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

        INFORME AL EMINENTÍSIMO Y REVERENDÍSIMO SEÑOR DON IOAN BAPTISTA PAMPHILIO, PRESBYTERO, CARDENAL DE LA SANTA ROMANA IGLASIA, Y PROTECTOR DIGNISSIMO DE LA ORDEN DE NUESTRO PADRE SAN BASILIO. / DOCUMENTO II: INFORME SOBRE LA COGULLA VESTIDA POR LOS MONJES BENITOS Y BASILIOS. Título completo; AL ILUSTRÍSIMO Y REVERENDISSIMO SEÑOR DON LAURENCIO CAMPEGI OBISPO DE SINIGALLA, NUNCIO EN ESTOS REYNOS DE ESPAÑA, CON POTESTAD DE LEGADO A LATERE POR LA SANTIDAD DE URBANO VIII, N. SEÑOR. EN RAZON DE LA PRETENSIÓN QUE TIENEN DE TRAER CAGULLA DE SAN BENITO LOS PADRES BASILIOS DE ESPAÑA.

      SEVILLA 1638 - PORTADA ? 15 p [1] h. INTERESANTE INFORME REALIZADO DESDE SEVILLA AL FUTURO ?INOCENCIO X? EN DEFENSA DE LA ESTAMPA DE SAN BASILIO MAGNO, APORTANDO DETALLES ICONOGRÁFICOS E HISTORICOS DE SU REPRESENTACIÓN Y LA IMPORTANCIA DE LA PINTURA Y EL GRABADO EN EL CULTO. Rara, bella y curiosa obra. SIN ENCUADERNACIÓN. / PORTADA ? [24] h. ? [1] h.- IMPRESO DEL SIGLO XVII QUE DA CUENTA DE LOS DESACUERDOS POR LOS HÁBITOS QUE UTILIZAN LOS MONJES BASILIOS Y LOS BENITOS . Rara y curiosa obra. SIN ENCUADERNACIÓN. Excelente. Texto limpio. Muy buen ejemplar. Portada calcográfica con el escudo del Cardenal Pamphilio. 280x200 mm. / 190x140 mm.

      [Bookseller: LIBRERIA MARGARITA DE DIOS]
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        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.]
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        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” x 26.75” 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]
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        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'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]
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        Fine portrait engraving by Nicolas de L'Armessin (1638-1695)

      - Komma 256. "[Monte] was an important representative of the last generation of the great Flemish composers of the Renaissance, and was one of the major composers of Italian madrigals." Robert Lindell and Brian Mann in Grove online 184 x 137 mm. plus margins. With letterpress text below engraving and to verso. Extracted from Bullart: Académie des Sciences et des Arts, Bruxelles, 1682.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        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]
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        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]
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        Raccolta copiosissima di tutte le sentenze, detti, discorsi morali, filosofici, politici, e varij più notabili ed eruditi, che si contengono nell'Eromena, nella Donzella Desterrada e nel Coralbo del Signor G.F.B

      Viterbo: Diotallevi, ad instanza di Filippo de' Rossi, 1638. pergamena (vellum). Molto buono (Very Good). 16mo. Nuova aggiunta. Marca xilografica al frontespizio L'Autore (Isola di Lesina, Dalmazia 1572 - Aubonne, Svizzera 1644) scrisse opere storiche ed una trilogia di romanzi avventurosi ed erotici: l'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]
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        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.]
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        Plate 49, Vue de l'Orangerie de Versailles

