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

        Il rapimento di Elena

      1637. Acquaforte, 1637, priva di data e firma. Con l'indirizzo dell'editore Giacomo de Rossi. Da un soggetto di Guido Reni. Bellissima prova, impressa su carta vergata coeva, rifilata alla linea marginale, in buono stato di conservazione. L'opera raffigura il rapimento di Elena, che, mano nella mano con Paride, è seguita da una shiera di soldati. Opera rara. Ex collezione Enzenberg, Franz Jozef von (Lugt 845). Etching, 1637, wiyhout signature and date. After Guido Reni. A fine impression, printed on contemporary laid paper, trimmes to the borderline, in good conditions. Abduction of Helen, after Guido Reni; Helen and Paris walking hand in hand, followed by suite and soldiers. Lettered with name of designer, and publication address: 'Guide Raine in. Jo. Jacomo de Rossi formis Romae alla Pace'. Rare. Ex collection Enzenberg, Franz Jozef von (Lugt 845). Robert - Dumesnil I.118.11.II; Inventaire du Fonds Français 11. 288 284

      [Bookseller: Libreria Antiquarius]
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        Der Schlaraffia Zeyttungen. Ambtliches Organ der All-Schlaraffia. Nr. 228, 16./ 10. a.U. 39 bis Nr. 263, 1./ 4. a.U. 42.

      S. 1637 - 2056. OLwd. Mit allen Beilagen. - Gbrsp., Ebd. stärker berieben u. m. Resten von Aufkl., etw. fleckig, oberes Kapital eingerissen, einige Bleistift-Anm. im T., etw. gewölbt. Innen sehr gut.

      [Bookseller: Antiquariat Weinek]
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        Pratique de la géometrie, sur le papier et sur le terrein où par une méthode nouvelle & singulière lon peut avec facilité & en peu de tems se perfectionner en cette science.

      Kl.8, gestochenes Frontispiz, Titelblatt, 2 Bl., 108 S. und 102 gestochene Taf., 2 Bl., Priv.-Ldr. d. Zt. m goldener Rückenprägung und Rundum-Rotschnitt, Vordere Vorsatz fehlt, von alten Händen Namenseintrag a. Frontispiz (dieser auf Deckel geklebt) und Notiz auf letzter Seite, tlw. oben min. wasserrandig. EA. - Sébastien Le Clerc, der Ältere (auch Leclerc) (* 1637-1714) Lothringer Radierer und Kupferstecher. Die rudimentärsten Kenntnisse des Zeichnens und Gravierens lernte er bei seinem Vater und dem Kupferschmied Claude Bouchard. Seine ersten Arbeiten stammen aus 1654/55. Seine erste wichtige Serie war 1658/59 Das Leben von St Benedict und Les Modes de Metz. Er studierte in Paris auch Geometrie, Perspektive und Mathematik und wurde 1660 Militäringenieur des lothringischen Gouverneur, Marschall Henri de La Ferté-Senneterre. 1665 ging er nach Paris und machte Bekanntschaft mit Charles Lebrun. Jean-Baptiste Colbert vermittelte ihn an die Gobelin-Manufaktur. Ab 1672 war er Professor für Perspektive an der Académie royale de peinture et de sculpture.

      [Bookseller: antiquariat peter petrej]
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        Discours de la methode pour bien conduire sa raison, & chercher la verité dans les sciences. Plus la Dioptrique, les Meteores, et la Geometrie. Qui sont des essais de cete Methode.

