were completed by himself, the others by his pupils. The present work is on ?fingered? quadrupeds, such as dogs and cats, rodents, bears, etc. The second part 'De Quadrupedib' Digitatis Oviparis Libri duo' covers reptiles (lizards, crocodiles, turtles), and amphibians./"Although Aldrovandi is not identified with any revolutionary discoveries, his work as a teacher and as the author of volumes that constitute an irreplacable cultural patrimony earns him a place among the fathers of modern science. Perhaps most importantly he was among the first to attempt to free the natural sciences from the stifling influence of the authority of textbooks, for which he substituted, as far as possible, direct study and observation of the animal, vegetable, and mineral worlds" (D.S.B. I, pp. 108-110). Title page with small paper repair at the outer upper corner and as usual a few leaves a bit browned.//Nissen ZBI, 77; Wood p. 185.

      [Bookseller: Antiquariaat JUNK B.V. (Natural History]
 29.   Check availability:     NVvA     Link/Print  


        Quarta Scena di Mare from Le Nozze degli Dei. Etching by Stefano Della Bella after Alfonso Parigi

      1637 - 205 x 290 mm. A fine impression on laid paper. One vertical crease, flattened; trimmed just outside borderline; remnants of hinges to upper corners of verso. Blumenthal: Theatre Art of the Medici 81 and pp. 160-77. Le Nozze degli Dei was written to celebrate the wedding of Duke Ferdinando II de' Medici and Vittoria della Rovere, daughter of the Duke of Urbino, and first performed in Florence at the Palazzo Pitti on July 8, 1637. The libretto was by Giovanni Carlo Coppola, the music by Gagliano and others, the staging by Alfonso Parigi, and the dances by Agnolo Ricci. Della Bella executed a series of six etchings of scenes from the opera. "As maestro di cappella for nearly 35 years to the Grand Duke of Tuscany and of Florence Cathedral (S Maria del Fiore), [Gagliano] was one of the most important Italian musicians of the period. His Dafne (1608) is a milestone in the early history of opera, and his secular madrigals and monodies and many sacred works in various genres, though now little known, were much acclaimed in the first half of the 17th century." Edward Strainchamps in Grove Music Online.Della Bella (1610-1664), a noted Italian printmaker, enjoyed the patronage of the Medicis; he also made trips to Florence to record the court festivities of the Medici. Parigi (1606-1656) was a noted Italian architect and engraver.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
 30.   Check availability:     ZVAB     Link/Print  


        De Quadrupedib'. Digitatis Viviparis Libri tres, et de Quadrupedib' Digitatis Oviparis Libri duo.

      - Bononiae, apud Nicolaum Tebaldinum, 1637. Folio (345 x 235 mm). pp. (6), 718, (16), with engraved title and 130 woodcuts in the text of which some full-page. Later half calf, spine in 5 compartments with red and blue gilt lettered label (head of spine a bit chafed). First edition. Aldrovandi's complete natural history works consist of 11 works, he spent 45 years amassing the material. The volumes on birds and insects were completed by himself, the others by his pupils. The present work is on ‘fingered’ quadrupeds, such as dogs and cats, rodents, bears, etc. The second part 'De Quadrupedib' Digitatis Oviparis Libri duo' covers reptiles (lizards, crocodiles, turtles), and amphibians."Although Aldrovandi is not identified with any revolutionary discoveries, his work as a teacher and as the author of volumes that constitute an irreplacable cultural patrimony earns him a place among the fathers of modern science. Perhaps most importantly he was among the first to attempt to free the natural sciences from the stifling influence of the authority of textbooks, for which he substituted, as far as possible, direct study and observation of the animal, vegetable, and mineral worlds" (D.S.B. I, pp. 108-110). Title page with small paper repair at the outer upper corner and as usual a few leaves a bit browned.Nissen ZBI, 77; Wood p. 185. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariaat Junk]
 31.   Check availability:     ZVAB     Link/Print  


        Le Nozze degli Dei favola rappresentata in musica in Firenze nelle reali nozze de Serenissimi Gran Duchi di Toschana Ferdinando II e Vittoria Principessa dUrbino

      

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


        A Decree of Starre-Chamber, Concerning Printing, Made the eleuenth day of July last past. 1637. S.T.C. 7757; Pforzheimer 355. Quarto

      London: Imprinted at London by Robert Barker [etc.], 1637. Modern crushed brown morocco, the spine extra gilt, skillful repair to the front joint, without the leaf before the title; the Taussig copy First edition, first issue of one of the landmarks in the struggle to establish freedom of the press in England, seeking to license all printing, provoking Milton's Areopagitica and ultimately proving unenforceable; with the Royal arms on the title