      Paris: late 18th Century - This superb hand-colored engraving from the late 18th century, Plate 49, Vue de l'Orangerie de Versailles, measures 19.75” x 26.75” and is in excellent condition with evidence of previous repair on the central crease. This engraving illustrates men and women standing on a balcony overlooking the vast gardens and fountains of Versailles. The vibrant colors, expressive positioning and interactions of the people on the balcony adds energy to this engraving. 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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        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]
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        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'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]
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        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]
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        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]
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        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]
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        Manifeste du tres-haut et serenissime Prince Charles Louys Comte Palatin du Rhin [.]. adressé a sa Majesté Imperiale, & à tous les Rois, Electeurs, Princes & Estats tant au dedans que dehors l'Empire. Contenant ses droits hereditaires, soit de succeßion en l'electorat, & principautés du Palatinat du Rhin, sa seance, droit de suffrage & d'election, ses terres, seigneuries & subjets. Traduit de l'original Alleman de mot à mot. Premiere & seconde partie: et la protestation de son altesse palatine.

      O. O. u. Dr., 1638. - (4) Bll. (d. l. w.), 192 SS. Flexibler Pergamentband der Zeit mit hs. Rückenschildchen. 4to. Offenbar zweiter Druck der ersten französischen Ausgabe dieser Streitschrift, mit der mitten im Dreißigjährigen Krieg die Kurwürde im Namen des elfjährigen Pfalzgrafen Karl Ludwig verteidigt wird. Karl Ludwig (1617-80) war der Sohn Friedrichs V., des Winterkönigs, und der Elisabeth Stuart; 1652 wurde seine Tochter Liselotte von der Pfalz geboren. Zuvor 1638 auf Deutsch erschienen unter dem Titel: "Manifest undt Außschreiben des [.] Herrn Carl-Ludwig Pfaltzgraven bey Rhein [.] an die Römische Keyserliche Mayestät, und an alle Christliche Könige, Chur:Fürsten und Stände in- und ausserhalb des Reichs, betreffent seiner churfürstl. durchl. Erb: undt Successions Recht, an den Chur- undt Fürstenthumben der Pfaltzgraffschafft bey Rhein, deren Recht, Session, Stimm, Wahl Landt undt Leuthen". - Die vom VD 17 verzeichnete französische Ausgabe 1638 weicht in Titelgestaltung und Kollation der Vorstücke ab; vorliegend offenbar eine Titelauflage jener Ausgabe nur hinsichtlich des paginierten Textes. Dagegen ist unser Exemplar mit Ausnahme des Druckjahrs bis in den Fingerprint identisch mit 14:078634X (hier: vnSi u-ux e"e" pade 3 1638R), welches demzufolge wohl eine Titelauflage des vorliegenden Drucks darstellt. - Etwas knittrig. Am vorderen Innendeckel Buchhändlermarke "Rudolphi & Klemm", Zürich. Vgl. VD 17, 12:126043R (Variante 1638) und 14:078634X (1639).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Virginiae Item et Floridae Americae Provinciarum, nova Descriptio.

