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Displayed below are some selected recent viaLibri matches for books published in 1638

        La Partie Meridionale de Languedoc.

      Engraved map of the southern part of the French province of Languedoc. With a decorative cartouche containing the Royal coat of arms. Amsterdam. No date. [Before 1638]. 38,5x49,5 cm. Edge and margins reinforced.. 15042242

      [Bookseller: Andersens Antikvariat]
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        Normandia Dvcatus.

      Engraved map of the Duchy of Normandy. With a decorative cartouche and a coat of arms. Illustrated with sailing ships at sea. Amsterdam. No date. [Before 1638]. 39x52 cm. Edge reinforced.. 15042210

      [Bookseller: Andersens Antikvariat]
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        Das Wiflispurgergov. - Carte gravee, Canton de Fribourg et Vaud.

      1638,. 36 x 48 cm, gravure sur cuivre coloriee, faux pli au centre, encadrement en bois (57 x 67 cm).. Tiree de: Gerardi Mercatoris et I. Hondii, Atlas novus, sive descriptio geographica totius orbis terrarum, tabulis aeneis luculentissimis et accuratissimis exornata, tribus tomis distinctus, 1638.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        A Survey of History: Or, A Nursery for Gentry. Contrived and Comprized in an Intermixt Discourse upon Historicall and Poetical Relations

      Square 8vo. London: By J. Okes for Jasper Emery at the Eagle and Child in Pauls Church yard next Watlin Street, 1638. Square 8vo, modern full blind-ruled morocco, spine gilt lettered between raised bands, a.e.g. [xxviii], 413, [1(Errata)] pp.; pp. 30-31 & 202-203 misnumbered. Extra engraved title-page by William Marshall, depicting the author surrounded by vignettes of Herodotus, Livy, Thucydides, & Tacitus. Upper margins of first four leaves reinforced with old paper, sidenotes of leaves B1 & B3 slightly shaved; overall a clean, surprisingly fresh copy in a somewhat incongruous but handsome binding. Second Edition, more than doubled from its original version as The Schollers Medley, published in 1614. Braithwaite, who is today best known for his doggerel poem Drunken Barnaby's Four Journeys..., here anatomizes the various sorts of histories--including fictional or 'poetical' ones--and elaborates on their moral and educational qualities. He categorizes histories as "Divine, Discursive, Morall, Physick, or Mixt"; and in the course of analyzing them he passes on many fascinating anecdotes on both antiquity and his own times. There are references to Machiavelli, Orlando Furioso, and Don Quixote, as well as to many highly obscure writers and books. In his omniverous curiosity , digressive erudition, and idiosyncratic style Braithwaite (1588-1673) is comparable to his celebrated contemporaries Sir Thomas Browne (1605-1682) and Robert Burton (1577-1640). Newberry Courtesy Books 218. Pforzheimer Catalogue 82. STC 3583a. With to Prior, I, 76.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Tabula Islandiae

      Amsterdam, 1638. unbound. Map. Engraving with hand coloring. Image measures 18 1/8" x 21.5". Beautifully rendered geographic features, including an erupting volcano, conjure the rugged atmosphere of Iceland. Winged beings decorate the title cartouche and ships and marine animals dot the seas. Several small scattered tears to edges, minor toning to margins.Latin text on verso. Henricus Hondius (1594-1629) was the youngest son of Jodocus Hondius, the prolific Flemish mapmaker. Johannes Jansson the younger (1588-1664) came from a similarly influential mapmaking family, and joined Hondius as partner around 1630.

      [Bookseller: Argosy Book Store]
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        Histoire de la vie du Connestable de Lesdiguières contenant toutes ses actions, depuis sa naissance, jusques à sa mort. Avec plusieurs choses mémorables, servant à l'intelligence de l'histoire générale

      1638. relié. DeCollection. Pierre Rocolet, Paris, 1638. In folio reliure plein veau du temps, dos à nerfs, titre doré, frontispice gravé par Huret d'après Dumontier, bois : vignette en page de titre, bandeaux, lettrines historiées, 17 f., 478 p., 27 f. Bien complet de sa page de titre et de son frontispice, manque la page de faux titre, manque de papier en page de titre, frontispice avec les armes du Connétable aquarellées, taches éparses, reliure fatiguée, à restaurer. Louis Videl (1598-1675) fut secrétaire du Connétable de Lesdiguière, François de Borne (1543-1626). Lesdiguières fut fait maréchal de France en 1609, duc et pair de France en 1611, et gouverneur du Dauphiné en 1612. Il reçut l'ordre du Saint Esprit.

      [Bookseller: Librairie]
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        Danica Pariter, & Belgica, Uno Toma Comprehensa, 1638

      VG. Amstelodami: G. & J. Blaeu, 1638. 5 parts, separate paginations, in 1 vol. Folio, (vi),118; (vi), 133; ; (iv), 150, (2, index); (iv) 112pp; vi, 87. Printers devices on titles; fine engraved portrait. First volume of Meursius' (Meursi) massive Danish history, beautifully printed in double columns and wide margins. Contains 1). Historiae Danicae, sive de Regibus Daniae, Libri Quinque Priores; 2). ...Libri Quinque Posteriores; 3). ...Libri III; 4). Gulielmus Auriacus, sive de rebus toto Belgio, Libros Decem; 5). Ferdinandus Albanus, sive de Rebus ejus in Belgio per Sexenniumgestis. The binding is firmly bound in full leather with one page partial loose and bumped, spine with six raised bumps, some chipping to spine leather, pages are all clean and unmarked, the boards are mostly smooth and handsome, with blind gilt ruling on the edges. All in all, a very handsome and substantial early edition dating back to 1638, a great history, in the original Latin, on the wild North. History of the Viking Kings of Denmark, with fascinating tales of the Draco and the Treasure, Sigurd Snake-Eye and Gorm the Old; on the terrifying Viking raids on England, and on the creation of a new state. It is five books of history bound together, covering the broad range of Danish and Belgian history; as well as Canute and the Danish attacks and conquests in England. In Latin, with five separate title pages, a beautiful and finely engraved frontis of the author in Renaissance dress; and a number of beautifully engraved initials and engraved head and tail pieces. The author of this great history of the Danes was a renowned Dutch classicist scholar, Johannes Meursius, who was appointed at the instigation of the chancellor of Christian IV, King of Denmark; who used various sources for his monumental work, including the Roman author Tacitus. The books are organized by kings,beginning with Danus I, Odin (Votan) the first King of Denmark who ruled in pre-Roman times; the first book ends with the Medieval King Valdemarus I who died in 1182, it ends with the reign of Christian II. This book became one of the standard works of Danish history; an important work of early European historiography.