      [Bookseller: Meyer Boswell Books, Inc.]
 33.   Check availability:     Biblio     Link/Print  


        The Interpreter: or Booke Containing the Signification of Words. Wherein is set foorth the true meaning of all . . . Words and Termes, as are mentioned in the Law Writers, or Statutes of this victorious and renowned Kingdome [etc.]. Cowley 129; STC 5901

      London: Printed [by Augustine Mathewes] for William Sheares, 1637. Modern 3/4 calf over marbled boards, light browning, the margins cut a bit close, occasional minor worming, else well preserved; the Taussig copy Second edition of Cowell's controversial yet highly regarded law dictionary (and the first entirely in English), banned and burnt by Royal proclamation upon its appearance for its absolutist definitions offending the Commons and disavowed by James

      [Bookseller: Meyer Boswell Books, Inc.]
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        The Interpreter: Or Booke Containing the Signification of Words...

      1637. The Best English Law Dictionary of the Seventeenth and Early Eighteenth Centuries Cowell, John [1554-1611]. The Interpreter: Or Booke Containing the Signification of Words: Wherein is Set Foorth the True Meaning of All, Or the Most Part of Such Words and Termes, as are Mentioned in the Lawe Writers, or Statutes of This Victorious and Renowned Kingdome, Requiring Any Exposition or Interpretation. A Worke not Onely Profitable, but Necessary for Such as Desire Throughly to be Instructed in the Knowledge of Our Lawes, Statutes, and Other Antiquities. London: Printed for William Sheares, 1637. [584] pp. Text in parallel columns within black-ruled borders. Quarto (7-1/2" x 5-1/2"). Contemporary calf, blind rules to boards, rebacked in period style with raised bands and lettering piece, hinges mended, edges rouged. Moderate rubbing to extremities, a few negligible scuffs to boards, corners bumped. Woodcut head-pieces, tail-pieces and decorated initials. Moderate toning to text, light staining to a few leaves. Early owner annotation to head of title page in small hand, another annotation in miniscule later hand to foot of another leaf, interior otherwise clean. A handsome copy. * Second edition, one of two issues from 1637. The Interpreter is considered to be the best law dictionary until Jacob's and it is still used by scholars of early English legal documents. Its publication provoked controversy. At a time when Parliament and crown were vying for power, the Commons disapproved of Cowell's royalist sympathies, which were evident in such definitions as "King," "Parliament," "Prerogative," "Recoveries" and "Subsidies." When a joint committee of Lords and Councilors reviewed the work, the ensuing controversy nearly halted the affairs of government. What is more, it contained a quotation that criticized Littleton's scholarship, which angered Sir Edward Coke. James I intervened in fear that his own fiscal interests would not be approved by Parliament. Encouraged by Coke, the king imprisoned Cowell, suppressed the book and ordered all copies burned by a public hangman on March 10, 1610. The present edition contains several changes that were made posthumously to placate the dictionary's enemies. Despite its stormy reception, The Interpreter remains a useful gloss to Coke's Littleton and other early

      [Bookseller: The Lawbook Exchange, Ltd.]
 35.   Check availability:     Biblio     Link/Print  


        Applausi festivi fatti in Roma per l'elezzione di Ferdinando III al regno de' Romani.

      Facciotti,, Roma, 1637 - In 4° (220x155); pagg. 90 (mal numerate 92), 1 carta bianca, 72, frontespizio inciso in rame a piena pagina con allegorie e stemma di Ferdinando D'Asburgo sostenuto da putti alati. Assai raffinato l'apparato iconografico rappresentato da 11 belle tavole a piena pag. f.t. ripiegate più volte, incise in rame da Luca Ciamberlano su disegni originali di Orazio Turiani e Niccolò Torniolo. Grandi incisioni in legno ai capilettera che sono inscritti entro grandi vignette, fregi silografici. Piena pelle ottocentesca con note editoriali incise in oro al dorso. Prima edizione di quest'opera che venne redatta per l'elezione a re di Roma nel 1636 di Ferdinando d'Asburgo re d'Ungheria e di Boemia, futuro imperatore del Sacro Romano Impero. Per l'occasione furono organizzati grandiosi festeggiamenti su commissione del cardinale Maurizio di Savoia, che fece trasformare la piazza antistante Monte Giordano, in un grandioso teatro barocco su progetto di Orazio Turiani.Le tavole descrivono l'enorme apparato allestito per l'incoronazione, la ricchezza dei fasti, gli effetti pirotecnici, oltre a molte decorazioni architettoniche. Bell'esemplare, stampato su carta forte, che presenta fioriture marginali, alcune tracce di umidità, qualche piccolo strappo marginale alle tavole. Nota manoscritta al frontespizio, rifilato di circa 1 cm al margine superiore.Ruggeri 797; Berlin Kat. 3046; Olscki, Choix, 17483,"Ouvrages courieux surtout pour les planches des machines pyrotecniques dressées pour l'occasion"; Fagiolo Bibl. della festa barocca a Roma, 134.