      [Amsterdam]: [Jodocus Hondius/Joannes Janssonius], [1636 or 1638]. - Single sheet, (19 ½ x 22 ¾ inches). Fine engraved map with original hand color in full, with a large cartouche depicting Indian villages and an elaborate compass rose (one or two marginal spots and creases). Later Latin edition, first published in 1606. With signature mark "Ssss" on the verso, indicating a publication date of either 1636 or 1638 according to Koemann. "The most important type map of the region until the Ogilby-Moxon 'Discription of Carolina' ca. 1672; and its influence, both direct and indirect, extends into the middle of the eighteenth century" (Cumming, Southeast, 26). "It is a composite largely of John White's Virginia and Jacques le Moyne's Florida as interpreted by Theodore de Bry in 1590 and 1591, respectively. 'Chesepioock Sinus' representing Chesapeake Bay is still shown in its White delineation. At the end of this year, 1606, a party of Englishmen left England to begin arguably the most important colonization of North America in this very bay, at Jamestown. Within just a few years the entire region would be completely revised cartographically. The area south towards 'C.S.Romano Hispanis' is entirely drawn from White. It is, however, given too much latitude, extending as fa as 32 ½ °, some 2° too far. 'S.Augustine,' however, is shown at the correct latitude. The combined effect is a compacted coastline for the present day States of Georgia and South Carolina. "The area of French 'Floridae' originally comes from de Bry's map 'Floridae Americae Provinciae' of 1591. Here a new interpretation of the cartography had made this map notable; however, the author has noted that it actually first appeared on the wall map of America by Cornelis Claesz, c. 1602. The new rendition of le Moyne's geography is caused by the great lake which is moved from central Florida north so that the 'R.de May' (St. John's River) now flows in a south-easterly direction. It was probably encouraged by the depiction on a number of maps of a similarly flowing large R.Secco like that on the 'FLORIDA et APALCHE,' by Cornelis Wytfliet of 1597. Its influence was considerable. Taken up by Hondius, this error was popularized by the major success of his atlas and lasted for some seventy years. According to Cumming some placenames appear from other sources, namely that of Jean Ribaut. In the 'Apalatcy' Mountains reference are made to the presence of both gold and silver. The map is embellished with various game including a wild turkey. Examples of Indian villages in Florida and Virginia appear in cartouches either side of the title. The map's scale and decorativeness make it very sought after.With the 1634 edition Joannes Janssonius became involved in the publication. The 1636 edition is the first occurrence of the map in the new 'Atlas Novus' issued to replace the old Mercator one" (Burden, pp. 184-185). Burden 151. Cumming 26. For more information about this map, or a warm welcome to see it and other maps and books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department.

      [Bookseller: Arader Galleries]
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        Plate 105, Vue du canal du Chateau de Rambouillet prise du balcon du Roy

      Paris: late 18th century - This superb hand-colored engraving, Plate 105, Vue 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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        Marais artificed, entoure de Jones d'airain, et de Jets d'esu dans les jardins de Versailles

      Paris: late 18th century - This superb hand-colored engraving, Marais artificed, entoure de Jones d'airain, et de Jets d'esu dans les jardins de Versailles, from the late 18th century measures 19.75” x 26.75” and is in excellent condition. Illustrated in this engraving is courtiers of Versailles in a fountain garden, the main fountain reminiscent of a marsh, with swan fountain heads. The onlookers interact as they roam around the fountains in this lush and serene setting. The rich blues of the water blend well with greens of the gardens and the pale shades of the dusky sky. 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]
 19.   Check availability:     AbeBooks     Link/Print  


        Veue du Chasteau des Jardins, et de la Ville de Versailles, du coste de l'Estang

      Paris: late 18th century - This superb hand-colored engraving, Veue du Chasteau des Jardins, et de la Ville de Versailles, du coste de l'Estang, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with light staining in the margins and evidence of previous repair to the central crease. Illustrated in this engraving is a view of Versailles from across a river, showing many courtiers and peasants working and riding horses. Through the use of linear perspective, this dynamic view of Versailles can be appreciated for its size and grandeur. The rich colors of the grass and river add to this lush landscape engraving. 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  


        De Calculo Renum & Vesicae Liber singularis. Cum epistolis & consultationibus magnorum virorum.