      [Bookseller: PinkyTheLee]
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        Relacion de la Vitoria sue alcanzaron las armas Catolicas en la Baia de Todos Santos, contra Olandeses, sue fueron a sitar aquella Plaza, en 14 de Junio de 1638. Siendo Governador del Estado del Brasil Pedro de Silva

      1638 - Dutch struggle for Brazil. Official account of the Dutch raid of Bahia, with a combined force of French soldiers, and natives. 1638. Madrid. 1638. Francisco Martinez. In folio (288 mm x 210 mm). 6 ff. Unbound. Some light foxing, wide margins, strong impression, excellent example. First edition. A rare and first-hand source of information on the events of the 14 June, 1638, when a combined force of Dutch, French, and recruited natives attacked the Spanish/Portuguese city of Bahia. Dutch interest in Brazil -and particularly Bahia- was cause of several incursions, as it stood as the centre of the economic power in Portuguese Brazil. The imprint starts by condemning the French and the Dutch for their greed and obstination, in joining forces with Heretics and Turks, to conquer Spanish overseas possessions. Silva, aware of Dutch presence nearby, expected the pending attack on Bahia, which was part of a larger group of actions beginning on May; Count Bagnuoli, appointed by Governor Pedro de Silva, victoriously rejected the attack. “Official account of the Dutch and French Expedition of 1,600 men against the Spanish in Bahia, in which the Spanish, under the governor Don Pedro de Silva were successful, the Dutch being driven off. The Dutch had made the River S. Francisco, midway between Bahia and Pernambuco, their base this expedition being undertaken to recapture the city” (Maggs, 211, 1926). “The Dutch had held Pernambuco and Bahia, but having lost the latter organized this expedition of 1,600 men for its recapture. It was made from their base on the River S. Francisca” (Lathrop Harper, 166-721, 1943). Exceedingly rare, no copy has sold at auction since 1966. “This Relacion is very rare and frequently quoted” (Borba de Moraes). Only one copy in public institutions in Spain of this edition, and one of the Valencia edition (Salva, 3374, only 44 ff.]. Borba de Moraes, 721 (reproduced on pp. 722). Medina, BHA, 983. Sabin, 69187. Alden, European Americana, 638/95. [Attributes: First Edition]

      [Bookseller: HS Rare Books]
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        [in Greek, romanized as ] Leitourgia Brettanik? ?goun Biblos d?mosi?n euch?n kai diakon?se?s myst?ri?n kai t?n all?n thesm?n kai telet?n en t? Ekkl?sia h?m?n Anglikan? eis t[?n] t?n philhell?n?n ne?n charin hell?nisti ekdotheisa. Liber precum publicarum ac celebrationis sacramentorum reliquorumq[ue]; rituum & caeremoniarum in Ecclesiâ nostrâ Anglicanâ, in studiosae juventutis gratiam nunc primùm graecè editus. Operâ & studio Eliae PetilI presbyteri

      Londini: Typis Tho. Cotes pro Richardo Whitakero 8vo (16.1 cm, 6.5"). [262] pp. (lacking prelim. blank f.). [?1A4?4(-?1) ?4?4 ¶4¶¶4¶¶¶1 B?-N4 A?-04 P2].. 1638 First Greek translation of the entire Liturgy, including the Psalter, done by Elias Petley from the 1604 English Prayer Book. The Oxford Guide to the Book of Common Prayer describes this work as "reflecting an interest in Anglican-Orthodox union being promoted by Archbishop Laud and the Greek Patriarch Cyril Lucar"; the volume is dedicated to Laud. The main title-page is printed in red and black; the separate title-page for the Psalter has a neat woodcut printer's vignette and blazons (in Greek type) Psalterion prophetou kai basileos tou Dabid. The elegant Greek type is set in double columns, with some nicely laid in typographic ornaments and decorated capitals. The signing is erratic, but the collation of this example matches most recorded descriptions: Leaf ?1, apparently a cancel in a few copies but lacking in most reported examples and not present here, was a supplemental title-page giving Biblos d?mosi?n euch?n, kai leitourg?se?s myst?ri?n; Griffiths calls for only one preliminary leaf, as is found here, with the other leaf in the gathering being a blank. Leaf 1C2 is a cancel. Provenance: Front pastedown with armorial bookplate of Twistleton Fiennes, with that family's motto: "Fortem posce animum"; front free endpaper rubber-stamped "Birch" and front fly-leaf inked "Tho.s Birch e Coll. Herts. Oxon." (apparently neither the historian nor the marine painter); title-page with inked monogram (obscure). Contemporary speckled calf, covers framed in gilt double fillets, rebacked with speckled calf quite plainly (without labels but with gilt-dotted raised bands); corners rubbed, original leather showing expectable acid-pitting. One preliminary blank (only) lacking; title-pages trimmed closely at outer edge, affecting typographical border and (on main page) one letter of publication information. Ownership marks as above. Pages lightly age-toned, otherwise clean; tiny spot of worming in lower inner margin, not affecting text. => A handsome and evocative little book.

      [Bookseller: SessaBks, A Division of the Philadelphia]
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        Antitheses fidei, ventilabuntur in conventu S. Petri Montis Aurei fratrum Minorum S.P. Francisci reformat[orum].

      Rome, Congreg. de Propaganda Fide, 1638.. 4to (227 x 163 mm). 1 bl. f., 66 pp. (counted as 43; numerous errors in pagination; some parts included in two variants). With woodcut title vignette. Contemp. limp vellum with ms. title to spine.. Very rare polemical work, printed throughout in Arabic and Latin, that aims to compare and contrast Christian and Muslim scripture and doctrines. Dedicated to Cardinal Barberini. The editor Dominicus (1585-1670) taught Arabic at the Congregatio de Propaganda Fide since 1636 and collaborated on their Bible project. His magnum opus, one of the first literal Quran translations, was not rediscovered and published until 1883. In 1636 he published a Arabic grammar (the first publication of the Congregatio de Propaganda Fide press to use Arabic type); in 1639 he would produce a dictionary of vernacular Arabic. Four years in the Middle East had convinced him that a missionary must before everything else know the vernacular language (cf. Fück, p. 78). The present work was considered lost quite recently by Antonio Garcia Masegosa in his study "German de Silesia, Interpretatio Alcorani Litteralis, Parte I: La traduccion latina" (Madrid, 2009): "Por la misma epoca, publico un tratado religioso en arabe y en latin titulado Antitheses fidei, que se encuentra perdido en la actualidad, o que al menos no ha podido ser localizado para este trabajo" (p. 14). - Marked brownstaining throughout with waterstain to upper corner. Still an appealing copy. - Schnurrer 248. Encyclopaedia of the Qur'an IV, 237. OCLC 491545005, 54509800.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        [in Greek, romanized as ] Leitourgia Brettanik? ?goun Biblos d?mosi?n euch?n kai diakon?se?s myst?ri?n kai t?n all?n thesm?n kai telet?n en t? Ekkl?sia h?m?n Anglikan? eis t[?n] t?n philhell?n?n ne?n charin hell?nisti ekdotheisa Liber precum publicarum ac celebrationis sacramentorum reliquorumq[ue]; rituum & caeremoniarum in Ecclesiâ nostrâ Anglicanâ, in studiosae juventutis gratiam nunc primùm graecè editus Operâ & studio Eliae PetilI presbyteri