      [Bookseller: libreria antiquaria perini Sas di Perini]
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        THE BOOKE OF COMMON PRAYER, AND ADMINISTRATION OF THE SACRAMENTS. AND OTHER PARTS OF DIVINE SERVICE FOR THE USE OF THE CHURCH OF SCOTLAND [bound with:] THE PSALTER, OR PSALMES OF DAVID: AFTER THE TRANSLATION SET FORTH BY AUTHORITY IN KING JAMES HIS TIME OF BLESSED MEMORY. AS IT SHALL BE SUNG OR SAID THROUGHOUT ALL THE CHURCHES OF SCOTLAND

      Edinburgh: Printed by Robert Young, 1637. Small folio (signed in 8s). 19th century blindstamped calf, beveled edges, decorated in blind. Printed in black letter, with decorated initials, title within typographic frame, in red and black. Edges rubbed but binding sound; significantly tanned and with marginal soiling and occasional stains and wandering marginal tidemarks, a few ink annotations, small repair at lower edge of first title on verso, early retained binder's preliminary blank heavily smudged, with early annotations, bookplate on pastedown, and long 19th century provenance statement and bibliographic note on binder's blank closely written in ink. Obviously a heavily used copy, but collated essentially complete (see below) and sound. First edition of the first Scottish Book of Common Prayer. This controversial edition of the Liturgy was overseen by Charles I and Archbishop Laud for use by the people of Scotland. The text was drafted by John Maxwell and James Wedderburn. However, upon its first reading in churches in Scotland, the opposition was so strong that it was withdrawn from use shortly thereafter. The text eventually was influential in the compilation of the English revision of 1661- 2, and served as a model for the American BCP of 1789 and its successors. As usual, leaves R7-8, which were suppressed, are not present, and leaf 2h3 is in the second of four settings noted by ESTC, Accompanied by the 1636 Psalter, which although equipped with a separate full title, is its normal companion. Also bound with a quite imperfect copy of THE PSALMS OF KING DAVID: TRANSLATED BY KING JAMES. London: Printed by Thomas Harper. 1636, which is not included in the collation above. GRIFFITHS 1637:9. STC 16606-7. ESTC S101893 & ESTC S113851.

      [Bookseller: William Reese Company - Literature ABAA-]
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        The Interpreter: Or Booke, Containing the Signification of Words. Wherein is Set for the True Meeting of all, or the Most part of Such Words and Termes, as are Mentioned in the Law Writers

      London: William Sheares. 1637. H Hard Cover. Fair. Second edition, 1637. First published 1610. Early law dictionary in what appears to be the original or contemporary binding. Full brown leather with blind ruled lines to covers and spine, but with title, author and some subtle decorations added in neat handwriting with a gilt pen probably in the 20th century, and what appears to be 18th or early 19th century decorative gilt borders around the far outer edges of the front cover. Unpaginated, 7.75" tall, about 1.75" thick. Pastedown endpapers present but separated with fragments of older printed text in English visible between covers. Some external wear and chipping, binding sound with one gathering slightly loosened, very minor insect damage to the far top inner margins throughout most of the book, some old initials on what is now the exposed verso of the front pastedown along with a large rubber stamped "BOND" in purple, and a more modern name and address stamp in blue on the verso of the title page - which unfortunately bleeds through to the top of the title page, just above and to the right of the title, page age-toned but generally very clean with additional darkening and dampstaining to the title page and preface. The author's name, Cowell, is neatly handwritten on the upper outside corner of the text block.