      - Leyden, Elsevir, 1638, 12°, (16), 305, (15) pp., Pergamenteinband der Zeit; feines Exemplar. First Medical Treatise to contain an Endorsement of Harvey's Discovery! - - The rare first edition of Johan van Beverwijck's (1594-1647) monograph present in the first book (pp. 1-208) Beverwijck's treatise on calculi in the kidney and bladder. The second part (pp. 209-305) contains letters addressed by Beverwijck to some prominent physicians, including Nuñez, Back, Saumaise, and Zacuto whom he consulted on that subject, along with their replies. Several consilia by Sanctorius, Spiegel, Horst, and others follow. - At the end of 1637 Beverwyck wrote a letter to Harvey in which he expressed his admiration for Harvey's discovery of blood circulation. At the same time he sent him a copy of the present book. It is the first medical treatise to contain an endorsement of Harvey's discovery, a remarkable fact in view of the negative attitude within the academic circles in Holland. The passage in question "Harvei doctrina de Circulatione sanguinus comprobata" (pp.20-24) is discussed by Walter Pagel in his William Harvey's Biological Ideas (1967), who reproduces the title-page of our book and two pages of the passage on Harvey. Harvey replied to Beverwijck's letter in April 1638, praising his book as "learned and elegant, and truly original." Osler notes the significance of Beverwyck's correspondence with Harvey but was unable to obtain a copy of this rare book. - - Beverwijck , was born in Dordrecht on 17 November 1594. He was the son of Bartholomeus van Beverwijck ( -1615), a textile trader, and Maria Boot van Wezel, a relative of Vesalius. On 25 May 1611 he matriculated at Leiden University to study arts and philosophy but switched to medicine He is said to have taken his doctoral degree with a disputation on apoplexy, but this almost certainly refers to a disputatio exercitii gratia, a public or private disputation meant as an exercise (see Lindeboom, 128). In 1615 Van Beverwijck and Cornelis van Someren (1593-1649) travelled to Caen, Paris, Orléans, Montpellier and Avignon. He also visited Rome and Siena. Meanwhile in this last town he contracted the plague. Van Beverwijck also visited Bologna and Padua, where he entered the university as a student of medicine on 14 May 1616. Under the supervision of Hieronymus Fabricius ab Aquapendente (1537-1619) he graduated on a disputation on the 79th Aphorism of book IV (De calculo) of Hippocrates. On his return journey he visited Basle and Leuven (Louvain) in the company of a Dutch physician called Buggen. In Dordrecht Van Beverwijck set up a medical practice. On 8 November 1625 he was appointed town physician of Dordrecht in succession to Jorden van Foreest (1568-1625). On 25 October 1634 Van Beverwijck inaugurated the anatomical theatre of Dordrecht with a speech on the necessity of anatomy with the "Oratie van de nootsakelickheyt der anatomie" (1634). He also became professor of medicine and anatomy at the Illustrious School (founded 1635) as well as librarian (since 1636) and administrator (1648) of the municipal library in succession to Jacob Cats (1577-1660). Van Beverwijck was a prolific writer, publishing several books on practical medicine in Dutch, like Schat der gesontheyt (1635-1636) and Schat der ongesontheyt ofte genees-konste van de sieckten (1642), as well as literary works (Spaensche Xerxes, 1640) and essays on historical topics ('t Begin van Hollant in Dordrecht, 1640). In 1639 Van Beverwijck published Van de wtnementheyt des vrouvvelicken geslachts, a collection of texts (prose and poetry) in praise of (famous) women. In 1644 he also published Epistolicae quaestiones, a work on several popular subjects containing the answers of great men. Van Beverwijck's friends include a wide range of intellectuals, like Sir Kenelm Digby (1603-1655), Constantijn Huygens, Menasseh ben Israel (1604-1657) and Anna Maria van Schurman (1607-1678). - Epistolica quaestio de vitae termino, . [Attributes: First Edition; Hard Cover]

      [Bookseller: Medicusbooks]
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        Arboretum genealogicum annotationibus in arbores singulas illustratum. Exhibens omnes fere Imperii Principes et Europae hodie reges linea recta descendetes a Rudolpho I Imperatore.