      Londini: Typis Tho. Cotes pro Richardo Whitakero 8vo (16.1 cm, 6.5"). [262] pp. (lacking prelim. blank f.). [?1A4?4(-?1) ?4?4 ¶4¶¶4¶¶¶1 B–N4 A–04 P2].. 1638 First Greek translation of the entire Liturgy, including the Psalter, done by Elias Petley from the 1604 English Prayer Book. The Oxford Guide to the Book of Common Prayer describes this work as "reflecting an interest in Anglican-Orthodox union being promoted by Archbishop Laud and the Greek Patriarch Cyril Lucar"; the volume is dedicated to Laud. The main title-page is printed in red and black; the separate title-page for the Psalter has a neat woodcut printer's vignette and blazons (in Greek type) Psalterion prophetou kai basileos tou Dabid. The elegant Greek type is set in double columns, with some nicely laid in typographic ornaments and decorated capitals. The signing is erratic, but the collation of this example matches most recorded descriptions: Leaf ?1, apparently a cancel in a few copies but lacking in most reported examples and not present here, was a supplemental title-page giving Biblos d?mosi?n euch?n, kai leitourg?se?s myst?ri?n; Griffiths calls for only one preliminary leaf, as is found here, with the other leaf in the gathering being a blank. Leaf 1C2 is a cancel. Provenance: Front pastedown with armorial bookplate of Twistleton Fiennes, with that family's motto: "Fortem posce animum"; front free endpaper rubber-stamped "Birch" and front fly-leaf inked "Tho.s Birch e Coll. Herts. Oxon." (apparently neither the historian nor the marine painter); title-page with inked monogram (obscure). Contemporary speckled calf, covers framed in gilt double fillets, rebacked with speckled calf quite plainly (without labels but with gilt-dotted raised bands); corners rubbed, original leather showing expectable acid-pitting. One preliminary blank (only) lacking; title-pages trimmed closely at outer edge, affecting typographical border and (on main page) one letter of publication information. Ownership marks as above. Pages lightly age-toned, otherwise clean; tiny spot of worming in lower inner margin, not affecting text. => A handsome and evocative little book.

      [Bookseller: SessaBks, A Division of the Philadelphia]
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        Bozza autografa di importante documento dat. 25 Maggio 1638 (destinato alle stampe) del Marchese di Leganes, Governatore di Milano dal 1635 al 1641, relativo alla guerra contro i Francesi per il predominio sull'Italia settentrionale, con particolari riferimenti alla situazione del Ducato di Savoia, che è minacciato dalle truppe francesi che hanno occupato proditoriamente alcune importanti piazzeforti. Riportiamo un passo a titolo di esempio: "Ben si raccorderanno tutti li suditi e naturali delle Provincie di Piemonte e Savoia che dopo la pace di Ratisbona dell'anno 1630 essequita per li trattati di Cherasco l'anno 1631, nel quale s'obligò il Re di Francia di cavare la sua soldatescha e gente dalle piazze, che occupava nel Piemonte senza riguardo di commettere una cosà chiara et evidente contravventione alla d.a pace, obligò con minacce e violenza il Sig. Duca Vittorio Amadeo a consignarle la Piazza di Pinarolo, soto vari pretesti di vendite e cambii con altre Piazze, che non hanno havuto alcun effetto, per non esserci mai stata altra intentione che di dare colore ad una tanta ingiustitia...". "Pertanto volendo Sua Maestà continuar questa Real protettione, che sempre ha tenuto della Casa di Savoia, e conoscendo che humanamente non c'è altro rimedio per liberare li suoi Prencipi, et sudditi dalla lagrimevole oppressione nella qual si trovano, che occupar Piazze e posti nel Piemonte non con fine che habbino da restare a Sua Maestà Cattolica, ma ben s' da scaciare da questa Provincia li Francesi...". Fascicolo costituito da dodici pp. in - 4.

      

      [Bookseller: Libreria Commissionaria Licosa SpA]
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      Ducatus Limburgum. Copperengraving. J. Janssonius. Amsterdam ca. 1638 Verso blank. Not in Koeman (49x38 cm).Jansonius, Janssonius

      [Bookseller: BREMMERS (Paul) Antiquariaat]
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        De Plantis Aegyptiis observationes et notae (Vesling, Alpino 1638) UND De Balsamo - Dialogus (Alpino 1639) UND De Plantis Aegypti Liber cum observationes & notis (Alpino, Vesling 1640). 3 Bände in einem Band.

      Patavii (d. i. Padua), Paulus Frambottus, 1638 - 1640.. De Plantis Aegyptiis oberservationes et notae (1638): leeres weißes Blatt (Vorsatz), Titel mit Holzschnittvignette, 3 Blätter Widmung und Ovationen, 80 Seiten mit 23 ganzseitigen Holzschnitt-Tafeln und zahlreichen Vignetten, 4 Seiten Index (zwischen S. 8 und 9 eingebunden). - De Balsamo - Dialogus (1639): 54 Seiten inkl. Titel mit Holzschnittvignette, 1 Blatt Vorrede und 1 ganzseitigen Holzschnitt-Tafel (Balsamum), mit zahlreichen Vignetten. 4 Seiten Index (zwischen S. 4 und 5 eingebunden). - De Plantis Aegypti Liber cum observationes & notis (1640): Editio altera emendatior. Titel mit Holzschnittvignette, 1 Blatt Vorrede des Druckers Paulus Frambottus, 10 Seiten Index, 142 (von 144) Seiten mit 47 (von 49) Holzschnitt-Tafeln (davon 42 ganzseitig) und zahlreichen Vignetten. 1 weißes Blatt (Vorsatz). Das Blatt mit den Seiten 117/118 (mit 2 Holzschnitten) fehlt nahezu vollständig! - Ca. 22 cm x ca. 16,5 cm. Allseits gesprenkelter Schnitt. Ledereinband der Zeit mit 4 Bünden, etwas Goldverzierung und Rückenschildchen. In Lateinisch. - Nissen, BBI 20 und 2057; Pritzel, Thes. Lit. Bot.111 und 9745 - Johannes Vesling (Minden 1598 - Padua 1649) und Prospero Alpino (Marositca bei Vicenza 1553 - Padua 1613) waren Ärzte und Professoren in Padua sowie Direktoren des botanischen Gartens Padua. - De Plantis Aegypti Liber cum observationes & notis enthält auf S. 65 einen erneuten Druck der ersten Abbildung der Kaffee-Pflanze (heute Coffea arabica), die erstmals 1592 in der ersten Ausgabe dieses Werkes publiziert worden war.. Der Einband etwas berieben, etwas bestoßen und etwas fleckig. Alte Nummer auf dem Vorsatz, sonst keine Einträge. Das fehlende Blatt unschön herausgerissen. Papier nur gering gebräunt, nahezu nicht fleckig. Bindung sehr gut und fest. Zustand II (deutsche Schulnotenskala). Auf Wunsch senden wir Ihnen gerne per E-Mail Fotos des Werkes zu.