      [Bookseller: Resource Books, LLC]
 38.   Check availability:     Biblio     Link/Print  


        1667 Dutch Annotations Bible edited by Theodore Haak - Single Volume Edition

      First English Edition of 1637 Dutch Bible. Rare reformation Commonwealth Bible with Cavinist Annotations. Renowned influential First Edition english translation of both text and notes of the famous dutch Bible of 1637, the preparation of which had been ordered by the Synod of Dort. Haak executed this work at the request of the Westminster Assembly of Divines. 2 volumes bound in 2. First edition. Only 6 copies known in Britain and 6 in America, a notably low tally for an English Bible. Its rarity is presumed due to later reaction against such "low church" theology: many such works were destroyed after the Restoration. The Annotations are enclosed within brackets, and mingled with the text, which is printed in italics. Box - 22

      [Bookseller: Cross and Crown Rare Books]
 39.   Check availability:     Biblio     Link/Print  


        Terza scena Giardino di Venere

      Firenze 1637 - Acquaforte, 1637, firmata in lastra in basso a sinistra. Da un soggetto di Alfonso Parigi. Dalla serie "Le nozze degli Dei". Buona prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame o con sottilissimi margini, nel complesso in ottimo stato di conservazione.Firenze 1610 - 1664Stefano della Bella fu uno degli incisori più interessanti e originali nella Firenze del XVII secolo e può considerarsi l'unico geniale continuatore dell'opera del Callot. La sua educazione artistica ebbe inizio a Firenze nella bottega degli orafi Gasparo Mola e Orazio Vanni ad una precisione di segno tipica dell'orafo resterà caratteristica del suo stile. Studiò poi presso Giovanni Battista Vanni e forse anche presso il Cantagallina e Cesare Dandini, ma ben presto, come afferma il Baldinucci "posta da parte la pittura, si diede tutto all'intaglio". Il suo vero maestro può considerarsi Jacques Callot, l'incisore francese che soggiornò a lungo a Firenze lasciando una forte impronta nel panorama artistico della città.Lorenzo de' Medici prese a proteggere il piccolo Stefanino,e dal 1633 al 1636 lo invitò a Roma, dove l'artista studiò realizzando numerose copie dall'antico,da Polidoro e dove incise la sua prima opera importante: l'Entrata a Roma dell'ambasciatore di Polonia Giorgio Ossolinsky nel 1633.Nel 1639 Stefano partì per Parigi, con una pensione di Lorenzo dè Medici, e dove si trattenne fino al 1650 circa.Questi sono gli anni più importanti della sua carriera durante i quali lavorò insieme ad Israel Sil vestre, con gli editori Langlois, Ciartres e Pierre Mariette.Intorno al 1647, durante un viaggio in Olanda, dove eseguì le acqueforti con le vedute del porto di Amsterdam, incontrò Rembrandt e da quella data notiamo una eco profonda dell'arte dell'olandese nella grafica del Della Bella. De Vesme - Massar 921290 x 200 mm

      [Bookseller: libreria antiquaria perini Sas di Perini]
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        Les images tableaux de platte peinture des deux philostrates sophistes Grecs... Mit gestochenem Titelblatt, zahlreichen ganzseitigen Kupfern, Initialen Textvignetten u. anderen Illustrationen

      Paris: Sebastien Cramoisy 1637 GLDr. der Zeit, [16]+921+[45] Seiten, 2°, Einband berieben und abgegriffen, Rückenbezug fehlt leider, Kanten und Ecken stärker beschabt, Titelblatt gelöst und an den Rändern mit Verlust eingerissen, Seiten stellenweise wassefleckig und beschädigt, jetzt untergeklebt, Besitzeranmerkung mit Buntstift auf Vorsatz, sonst guter Zustand.Alte Drucke

      [Bookseller: Antikvariát Valentinská]
 41.   Check availability:     buchfreund.de     Link/Print  


        Sacrificiorvm Patriarchalivm schola sacra. In qua Examinatur Sacrificiorum Antiquitas, Usus, & Antiquatio. Cum Spicilegio.

      Leiden, Elzevier 1637 - (8) 240 (16) p. Contemporary folding Vellum, 12° (corner frontcover damaged)

      [Bookseller: Antiquariaat de Roo]
 42.   Check availability:     ZVAB     Link/Print  


        The phoenix of these late times: or the life of Mr. Henry Welby, Esq: who lived at his house in Grub-street forty foure yeares, and in that space, was never seene by any, aged 84.