      APUD IOANNEM KINCHIUM, COLONIAE AGRIPPINAE; KÖLN 1638 - [8 dont titre gravé]-59-[3] pp., ill. Seconde édition (orig : Prague, Bilina, 1635) dédiée à l'empereur Ferdinand III et illustrée de 15 fines eaux-fortes à pleine page : titre gravé (Rodolphe I (?) à cheval) et 14 arbres généalogiques avec paysages en arrière-plans. Commentaires sur 2 colonnes sur les descendances des empereurs allemands depuis Rodolphe I à Ferdinand III et sur les branches latérales. Le jésuite Gans (Wurzburg 1591-1662 Vienne) fut professeur de philosophie, mathématiques et théologie, prédicateur puis confesseur de Ferdinand IV, prince duquel il reçut le serment de défendre l'Immaculée Conception (serment imposé ensuite à toutes les universités des États héréditaires d'Autriche). # De Backer-Sommervogel III-1183/1184; # pas dans Brunet; # ni Graesse. Provenance : Bibliothèque d'Afflighem 1785 (mention ms. en latin); Camberlyn d'Amougies, famille belge de noblesse récente (ex-libris à la devise "strenue fideliter"; # Armorial de la noblesse belge I-449, IV-1388). 1 volumes. Quelques usures avec pet. épidermures, taches, griffes. Reliure de l'époque : plein veau, dos fleuronné doré à nerfs, tranches rouges

      [Bookseller: de KunstBurg]
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        Virgilii Evangelisantis Christiados Libri XIII In quibus omnia quae de Domino nostro I. Christo in utroque testamento, vel dicta vel praedicta sunt, altisona divini Maronis tuba suavissime decantantur.

      Typis Iohannis Legate, sumptibus Richardo Thrale 1638 - Inflante Alexandro Rosaeo Aberdonense, 1 vol. in-8 (138 x 92 mm) reliure de l'époque pleine basane marron, dos à 5 nerfs orné, Typis Iohannis Legate, sumptibus Richardo Thrale [ Richard Thral ; Richard Thral ], Londini [ Londres ; London], 1638, 11 ff. n. ch., 311 pp. (the last page blank), with Imprim. Guil. Bray Iune 14, 1637; signatures : first leaf unsigned A8 a2 B-V8 X4 Rare exemplaire bien complet du beau titre gravé par Will. Marshall, ainsi que du titre imprimé. Exemplaire conforme à l'exemplaire n°1 de la Bibliothèque de Standford. Edition en partie originale (édition très largement étendue et révisée du "Virgilius evangelisans, sive Historia Domini" de Ross, publié en 1634), dédié au roi Charles Ier d'Angleterre. Cette longue déclamation en vers, composée de passages de divers auteurs disposés sous un nouvel ordre (selon la forme poétique dite du "cento"), exalte les intuitions pré-chrétiennes de Virgile (ancienne petite restauration marginale au titre gravé, marges parfois un peu courtes, coins frottés, bon état par ailleurs). Langue: Latin [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie du Cardinal]
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        Panegyrique de Trajan.

      Chez Antoine de Sommaville 1638 - - Chez Antoine de Sommaville, A Paris 1638, In 4 (16,5x22,5cm), (28) 359pp., relié. - Edition originale de cette traduction de PIlet de Ménardière. une vignette de titre à l'effigie de l'empereur (répétée après la préface). Plein Velin d'époque. Dos lisse avec titre à la plume rouge estompé. Coutures apparentes. Ce panégyrique, nous annonce la première page de texte, fut prononcé par Pline le second devant le sénat, en présence de l'empereur, alors que Pline était Consul. En fait, le discours prononcé par Pline était beaucoup plus court que celui-ci et il fut écrit pour remercier l'empereur de l'avoir choisi comme consul, c'est seulement plus tard que Pline remania son texte en l'étoffant historiquement et lui donna ce titre. Certains pensent que Trajan et pline étaient proches dès l'accession au pouvoir d'empereur. Une préface du traducteur. (28) 359pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        DOMINICI BAUDII AMORES

      Elzevirium, Amstelodami [amsterdam] 1638 - Latin erotic poetry; Rebound in gold-tooled vellum, minor dust, small bookplate; Contains the only know portrait of Baudius ; 12mo [Attributes: First Edition; Hard Cover]

      [Bookseller: Gravelly Run Antiquarians]
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        Brief mit eigenh. U.