      [Bookseller: Antiquariat Lycaste]
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        Traite du Jardinage

      1638. THE BEGINNING OF GARDEN DESIGN AS AN ART BOYCEAU, Jacques. Traite du Jardinage, selon les raisons de la nature et de l'art. Divise en trois livres. Ensemble divers desseins de Parterres, Pelouzes, Bosquets et autres ornements servans à l'embellissement des Jardins. [8], 87, [1] pp. Illustrated with an engraved title-page by Van Lochom, engraved portrait of Boyceau after De Vris, 61 plates comprising a total of 79 copper-engraved subjects printed on 36 single-page engraved plates (including one with 2 engravings on the page), 24 double-page engraved plates, and 1 quadruple folding engraved plate, plus numerous engraved head- and tailpieces and large engraved initials, and one half-page engraving depicting winds. Plus there are 9 extra engravings of garden plans published by Bonnart bound in at the rear. Folio, 384 x 273 mm, bound in eighteenth-century French speckled calf, gilt-tooled compartments on spine, red morocco title-label. Paris: Michel Van Lochom, 1638. |~||~||~||~||~||~| First Edition of the first treatise devoted primarily to the pleasure garden. Boyceau offered a new aesthetic approach to garden design and in so doing elevated the metier of garden design into an art. The Traite du Jardinage, published posthumously by his nephew Jacques de Nemours, determined the character of the French seventeenth- and eighteenth-century formal garden that was brought to its climax by André Le Nôtre a generation later. The creative significance of Boyceau's book in relation to the history of European garden design cannot be overestimated, as there is no comparable basic statement of principles either for the Italian or English garden, and therefore it remains one of the single most influential works on the art of garden design in Europe. Jacques Boyceau, Sieur de la Barauderie (ca. 1565-ca. 1635), was appointed Intendent des jardins du roi in 1602, and he continued to hold his appointment under Louis XIII after the assassination of Henri IV (in 1610), at which time he was recognized as an authority on garden planning. From the Traité (Privilege, fol. a3v) we know that Boyceau was involved with the gardens at Fontainebleau, although no extant record of his work there exists. The illustrations in the Traité include parterres executed to his designs for the gardens of Marie de Médici at the Luxembourg Palace, the "new" château commissioned by Louis XIII at Versailles, the château-neuf at St. Germain-en-Laye, the Louvre, and the Tuileries. "[Boyceau] planned the new parterres for the Tuileries gardens and his beautiful designs greatly excited the admiration of the next generation... [he] is regarded as the precursor of the great development of French gardening" (Gothein, A History of Garden Art). In general Boyceau's designs are strikingly original; they differ significantly from those of his predecessors (cf. Serlio's Architettura Book IV, Du Cerceau's Plus excellents bastiments, and to a lesser extent Claude Mollet's designs for the Tuileries and St. Germain-en-Laye as depicted in Olivier de Serres' Theatre d'agriculture). Just as Boyceau owed little to his precursors or contemporaries, some of his designs (particularly those of parterres) clearly foreshadow the future, and thus provide an obvious precedent for Le Nôtre and his successors, not only on the Continent but in England as well. Kenneth Woodbridge writes: "[Boyceau's] designs for parterres de broderie in the Traité du Jardinage are the earliest representations of garden decoration in this style, for which reason he has been credited with its invention... Boyceau's book was the first French text to be devoted to pleasure-gardens and their ornament, stressing the importance of variety, not only in the plan and in relief but in the use of sites where there are differences of level" (Oxford Companion to Gardens). The collation of Boyceau's Traite du Jardinage is complex in the extreme; inconsistencies exist among nearly every bibliography. We have collated our copy against the 1997 Nördlingen facsimile. The introduction to the Nördlingen facsimile declares that no two copies are exactly alike; the engraved plates were never numbered, and there is no reference in the text to particular plates. We have determined that: the present copy contains two single-page plates that are not present in the Nördlingen facsimile, and there are two plates in the facsimile not in our copy. The quadruple plate repaired, some occasional marginal waterstaining, but overall in good condition. The only copy listed at auction by ABPC CD-ROM is the seriously defective John Evelyn copy (44 double page plates, sold in 1977 to Weinreb of London). PROVENANCE: Bibliotheca de Bresse with ex-libris. Château de Pierre-de-Bresse is in the Bourgogne region of eastern France. Ownership traces back to 1092, however, it was Jacques de Thyard, Marquis de Bissy (1648-1744) who was likely the first owner to engage in construction of the gardens surrounding this historic Chateau under the influence of Boyceau's Traite du Jardinage. Ernest de Ganay, Bibliographie de l'art des Jardins 17 (now Bibliothèque nationale, 43 planches). Guilmard 65 (26 doubles and 36 simples). Berlin Katalog 3442 (59 plates). Destailleur 542 (63 plates). Pouillon 19 (62 plates). Grosseuvre (64 plates, of which 26 doubles).

      [Bookseller: Ursus Rare Books]
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        Panegyrique de Trajan

      First edition of this translation of Pintail Ménardière. a thumbnail title to the effigy of the emperor (repeated after the preface). Velin full time. Smooth back with respect to red feather dimmed. Seam. This panegyric, we announced the first page of text, was given by Pliny the second before the senate, in the presence of the emperor, while Pliny was Consul. In fact, the speech by Pliny was much shorter than the latter and it was written to thank the emperor for having chosen as consul, it was only later that Pliny reshuffled his text fleshing historically and gave him this title. Some think that Trajan and discipline were close upon accession to power of Emperor. A preface by translator. Chez Antoine de Sommaville A Paris 1638 In 4 (16,5x22,5cm) (28) 359pp. relié

      [Bookseller: Librairie Le Feu Follet]
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        Remarques d'histoire, ou description chronologique des choses plus memorables passees, tant en France qu'és pays estrangers, depuis l'an 1610, iusques à present

      New expanded remarks until the year 1637 edition. The first edition from 1632 until 1631 included remarks. Rare. Full Sheepskin brown time. Back tooled raised, roulette tail. Part of title in red morocco. A lack in mind. Part of title and prélliminaires sheets trimmed short. Corners lightly bumped. Pretty good copy, despite a paper yellowed by time. Renowned historian and biographer of King Malingre Claude (1580-1653), known as Saint Lazarus was, if not a great historian, a leading indicator. The Notes are a detailed chronicle of the history of France, from 1610 to 1637 and consisted of factual narratives that are characterized by their commitment to objectivity and neutrality. We are here as opposed to Herodotus and classical history. Chez Claude Collet A Paris 1638 Fort Pet. in 8 (9,5x16,5cm) (8) 960pp. Relié

      [Bookseller: Librairie Le Feu Follet]
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        Sammelband Schlesische Ordnungen, Edikte, Statuten 1638 ff.

      Breslau 1638- 1680. Kl.-Folio. 1. Publication der Röm. Kayserl. Auch zu Hungarn, und Böhaimb, etc. Kön. Maytt. Revidirten, und Reformirten, auch Limitirten Zohl-Mandats in Ober- und Nieder Schlesien. Breslau, Baumann, 1638. Kl.-Folio. 40 unnum. Blätter (das letzte weiß). - 2. Der Kayserlichen und Khöniglichen Stadt Breßlau, Statuta und Ordnungen, auffs Neu umbgefertiget. Breslau, Baumann, 1676. 2 Bll., 37, (3) S. - 3. Der Kayserlichen und Khöniglichen Stadt Breßlaw auffs neu umgefertigte, vermehrte und verbesserte Bau-Ordnung. Breslau, Baumannische Erben, 1668. Titel, 48 S., 3 unnum. Bll. - 4. Der Kayserlichen Stadt Breßlaw Fewer-Ordnung, wie dieselbe anderwerts ubersehen, auffs new umbgefertiget, und verbessert. Am Schluß: Breslau, Baumann, 1630 (richtig: 1644, datiert nach dem Wappen auf dem Titelblatt). Titel rot-schwarz, 1 Blatt, 35 S., 6 unnum. Bll. - 5. Der Kayserlichen und Khöniglichen Stadt Breßlaw New auffgelegt und eingerichtete Ordnung, Wie es bey Hochzeiten, Kind-Tauffen und Begräbnüssen hinfüro gehalten werden solle. Breslau, Jacob, 1665. 8 ungez. Blätter. Titel rot-schwarz. - 6. Der Kayser- und Königlichen Stadt Breßlaw auffgerichte Wechsel-Ordnung. Breslau, Baumann Erben, 1672. 6 ungez. Blätter. - 7. Der Hoch- und Löblichen Herren Fürsten und Stände im Herzogthum Ober- und Nieder-Schlesien neue Infections-Ordnung, De dato Breßlau den 14. Februarii 1680. Breslau, Baumann Erben, 1680. Titel, 33 S. (S. 27-30 in falscher Reihenfolge gebunden). - 8. Medicinisches Pest-Consilium, entworffen Von denen Breßlauischen Physicis. Breslau, Baumann Erben, 1680. Titel, 39, (7) S. - Von den schlesischen Ärzten Gottfried Thilisch und Friedrich Ortlob verfasst, wurde auch in anderen deutschen Provinzen verbreitet. - Zusammen in Pergamentband der Zeit. - Bindebänder fehlen. Rücken mit unbedeutenden Resten ehemaliger Überklebung..