      N. Okes for Richard Clotterbuck, London 1637 - FIRST EDITION. 4to. 25 unnumbered ll. . *Š A-E4 F3. (without last blank). Woodcut initials, typographical and woodcut head and tail pieces, engraved portrait frontispiece of Welby, trimmed and mounted (probably from the 1794 reprint). Title and verso of last dusty, light age browning, upper margin cut close, running headline just trimmed in places, the odd marginal mark. A good copy in excellent C19 blue morocco gilt by Ramage, covers triple gilt ruled to a panel design gilt fleurons to outer corners, spine richly gilt in compartments, inner dentelles gilt, all edges gilt. A rare and most interesting account of the life of the famous recluse Henry Welby of Grub Street, with epistles and epitaphs by Shakerly Marmion, John Taylor the water poet, Thomas Brewer, and Thomas Heywood himself, who was most probably was the author of the main text. Heywood (?1574-1650), actor and dramatist, one of Shakespeare’s colleagues in the Admiral’s men in the 1590’s, composed principally for the stage but wrote also a small number of works unconnected with the theatre. In this work he relates the life of Welby, a wealthy land owner, who became a recluse living in his house in Grub Street for forty four years with no contact with the outer world except through his elderly maidservant. He retreated to this solitude after a quarrel, in which a younger brother traumatised him by trying to murder him (attempting to shoot him with a double-charged pistol, which only 'flashed in the pan'). Up to this point, Welby had been a student, had travelled abroad, married, had a daughter, and seen the daughter married. As a result of this incident he took ‘a very faire house in the lower end of Grub Street, near unto Cripplegate,’ and passed the rest of his life in absolute seclusion, never leaving his apartments. Heywood gives detailed description of his abstinence, his diet, his daily routine; he asserts that at Christmas and Easter, all the food for a proper feast would be served into Mr Welby’s outermost room, where he dined, which he would then carve, and send out to be distributed to his neighbours, without his eating any of it himself. Heywood also states that Welby was a scholar and a linguist, and always bought the best books available, English and foreign. He particularly admires him for his piety and charity seeing in him him something of a biblical figure living in London. "what retirement could be more? In my opinion it far surpasseth all the Vestals and Votaries, all the Ancresses and Authors that have beene memorized in any Hystorie." Despite the extraordinary nature of the events described the work nonetheless gives an interesting insight into ordinary lives in Stuart London. Shakerly Marmion spoke of Heywood as writing "all history, all actions, Councils, Decrees, man, manners, State and factions, Playes, Epicediums, Odes and Lyricks, Translations, Epitaphs, and Panegyricks" (DNB). He was indeed a translator, primarily of Lucian, and Kirkman (his bookseller) reports of him that "many of his plays were composed in the tavern, on the backside of tavern-bills" (ibid.). Curious and uncommon. STC 25227. Lowndes VI 2826. Grollier II 446. English [Attributes: Hard Cover]

      [Bookseller: Sokol Books Ltd. ABA ILAB]
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        Comitatus Zutphania Excudit Joannes Janßonius.':.

      - Kolorierter Kupferstich b. Johannes Janssonius (Jansson) in Amsterdam, 1637, 38 x 48 van der Krogt, Koeman's Atlantes Neerlandici, Vol. I, 3713.1A. - 1. Ausgabe - ohne Rückentext! (dieser Zustand nicht bei van der Krogt!) - Zeigt die niederländische Grafschaft Zutphen. - Die größeren Städte Deventer, Zutphen, Doesburg, Bredevoort, Groenlo, Arnhem, Nijmegen, Schenkenschanz, Emmerich und Kleve mit Befestigungsanlagen. - Oben links Titelkartusche; oben rechts Wappen. - Unten rechts Meilenzeiger. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        Den Evangelischen Arend. In sijn eerste hooghe vlucht ontdeckt ende gheopent, dat is Des Evangeliums Ioannis Eerste Capittel, In Geestelijcke bedenckingen voor-gestelt. WAARBIJ: Het Tweede Deel van den Euangelischen Arend. Dat is, Een korte Uytlegginge over Neghen achter een volgende Capittelen des Heyligen Euangeliums Joannis. Den derden Druck oversien en verbeetert. WAARBIJ: Het Derde Deel van den Euangelischen Arend. Dat is, Een korte Uytlegginge over Byna vier achter een volgende Capittelen des Heyligen Euangeliums Joannis. Beginnende met het Elfde en eyndigende met het 24 v. des 14 Cap.

      Amsterdam, Marten Jansz. Brandt 1637/1661/1650 - 3 delen, (gegraveerde titelpagina, 10) 486 (12), (gegraveerde titelpagina, 10) 534 (30), (gegraveerde titelpagina, 14) 413 (14) p. (Vochtvlek achterin deel 1, deel 3: vernieuwde schutbladen, register wat teer aan de randen, bovenkant rug gerestaureerd. Zeldzame verklaring van het Evangelie van Johannes.)

      [Bookseller: Antiquariaat de Roo]
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