      Jan Maire, Leiden 1637 - First edition, a fine, large copy in untouched contemporary vellum, of Descartes? first and most famous work. Following the Discours, now celebrated as one of the canonical texts of Western philosophy, are three ?Essais?, the last of which, La Géométrie, contains the birth of analytical or co-ordinate geometry, ?of epoch-making importance? (Cajori, History of Mathematics, p. 174), designated by John Stuart Mill as ?the greatest single step ever made in the progress of the exact sciences? It ?rendered possible the later achievements of seventeenth-century mathematical physics? (Hall, Nature and nature?s laws (1970), p. 91). The first of the Essais, La Dioptrique, contains Descartes? discovery of ?Snell?s law? of refraction of light (earlier than Snell); the second, Les Météores, contains Descartes? explanation of the rainbow, based on the optical theories developed in the first Essai. ?It is no exaggeration to say that Descartes was the first of modern philosophers and one of the first modern scientists; in both branches of learning his influence has been vast . The revolution he caused can be most easily found in his reassertion of the principle (lost in the middle ages) that knowledge, if it is to have any value, must be intelligence and not erudition. His application of modern algebraic arithmetic to ancient geometry created the analytical geometry which is the basis of the post-Euclidean development of that science. His statement of the elementary laws of matter and movement in the physical universe, the theory of vortices, and many other speculations threw light on every branch of science from optics to biology. Not least may be remarked his discussion of Harvey?s discovery of the circulation of blood, the first mention of it by a prominent foreign scholar. All this found its starting point in the ?Discourse on the Method for Proper Reasoning and Investigating Truth in the Sciences? Descartes?s purpose is to find the simple indestructible proposition which gives to the universe and thought their order and system. Three points are made: the truth of thought, when thought is true to itself (thus cogito, ergo, sum), the inevitable elevation of its partial state in our finite consciousness to its full state in the infinite existence of God, and the ultimate reduction of the material universe to extension and local movement? (PMM).❦PMM 129; Grolier/Horblit 24; Dibner 81; Evans 5; Sparrow 54.In October 1629 Descartes began work on The World, which included not only his Treatise on Light, first published as Le Monde in 1664, and the Treatise on Man, first published two years earlier as Renatus Descartes de Homine, but also the material on the formation of colours in the Meteors and the material on geometrical optics in the Dioptrics, both subsequently published in 1637 along with the Discourse and the Geometry. Descartes sets out the details of the treatise he was working on from mid-1629 to 1633 in part 5 of the Discourse: ?I tried to explain the principles in a Treatise which certain considerations prevented me from publishing, and I know of no better way of making them known than to set out here briefly what it contained. I had as my aim to include in it everything that I thought I knew before I wrote it about the nature of material things. But just as painters, not being able to represent all the different sides of a body equally well on a flat canvas, choose one of the main ones and set it facing the light, and shade the others so as to make them stand out only when viewed from the perspective of the chosen side; so too, fearing that I could not put everything I had in mind in my discourse, I undertook to expound fully only what I knew about light. Then, as the opportunity arose, I added something about the Sun and the fixed stars, because almost all of it comes from them; the heavens, because they transmit it; the planets, comets, and the earth, because they reflect light; and especially bodies on the earth, because [Attributes: First Edition]

      [Bookseller: SOPHIA RARE BOOKS]
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        A Briefe and Accurate Treatise Concerning The Taking of the Fume of Tobacco, Which Very Many, in These Dayes, Doe Too Too [sic] Licenciously Use

      London: Printed By R. Bishop for Henry Hood, 1637. Hard Cover. Very Good. Small Octavo. 11 leaves, title page plus pages 345 - 364, printed on laid paper; 18th century binding of half leather over marbled boards. Light age-toning to text, but very good. One of the earliest works on tobacco and smoking. Tobias Venner (1577-1660) was a prominent physician in Bath and several other cities. He clearly intended for this work to outline the harmful effects of tobacco on the human body. Venner further opines that if tobacco is taken in a medicinal way, can for the time, "expell melancholie, and excite lumpish spirites." First printed by William Jaggard in 1627 and appended to Venner's "Via Recta ad Vitam Longam" beginning with the 4th edition of that work, which was printed in 1637. The present volume is from that work and is complete in itself and has its own title page.

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
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        L'eromena... Unito a: La Donzella Desterrada... Unito a: Il Coralbo...