      [Bookseller: Antiquariat Winfried Scholl]
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        Veue du Chasteau neuf de St. Germain en Laye, du coste de la Riuiere

      Paris: late 18th century - This superb hand-colored engraving, VVeue du Chasteau neuf de St. Germain en Laye, du coste de la Riuiere, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with a small pencil mark on the bottom right margin. Illustrated in this engraving is an expansive view of Chateau St. Germain in Laye from across a river. large and small boats sail along the river as courtiers are seen horseback riding in the hills. The use of linear perspective allows for the gardens of St. Germain to be appreciated along with the intricate network of the building's porches and arches. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Veue du Chasteau de Versailles, du coste du Jardin

      Paris: late 18th century - This superb hand-colored engraving, Veue du Chasteau de Versailles, du coste du Jardin, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with slight evidence of previous repair to the central crease. Illustrated in this engraving is a view of Versailles as the royal courts heads from the gardens in carriage and horseback. Peasant workers stop to watch the procession as they pass the large fountains and extravagant facade of Versailles. The courtiers, carriages and horses are brightly colored and finely detailed. Through the use of linear perspective, the whole of the scene can be appreciated. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
 20.   Check availability:     AbeBooks     Link/Print  


        Plate 60, L'jsle Royalle

      Paris: late 18th century - This superb hand-colored engraving, Plate 60, L'jsle Royalle, from the late 18th century measures 19.75” x 26.75” and is in very good condition with light foxing throughout. This engraving illustrates the courtiers and noblemen and women of King Louis XIV around an expansive fountain within the lush gardens of Versailles. The finely appointed nobles are richly and colorfully dressed as they interact around the fountain. The dramatic and sweeping landscape is lushly colored as is the dusky sky overhead. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 43, Diverses vues du Chateau de Versailles

      Paris: late 18th Century - This superb hand-colored engraving, Plate 43, Diverses vues du Chateau de Versailles, from the late 18th century measures 19.75” x 26.75” and is in excellent condition. This engraving shows expansive views of Versailles and the land and buildings surrounding. Soldiers are seen on horseback as are peasants and the bourgeois in their carriages. Will fine, vibrant coloring, this engraving shows the busy life around the royal place of Versailles. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles, which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles. Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris, was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles, along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
 22.   Check availability:     AbeBooks     Link/Print  


        Plate 104, Vue du parterre du Chateau de Rambouillet

      Paris: late 18th century - This superb hand-colored engraving, Plate 104, Vue du parterre du Chateau de Rambouillet, from the late 18th century measures 19.75” x 26.75” and is in excellent condition. Illustrated in this engraving are the gardens of Chateau Rambouillet, a castle in the town of Rambouillet, France. The vibrant clothing of the noblemen and women illustrated in heightened by the lush green gardens which they stand among, taking and interacting. The gardens and small ponds are shown in great perspective and seem to be endless. The pale colors of the sky add to the depth of the image and the overall luscious scene. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
 23.   Check availability:     AbeBooks     Link/Print  


        Veue et perspective du Chasteau de Versailles, du coste de l'entree

      Paris: late 18th century - This superb hand-colored engraving, Veue et perspective du Chasteau de Versailles, du coste de l'entree, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with light staining and discoloration in the margins. Illustrated in this engraving is a frontal view of Versailles. This fine engraving shows the great skill of the engraver as linear perspective is used to make this dynamic plate, the center being the entrance into Versailles. Fine coloring of the courtier's clothes make them visible from the distance and shows the lush trees and gardens of the property. This lively scene has rearing horses, hounds and noblemen interacting, and relates a day in Versailles to the viewer. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Veue Principale du Theatre d'Eau

      Paris: late 18th century - This superb hand-colored engraving, du canal du Chateau de Rambouillet prise du balcon du Roy, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with light discoloration in the margins and evidence of previous repair on the central crease. Seen in this engraving are the canals within the gardens at Chateau Ramboullet. Illustrated through the use of perspective, the canals are shown at angles towards a central point, and the landscape in the distance is shown slightly high on the horizon. The noblemen and women are seen on the banks, finely dressed in vibrant colors and interacting with each other. Delicate swans are illustrated floating in the canals and grazing animals are illustrated on the lawns. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Historia Eclesiástica, principios y progresos de la ciudad, religión Católica de Granada

      Granada, Andrés de Santiago 1638 - Fol. (29 x 19,5 cm.) Frontis grabado al cobre, 10 h., 302 fols. Pergamino de época. Es obra rara y estimada. Desde muy joven, el autor, cronista e historiador, se interesó por la historia de su ciudad natal, investigando en los archivos y crónicas disponibles y publicando en 1608 Antigüedades y excelencias de Granada, obra erudita y llena de curiosidades, que, reformada y ampliada, volvió a publicar en 1637 bajo el título “Historia eclesiástica de Granada”, apoyándose en Luis del Mármol Carvajal para la parte correspondiente a la época islámica. “La obra responde a la necesidad de construir una historia de la ciudad de Granada acorde con las necesidades y valores de la Contrarreforma. Tras la guerra contra los moriscos de 1568-1571 y su posterior expulsión, la ciudad ve cómo se disipan los sueños imperiales forjados durante la época carolina y su prosperidad económica. Granada queda convertida en una ciudad administrativa, despoblada y decaída. En este contexto de abatimiento moral y económico, Bermúdez de Pedraza, entre otros, se propone reconstruir la historia de Granada de acuerdo con las exigencias contrarreformistas de la ortodoxia católica impuesta por Felipe II. En esta empresa, apoyado en las falsificaciones de la Torre Turpiana y del Sacromonte, los falsos cronicones y en autores del pasado reciente como Diego Hurtado de Mendoza, Bermúdez de Pedraza defiende la historicidad de una Granada mítica de remoto pasado cristiano frente a la poco grata sospecha de ser una ciudad de fundación musulmana. El autor exalta la benignidad del clima granadino, la amenidad de sus ríos, la fertilidad de la tierra y la oportunidad estratégica de su enclave. Seguidamente elogia la belleza de sus monumentos, particularmente de la Alhambra a la que considera superior al Partenón y de su aljibe, así como la grandiosidad de los edificios públicos y privados, no sin dejar traslucir una cierta melancolía por el pasado glorioso del Albaicín y el Generalife. Finalmente defiende la autenticidad de las reliquias del Sacromonte, piezas fundamentales de toda su argumentación.” [Academia de Buenas Letras de Granada] Frontis montado, con menor margen inferior y externo, pérdida de un pequeño trozo en el margen lateral; mancha de humedad en la mitad superior generalizada, últimos dos fols. remarginados. [Attributes: Hard Cover]

      [Bookseller: Delirium Books · Susana Bardón]
 26.   Check availability:     IberLibro     Link/Print  


        Hydrodynamica, sive de viribus et motibus fluidorum commentarii.Strasbourgh: Johann Reinhold Dulsseker, 1738. First edition.