      &quote;Datum im kay[serlichen] Veldtlager bey St: Omar&quote;, 14. Juli 1638.. 1¾ SS. auf Doppelblatt. Folio. Mit Adresse (Faltbrief) und gut erhaltenem Ringsiegel.. An den Generalwachtmeister Lutter Frhrn. von Benninghausen in &quote;Gortzenich&quote; (&quote;Cito&quote;) mit der Nachricht, &quote;daß die drey im her marche geweße Regimenter auß gewißen Ursachen unnd zu dienst d. Röm. Kay. May. zu ruckh Commandirt worden seint. Ich bin aber deß Herren Veldtmarschalckh graffen von Hatzfeldt herunder-khunfft nacher Westphalen taglichen erwahrtent: alß dann ich alle zu meinem Corp gehörige Regimenter anhero marchieren lassen will [...] Und dessen wolle d. Herr General Wacht[meister] sich geduldten und dahin sehen, daß dessen Reg. in d. Eyffel logiert und halten werden möge [...] Dem Herren G[ener]al Wacht[meister] Lamboy deß Commando im landt zu Berg zu entsetzen khan [...] nit füeglichen beschehen, in ansehung ersolches von anfang deß Quartiers biß dato gehabt [...]&quote;. - Das verlangte Geld werde er auszahlen, &quote;so baldten es die Clever erlegen&quote;. - Piccolomini befehligte zu jener Zeit die spanisch-kaiserliche Armee in den Niederlanden gegen die Franzosen; für einen Sieg bei Diedenhofen (Thionville) im Juni 1639 wurde er mit dem Herzogtum Amalfi belehnt. - Etwas angestaubt und mit leichtem, nicht in den Text hineinreichenden Mäusefraß; Bl. 2 mit kleinem Ausschnitt (keine Textberührung). - Beiliegend ein Kupferstichportrait (111:71 mm).

      [Bookseller: Kotte Autographs GmbH]
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        The book of common prayer, and administration of the sacraments: And other rites and ceremonies of the Church of England

      [Cambridge]: Thomas Buck & Roger Daniel, 1638.

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


        Novi Testamenti Jesu Christi Græci, Hoc Est, Originalis Linguæ Tameion (aliis Concordantiæ) Hactenus Usitato Correctius, Ordinatius, Distinctius, Plenius, Jam dudum a pluribus desideratum: Ita Concinnatum, Ut Et Loca reperiendi, & Vocum veras Significationes; & Significationum diversitates per Collationem investigandi, Ducis instaresse possit. Opera Erasmi Schmidii, Graec. L. & Mathem. Prof. Cum gratia & Privilege Elect. Saxon. Wittebergae.

      Impensis haeredum Clementis Bergeri Bibliopol: Ex Officicina Typographica Jobi Wilhelmi Fincelii 1638 - FIRST EDITION. Folio, 345 x 220 mms., unpaginated but collating [ii4] A - Kkk6 (including final blank), printed title-page in red and black, fine engraved title-page, contemporary vellum (soiled); uniformly lightly foxed, but a very good copy, with various inscriptions, viz., on the front paste-down end-paper, "F. J. Reuchlin/ 1731" and "A present from Joshua Wilson, Esq./ John Frost/ [?Gurney] 1832"; and on the recto of the front free end-paper several inscriptions, including one in pencil by another bookseller, and "'The best Greek Concordance/ to the New Test. ever published.' Horne"; and "see a very excellent condensed edition/ by Greenfield, published by Bagster." Finally, it would be pleasant to think that the 1731 autograph of Reuchlin is a descendant of the great humanist scholar Johann Reuchlin (1455 - 1522), who is often remembered as the scholar who saved Jewish and Talmudic texts from destruction by an order from Emperor Maximillian. This aroused the fury of the Dominicans who had pressed for their destruction, and Reuchlin was summoned by the Inquisition, but he was exculpated on 24 April 1514. Several candidates for the presentation suggest themselves, although Joshua Wilson is almost certainly the barrister of that name (1795 - 1874), as the Oxford DNB notes that he "collected works of protestant theology and hagiography." John Frost is a bit more problematic. The Chartist John Frost (1784 - 1877) is unlikely, given that he lived mostly in Newport and was convicted of treason in 1839. Also unlikely is John Frost (1803–1840), the medical entrepreneur, who fled the country in 1832 to escape his creditors. The radical John Frost (1750 - 1842), who was trained as a lawyer, is the most likely prospect. After various political escapades and an association with John Horne Tooke that ended unhappily after an incident between Frost and Horne Tooke's maid, returned without much success to the practice of law in 1815. Erasmus Schmidt (1570 - 1637) made his mark at the University of Wittenberg, where he was educated and where he became Professor of Greek in 1597, both as classical scholar and mathematician. His best-known scholarly is his history and edition of Pindar's fragments (1616). He completed this concordance to the Greek New Testament shortly before his death. Greenfield's edition was published in 1830 and the abridged version alluded to in the inscription (above) was published a few years later (undated). [Attributes: First Edition]