      Appresso Gio. Pietro Pinelli, 1637. Tre parti in un volume, ciascuno con autonomo frontespizio e numerazione. In-4 (cm. 21), pp. 224; (8) 255 (1); (8) 192. Marche tipografiche ai tre frontespizi. Legatura del tempo in mezza pelle con punte e dorso a nervi. Esemplare genuino e ben conservato. Ottima edizione della celebre trilogia del letterato dalmata (1572-1644). Considato come uno dei lavori letterari che ha aperto la strada alla narrativa romanzesca itaiana. Di carattere erotico-avventuroso, sotto la corteccia di favole, narra storie del tempo. Non in Piantanida

      [Bookseller: Studio Bibliografico Benacense]
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        A Relation of a Journey Begun An Dom 1610.

      London, Crooke, 4th. Ed. 1637. - Foure Bookes. Containing a Description of the Turkish Empire of Egypt, of the Holy Land, of the Remote Parts of Italy, and Islands adioyning. Mit gestochenem Titel, schmale gefaltete Kupfertafel (Panorama von Constantinopel), 1 gefaltete Kupferkarte, 47 Textkupfer, 1 Blatt, 309 Seiten, intakter (!) englischer Lederband der Zeit, 29 x 20 cm, Einband etwas beschabt, ohne das vordere Vorsatzblatt, 1 Textblatt mit einigen hellen bräunlichen Flecken, sonst innen sauber. Schönes Exemplar der berühmten Reisebeschreibung des englischen Reisenden, Kolonialbeamten und Dichters George Sandy (1577 bis 1644) die bereits im 17. Jahrhundert mehrere Auflagen erlebte. [Attributes: Hard Cover]

      [Bookseller: Antiquariat H. Carlsen]
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        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

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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 ]
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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. [Edited by William Laud]. [together with, as issued:] 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 - 2 parts in 1 vol., , first title printed in red and black within border of printed ornaments, Calendar and other preliminary matter printed in red and black, sectional title to the Psalter in black only within the same border further extended with different ornaments, numerous and various woodcut initials, black letter (for the most part), with out the 'Certaine godly prayers' at the end (as usual), Hh3 not cancelled, catchword reading 'yea' (a variant not recorded in ESTC), some damp-staining and browning (the two merging) and a few spots, but not severe, pp. [456], folio, sprinkled calf of c. 1800, edges of boards darkened, rebacked, ticket of Ogles, Duncan & Cochran, 295 Holborn, on fly-leaf (for whom the binding was probably executed), early MS table at end showing the divisions of Times Naturall, Civil, &c, &c, good. Considered as a piece of excellent printing, this book is admirable: considered as a piece of history it is compelling. Charles I intemperately imposed the Prayer Book upon Scotland, which did not want it (on the whole), and the stool throwing episode is one of the most celebrated in the national myth of Scotland. 'Geddes, Jenny (fl. 1637), supposed religious activist, is traditionally credited with having begun the demonstrations against Charles I's new Scottish prayer book when it was used for the first time in St Giles's, Edinburgh, on 23 July 1637. Her parentage is unknown, and indeed it is not entirely certain that she existed at all. There is no doubt that the riot in St Giles's was started by women, and a near-contemporary anonymous satire mentions a woman who 'did cast a stoole' at the dean of St Giles's, James Hannay, as he read from the new book. The caster of the stool is not identified until 1670, when she is referred to as 'Jane (or Janot) Gaddis (yet living at the time of this relation)'. In the light of this reference, sense can be made of an allusion in a 1661 pamphlet Edinburgh's Joy for his Majestie's Coronation in England. It satirically describes celebrations in Scotland of Charles II's Restoration, including the deeds of 'the immortal Jenet Geddis, Princess of the Tron Adventurers', a seller of vegetables who dominated women of a similar status. Geddes's 'immortality' evidently lay in her being alleged to have been the first to resort to violence in the events that led to Britain's civil wars' (ODNB). Ogle, or Ogles, and Co. were theological booksellers in London, and, obviously, Scots. (STC (2nd ed.) 16606; ESTC S113851, S122902; Aldiss 882)

      [Bookseller: Blackwell's Rare Books ABA ILAB BA]
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        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]
 37.   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]
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        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]
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        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. ]
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        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.]
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        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.]
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        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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