      First edition with outstanding provenance, the copy of Comte de Buffon and later his collaborator Philippe Guéneau de Montbeillard. A beautiful and very large copy of Bernoulli's epochal work on fluid dynamics and kinetic gas theory. ❧Norman 215; PMM 179n; Barchas 175; Parkinson pp 155-6; Roberts and Trent, pp 34-5. "Bernoulli's <i>Hydrodynamica</i> [was] one of the major works initiating the mathematical study of fluid flow. Bernoulli presents the following equations for steady, non viscous, incompressible flow: <i>p + ρ v<sup>2</sup>/2 + ρ gy = A</i>, where <i>p</i> symbolizes pressure, ρ density, <i>v</i> velocity, <i>g</i> the acceleration of gravity, <i>y</i> height, and <i>A</i> a constant. He also examines the equilibrium oscillation of an interialess ocean, and explicitly states that the flow equations are appropriate not only for the more common applications of fluid dynamics but also for the flow of blood in veins and arteries. Bernoulli, like Galileo Galilei in 1638 and Christian Huygens, assumes conservation of <i>mv<sup>2</sup></i> rather than conservation of momentum mv, m and v symbolizing a body's mass and velocity respectively" (Parkinson, Breakthroughs). <br/><br/> The <i>Hydrodynamica</i> also "initiates the mathematical study of the kinetic theory of gases ... and analytically deduces Boyle's Law that volume and pressure of a gas are inversely related, a law originally obtained empirically. To establish the analytical derivation, Bernoulli follows Robert Hooke in visualizing the pressure of gas as resulting from huge numbers of impacts on the walls of the container by hard, fast-moving gas particles. Bernoulli's explanation, based on random motions of the gas particles, is more modern than an earlier attempt by Isaac Newton to explain Boyle's Law by assuming relatively motionless particles which repel each other with a force inversely proportional to the distance between them" (ibid).<br/><br/> <i>Provenance:</i> Inscription in the left margin of the title page 'Buffon 1739', crossed out in a different ink, similar to the following signature of Philippe Guéneau de Montbeillard (1720-1785). Rear fly leaf with pencil inscription, probably a dealer's, stating 'Exempl. ayant appartenu a Buffon' (i.e., 'This book was the propriety of Buffon'). The great naturalist Georges-Louis Leclerc, Comte de Buffon (1707-1788) is generally credited as the father of all thought in natural history in the second half of the 18th century. Montbeillard was a close friend of Buffon and collaborated with him on the <i>Histoire des Oiseaux</i>.. 4to (254 x 200 mm), pp [viii] 304, title in red and black, with engraved vignette and 12 folding engraved plates by Johann Martin Weiss, a fine copy in contemporary French polished calf with richly gilt spine, corners a little bumped and worn, capitals chipped and hinges starting. Some leaves with light browning. In all a fine copy with two fine provenances in unrestored state

      [Bookseller: Sophia Rare Books]
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        Perversa ultimi seculi militia, oder Kriegs-Belial, der Soldaten-Teufel, nach Gottes Wort und gemeinem Lauff der letzten Zeit beschrieben. Die vierdte Edition, mehr als an 200. Orten verbessert und mit 6 neuen Capiteln ergäntzet, wie auch mit einem vierfachen Register versehen. Leipzig, J. Lüderwaldt 1687. 8°. 15 Bll., 744 (recte 734) S., 20 Bll., mit gestoch. Titel.- Angeb., Ders., Tobias conscientiosus, das ist: Theologischer Bericht und Antwort, auff die,... hochnöthige Gewissens-Frage, was zu halten und zu gewarten sey, wenn einer Stadt Einwohner, den auff dem Lande... gesamlten Raub, von Soldaten und Mercadentern an sich losen, kauffen und partiren. Leipzig, J. Lüderwaldt 1686. 1 Bl., 102 S., Prgt. d. Zt.

      . . I) VD17 23:242589F - Faber du Faur 82b - vgl. STC M 849 (Ausg. 1638).- II) VD17 23:242591B - Faber du Faur 82a - vgl. STC M 850 (Ausg. 1638).- Erstmals 1638 bzw. 1637 erschienene Sammlung von Predigten des lutherischen Theologen Arnold Mengering (1596-1647). Er war Superintendent und Gymnasialprofessor in Halle. "Passionate indignation drove his pen, compelling him to describe the atrocities of the Thirty Years' War in all their horror. Moscherosch's 'Soldatenleben' is foreshadowed here, and thus the form which leads to the 'Simplizissimus' of Grimmelshausen. The old 'Teufelsliteratur' is surpassed in intensity to culminate in a gigantic picture of the century of wars" (FdF).- Vorsatz mit Notizen von alter Hand, Titel mit kleinem ergänzt. Ausschnit, nur wenig fleckig u. leicht gebräunt.

      [Bookseller: Antiquariat Johannes Müller]
 28.   Check availability:     ZVAB     Link/Print  


        DELL'HISTORIA DI PIETRO GIOVANNI CAPRIATA. Libri dodici, Ne' quali si contengono tutti i movimenti d'arme successi in Italia dal MDCXIII fino al MDCXXIV. In Genova, Nella Stampa di Pietro Giovanni Calenzano, e Gio: Maria Farroni Compagni, 1638.

      Prima edizione, dedicata a Ottaviano Raggi. Cm.20,7x14,7. Pg.(20), 850, (38). Legatura in piena pergamena semirigida, con titoli manoscritti al dorso a quattro scomparti. Testatine, finalini e capilettera incisi. La prima e l'ultima parte del volume sono interessate da un alone diffuso, che non inficia la fruibilità del testo. Ex libris nobiliare all'antiporta. Si tratta della edizione originale della prima parte della "Historia" del Capriata, giurista e poligrafo genovese, che fu in seguito continuata in due altri volumi, trattando rispettivamente fatti avvenuti negli anni 1634 e 1644 e poi sino al 1650. Il figlio Giovanni curò una edizione con gli avvenimenti sino al 1660, mentre Henry Montmouth curò una versione inglese.

      [Bookseller: Studio Bibliografico Pera]
 29.   Check availability:     maremagnum.com     Link/Print  


        A DISPLAY OF HERALDRIE: MANIFESTING A MORE EASIER ACCESSE TO THE KNOWLEDGE THEREOF...