      [Bookseller: John Price Antiquarian Books, ABA, ILAB]
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        The Dialogue in English, betweene a Doctor of Divinitie, and a Student in the Lawes of England

      Printed by the Assignes of John More, Esquire, London] 1638 - Modern 1/4 morocco, title repaired, embrowned but sound An early 17th century edition of the first classic of English equity, recently described as "a brilliant, comprehensive and intellectually satisfying attempt to construct a systematic theory of law within an English context"

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
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        The Dialogue in English, betweene a Doctor of Divinity, and a Student in the Laws of England

      London]: Printed by the Assignes of John More, Esquire, 1638.

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


        Historiæ Danicæ, sive de Regibus Daniae, Qui familiam Oldenburgicam (..) Libri qvinqve priores. + Historiæ Danicæ continuatio (..) Libri qvinqve posteriores. + Historiae Danicae Libri III. In quibus res commemorantur gestae à Christiano I; ac Ioanne, ejus filio: & nepote, Christiano II. + Gulielmus Auriacus, sive De rebus toto Belgio tam ab eo, quam ejus tempore, Gestis; ad excessum Ludovici Requensensii. Pars Prima. Tributa in libros decem. + Ferdinandus Albanus, sive de Rebus eius in Belgio per Sexennium gestis, Libri IV, In quibus Belli Belgici Principium. Additur Liber singularis, In quo ejusdem belli finis.

      5 dele i 1 bind. Willem & Johannes Blaeu, Amsterdam 1638. Lille folio. Med kobberstukket portræt af Meursius (udført af Simon de Pas). Samtidigt pergamentbind. Velholdt eksemplar.. Bibl. Dan. III,13-14. Første samlede udgave af Meursius' latinske Danmarks-historie.** Den nederlandske filolog og historiker Johannes Meursius (1579-1639) blev af Christian IV i 1624 udnævnt til professor i historie ved Sorø ridderlige Akademi samt til kongelig dansk historiograf med det særlige hverv at forfatte en internationalt gangbar Danmarkshistorie. Resultatet udkom i 1630 og i 1638 og dækker perioden fra hedenold til reformationen. Hans manuskript blev dog først trykt i sin fulde udstrækning i en udgave, der udsendtes i Firenze i 1746 med legendariske noter udformet til lejligheden af Hans Gram

      [Bookseller: Vangsgaards Antikvariat]
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        TRATTATO SOPRA LA VERNICE DETTA CINESE. In risposta data all Illustrissimo Sig. Abate Sebastiano Gualtieri.