      Printed by Thomas Cotes for Jacob Blome, 1638, Hardcover, Book Condition: Good, Dust Jacket Condition: No Jacket, Third EditionSize: 4to - over 9? - 12" tall, Title continues: "...than hath beene hitherto published by any, through the benefit of Methods; Whereinto it is now reduced by the study and industry of Iohn Gvillim, late Pursuivant at ARMES. The third Edition; Corrected and much enlarged by the Author himselfe in his life time; Together with his owne Addition of explaining the Termes of Hawking and Hunting, for the use and delight of mGentlemen." [14] 433pp, 25p(A most exact alphabetical table for the more speedy finding of all Their Names and Sirnames, whose Coat-Armes are contained in Guillim his Display of HERALDRY. M.DC.XL." 9 full-page 'Achievments'; numerous armorial figures and embellishments. Bound in full leather with 5 raised bands and title label to spine. The covers show moderate wear, but the contents are clean and complete, with the exception of htwo hand-written notes on the front endpapers, name of a previous owner to the top of the title page, and minor offsetting of ink on some pages. Illustrations available on request, Book

      [Bookseller: Old Authors Bookshop]
 30.   Check availability:     Bookzangle     Link/Print  


        The whole booke of psalmes. Collected into English meeter

      London: E. Griffin & I. Raworth Folio (35.1 cm, 13.75"). [2], 113, [9] pp.. 1638 Sternhold and Hopkins's influential and enduring metrical psalmody, which first appeared in 1562. Opening with a large woodcut headpiece incorporating the lion and unicorn, the text is printed in two columns of roman type, with => music included. When produced in folio, with elegant layout as here, this familiar "title" => breathes grace. Later period-style black morocco framed and panelled in double gilt fillets and gilt roll with gilt-stamped corner fleurons, spine with gilt-stamped title and gilt-ruled raised bands; boards slightly bowed, gilt showing small spots of rubbing. Lower (closed) page edges (only) institutionally rubber-stamped. Last few leaves with portions of inner and outer margins waterstained; pages slightly cockled, age-toned with occasional small spots.

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


        Tesserae Gentilitiae. Ex legibus Fecialium descriptae.

      . Romae, Corbelletti 1638. Folio. 8 Bl., 678 S., 15 Bl. Mit 1 illustrierten Titelblatt nach Ramanelli, gestochen von Greuter, 1 Portraittafel (Th. Barberini), 1 Wappentafel und viele hundert Textkupfer mit Wappen. Pgmt.d.Zt. mit handschriftl. Rückentitel. Main work of Petra Sancta. Petra Sancta was the inventor of the modern hatching method in heraldry. Einband etwas fleckig. Gutes und sehr sauberes Exemplar. -CHF 2500.00.

      [Bookseller: Antiquariat Fatzer]
 32.   Check availability:     ZVAB     Link/Print  


        Itinerarium Sacrae Scripzturae. 4 Tle. in 1 Bd. Braunschweig, Kirchner, 1638. 7 Bll., S. 23-43 , Pag. springt auf 48-240, 3 Bll. (Register); 3 Bll., S. 1-78, 83-102, 2 Bll. (Register); 1 Bl., 24 (recte 30) S.; S. 1-23 und 26/27 (statt 28). Mit 5 (von 10) Holzschnitt-Karten (davon 3 doppelblattgr.) und 1 (von 2) doppelblattgr. Holzschnitt-Ansicht. 4°. Hldr. d. Zt. (Rücken fragmentarisch, bestoßen).,

      1638 - 'Das ist: Ein Reisebuch uber die gantze heilige Schrifft, in drei Bücher getheilet. Zuvor gemehret mit einem Büchlein De Monetis et Mensuris.' (Untertitel).- Vgl. Graesse I, 572. Bewährtes Handbuch zur biblischen Geographie anhand der im Alten und Neuen Testament geschilderten Reisen.- Es fehlen die Karten: Welt (2x), Europa, Asien, Afrika und die Ansicht des Tempels.- Seiten 79-82 aus dem zweiten Teil und Seiten 24/25 und 28 aus dem letzten Teil fehlen.- Teils gebräunt, teils mit Wurmspuren im Innen- bzw. Fußsteg, 11 Blätter lose, Titel und ca. 18 Blätter mit hinterlegten Abrissen oder angerändert (teils leichter Buchstabenverlust). Gewicht in Gramm: 500

      [Bookseller: Antiquariat Daniel Schramm e.K.]
 33.   Check availability:     IberLibro     Link/Print  


        Veue et Perspective du Chateau de Versailles du coste de l'orangerie

      Paris: late 18th century - This superb hand-colored engraving from the late 18th century, Veue et Perspective du Chateau de Versailles du coste de l'orangerie, measures 19.75&#148; x 26.75&#148; and is in excellent condition with light discoloration around the edges. This engraving illustrates the king's court riding back to Versailles from a hunt. This lively scene shows the horses and hounds in motion, coming in from all angles of the plate, and gives a sweeping view of Versailles and the orangery, or lush gardens of the property. The noblemen are all finely dressed in rich colors and the lush greenery of the trees and deep blues of the ponds and fountains show the great expertise of the artist. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles, which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles. Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris, was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles, along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
 34.   Check availability:     AbeBooks     Link/Print  


        LES PLANS ET PROFILS DE TOUTES LES PRINCIPALES VILLES ET LIEUX CONSIDERABLES DE FRANCE Ensemble les cartes générales de chacune province: & les particulières de chaque Gouvernement d&#39;icelles. Seconde partie.

      Paris, chez Michel Vanlochon, 1638. In-24 gr. (mm. 148 x 205), mz. pergam. antica, fregi e tit. oro su tassello al dorso, pp. 44 di descrizione, con 229 (su 230) tavv. inc. in rame f.t. di cui: 1 frontespizio, 1 indice generale, 1 carta geografica della Francia, 10 titoli e 8 indici, e con 208 "plans et profiles des principales villes des provinces de: Bourgogne (21 tavv.) - Dauphiné (38) - Principauté d'Oranges et contat de Venaissin (4) - Provence (16) - Languedoc (45) - Villes de Foix & Bearn (6) - Guyenne (21) - Poictou (24) - Loire (17) - Beaulce (16)". "Manca" 1 tav. della Provence. La carta geografica della Francia, ripieg., è mutila di una piccola parte. Cfr. Christie's "Antique Maps", p. 127: "Nicolas Tassin (1633-55) was appointed royal cartographer at Dijon before setting up as an engraver in Paris where he issued various collections of small maps and plans of France, Switzerland, Germany and Spain" - Tooley, p. 610. Nel ns. esempl.: frontesp. restaur. e con pesanti tracce d'uso, restauri margin. per piccole manc. o fori di tarlo sulle carte di testo, antiche note manoscritte al verso di numer. tavv. ma complessivam. ben conservato.

      [Bookseller: Libreria Malavasi sas]
 35.   Check availability:     Biblio     Link/Print  


        The Returne Of Prayers, Etc. (1636) With, a CHILDE of Light Walking in Darknes (1638) ; With, AGGRAVATION of Sinne & Sinning, Etc. (1637) With, AGGRAVATION of Sinning Against Mercie (1637) ; With, the VANITY of Thoughts Discovered, Etc. (1638)

      R. Dawlman, 1638, Hardcover (Full Leather), Book Condition: Good Condition, Dust Jacket Condition: No Dust Jacket, First EditionFull leather, edges worn, hinges cracked. Early pages wrinkled, little stained in places. Five works bound together, the works on Aggravation being quite scarce. Goodwin was a member of the Westminster Assembly. Size: Square 8vo. 630 pages. Quantity Available: 1. Shipped Weight: Under 2 lbs. Category: Antiquarian & Rare; Renaissance 16thc to 17thc; Religion & Theology. Pictures of this item not already displayed here available upon request. Inventory No: 2098.

      [Bookseller: Noah's Ark Book Attic]
 36.   Check availability:     Bookzangle     Link/Print  


        Het ghesette Exemplaer der Godlosen, Ofte Historie Sodomae ende Gomorrae, Eertijts verclaert in XXV. Predicatien, uyt Genes. Cap. XVIII. ende XIX. Ende nu uyt sijne Latijnsche Schriften over-geset, ende 't samen ghestelt door Aegidius Becius. Hier by is noch ghevoecht den Spieghel der Cleyne Werelt, ofte verclaringhe van de broosheyt der Alderheylichste, bewesen in het Exempel vanden val Loths, vervolghens beschreven Genes. Cap. XIX. vers 31. &c. in een bysonder Tractaet begrepen vanden selven Autheur. Ende al t'samen ghevisiteert ende geapprobeert by de Theologische Faculteyt der Universiteyt van Leyden.

      Arnhem, Jan Jacobsz. 1638. 4 delen en 1 werk in 1 band, (28) 87, (3) 48, (2) 68, (1) 38, (4) 36 (6) folia. Opnieuw gebonden oud Perkament, 4° (zeldzaam werk, titelpagina en eerste 12 pagina's voorwerk in keurige kopie. SGT B-88 en 92).

      [Bookseller: Antiquariaat De Roo]
 37.   Check availability:     NVvA     Link/Print  


        Raccolta copiosissima di tutte le sentenze, detti, discorsi morali, filosofici, politici, e varij più notabili ed eruditi, che si contengono nell&#39;Eromena, nella Donzella Desterrada e nel Coralbo del Signor G.F.B

      Viterbo: Diotallevi, ad instanza di Filippo de&#39; Rossi, 1638. pergamena (vellum). Molto buono (Very Good). 16mo. Nuova aggiunta. Marca xilografica al frontespizio L&#39;Autore (Isola di Lesina, Dalmazia 1572 - Aubonne, Svizzera 1644) scrisse opere storiche ed una trilogia di romanzi avventurosi ed erotici: l&#39;Eromena del 1624, La Donzella Desterrada del 1627 e il Coralbo. Titolo manoscritto al dorso Strappo con piccola mancanza di circa 1 cm alla pag 25

      [Bookseller: Studio Bibliografico MArini]
 38.   Check availability:     Biblio     Link/Print  


        Les Oeuvres [Works] : ... Mises En Francois Par Matthieu De Chaluet ... Augmentees En Ceste Edition De Plusieurs Traictez Non Encores Veus. Et ... Traduits Sur Le Manuscrit, Par I. Baudoin

      A Paris : Chez Michel Blageart Et Michel Brunet, 1638, Hardback, First EditionFull, contmporary gilt-blocked vellum, raised bands &c. Spine head and tail somewhat rubbed with scattered toning to the panel extremities. Remains an uncommonly positive example overall; tight, bright, clean and sharp-cornered. Scans on request. ; 1 pages; Physical desc. : [4], 259 leaves, 260-'322' [i. E. 330]p. , 331-390 leaves, 391-402p. , 403-'507' [i. E. 517], [14] leaves; [12], 27, [1]p. ; 212p. (2o) . Referenced by: CLC S1056. Pt 3: Les controuerses et suasoires de M. Annaeus Seneca rheteur. Copper-engraved pictorial head & tailpieces, added t. P engraving.

      [Bookseller: MW Books Ltd.]
 39.   Check availability:     Bookzangle     Link/Print  


        De Animalibus Insectis. Libri septem.

      Bononiae, apud C. Ferronium, 1638. Folio (352 x 223mm). pp. (14), 767, (1), (44), with engraved title and about 700 woodcuts. Contemporary vellum, spine in 7 compartments (head of spine worn). Due to the binder's mistake the title-page of Aldrovandi's work on fishes instead of the one on insects is bound in. The first edition was published in 1602. 'The first work of literature dealing with insects, thus finally establishing entomology, and especially systematic entomology as a science' (Smith, R.F. History of Entomology, p. 85). Aldrovandi's complete natural history works consist of 11 works, he spent 45 years amassing the material. The volumes on birds and the present volume on insects were completed by himself, the others by his pupils. The woodcuts of the insects are of great beauty and accuracy. "Although Aldrovandi is not identified with any revolutionary discoveries, his work as a teacher and as the author of volumes that constitute an irreplaceable cultural patrimony earns him a place among the fathers of modern science" (D.S.B. I, p. 110). //Nissen ZBI, 67.

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


        ELECTA SACRA in quibus quam ex Latino, Graeco, ex Latino, Graeco et Hebraico fonte; quam ex Hebraeorum, Gentiliumque ritibus nonnulla divinarum litterarum loca aut novo explicatu donantur .. subque AGNO EUCHARISTICO ita de augustissimo, Deoque ipso diuite Eucharistiae sacramento, eius institutione, excellentia, laudibus .. mysteriis, figuris, ritibus .. ex prophana, & ex nostra schola mutuata publicae notitiae, utilitati publicae exponantur. His insertae variae formae Eucharisticae, ex multis orbis partibus ad nos transmissae, aeri incisae

      Lugduni (ie Lyon: Laurentius Durand, 1638. Hardcover. Good. Allegorical large copperplate printer&#39;s mark + 28 copperplate engravings half being full page plates most of the others nearly full page also. Of the hosts, Monstrances and tabernacle etc. + nice foliated initials, some animals, some gargoyles + head & ta Tall folio blindstamped pig on bevelled wooden boards with 5 raised bands 5 concentric foliated/decorated panels separated by tooled rules central coat of arms in blind with corner fleurons on 5 raised bands leather gilt spine label lacking clasps (top compartment of spine with leather damage/corners worn/some scrapes but hinges sound) all edges blue. Half title + Titlepage +[8pp]=dedic.+To reader +Approbations [32pp]=contents 407pp +[82pp indexes] Inside of front board repaired. TP with old inscription Monastary Schyrensis else very clean neat copy in double columns with printed side notes and includes Hebrew & italic fonts. Deals with the diversity of rites and ceremonies in a fine pig binding complete and without foxing or staining and nice detailed illustrations.

      [Bookseller: Abbey Antiquarian Books]
 41.   Check availability:     Biblio     Link/Print  


        Gesamtansicht ('Dortmündt in Westphalen').

      . Kupferstich aus Thesaurus Philo-Politicus ... (Meisner Schatzkästlein), 1638, 10 x 14,5. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
 42.   Check availability:     ZVAB     Link/Print  


        Gesamtansicht ('Schleiden.').

      . Kupferstich aus Thesaurus Philo-Politicus ... (Meisner Schatzkästlein), 1638, 10 x 15. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
 43.   Check availability:     ZVAB     Link/Print  


        Gesamtansicht.

      . Kupferstich aus Thesaurus Philo-Politicus ... (Meisner Schatzkästlein), 1638, 10 x 15. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
 44.   Check availability:     ZVAB     Link/Print  

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