      Copia manuscrita del siglo XVIII. 1 blanca, 5 h., 92 pág., 2 blancas. Ilustr. con 3 lám. dibujadas a lápiz. [Sigue:] OLINA NOVARESE, Pietro. UCCELLIERA, overo tratato de alcuni particolari uccelli. Copia manuscrita del XVIII. De la pág. 95 a la 134. Ilustr. con un grabado de una jaula en la portada. Dos obras enc. en un vol. en pergamino de época. Leve perforación de papel por la tinta en la portada de la segunda obra. * Estas dos obras que se incluyen en este volumen son raras. Son copia de las primeras ediciones. El tratado sobre el barniz de la China de Buonanni (1638 - -1725), jesuita, es el primer libro que trata de forma exhaustiva sobre las técnicas de lacado, aplicadas tanto a objetos metálicos como de madera. La obra de Pietro de Olina es un clásico de la caza de las aves, que trata de las diferentes clases, cómo cazarlas y cómo mantenerlas en la jaula. Caza Libros antiguos anteriores a 1830 Manuscritos italiano

      [Bookseller: Libreria anticuaria Farré]
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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.

      Chez Claude Collet 1638 - - Chez Claude Collet, A Paris 1638, Fort Pet. in 8 (9,5x16,5cm), (8) 960pp., Relié. - Nouvelle édition augmentée de remarques jusqu'en l'année 1637. L'édition originale de 1632 comprenait des remarques jusqu'en 1631. Rare. Pleine Basane brune d'époque. Dos à nerfs orné, roulette en queue. Pièce de titre en maroquin rouge. Un manque en tête. Pièce de titre et feuillets prélliminaires rognés court. Coins légèrement émoussés. Assez bon exemplaire, malgré un papier par moment jauni. Historien de renom et historiographe du roi, Claude Malingre (1580-1653), dit de Saint Lazare, fut, sinon un excellent historien, un témoin de premier plan. Les Remarques sont une chronique détaillée de l'histoire de France, de 1610 à 1637, composées de récits factuels et narratifs qui se caractérisent par leur volonté d'objectivité et de neutralité. Nous sommes là à l'opposé d'Hérodote et de l'histoire classique. (8) 960pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Portrait of Hippocrates engraved by P. Pontius after Peter Paul Rubens

      Antwerp, 1638. <p>Rubens, Peter Paul (1577-1640). Hippocrates Hiraclidae F. Cous. Ex marmoro antique. Engraving by Paulus Pontius [Paulus du Pont](1603-58) after Rubens. N.p. [Antwerp], 1638. 304 x 220 mm. Tiny pin-holes in upper left and lower right corners, 2 small circular stamps on verso, one reading "Stempel Tilgungs." Fine. </p> <p>An excellent impression of this well-known engraving, done by Paulus Pontius after Rubens&#39;s drawing of an antique bust of Hippocrates. "Rubens&#39;s involvement in printmaking began in earnest when he was about thirty. . . .[H]is participation in printmaking set new standards, especially for book illustrations and the reproductive print" (Logan & Plomp, "Peter Paul Rubens as Draftsman," metmuseum [internet reference]). The "Hippocrates" is the only separately issued print we know of by Rubens that is of medical interest. Paulus Pontius was a master engraver and the primary artist responsible for making engravings after Rubens&#39;s work; he lived in Rubens&#39;s home until a year after the latter&#39;s death. </p>

      [Bookseller: Jeremy Norman's Historyofscience.com]
 34.   Check availability:     Biblio     Link/Print  


        Fontaine de la Renommee dans le Jardin de Versailles

      Paris: late 18th century - This superb hand-colored engraving, Fontaine de la Renommee dans le Jardin de Versailles, from the late 18th century measures 19.75&#148; x 26.75&#148; and is in excellent condition with light staining and discoloration in the margins. Illustrated in this engraving is the Fountain Renommee located within a grove in the Versailles gardens. This magnificent fountain, with smaller fountains around it, is being enjoyed by onlookers from the king's court. The surrounding gardens are lush with color as is the clothing of the noblemen and women, seen interacting in this grove. 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]
 35.   Check availability:     AbeBooks     Link/Print  


        Veue du Chasteau de Versailles, du costre, de l'allee d'eau, et de la Fontaine du Dragon

      Paris: late 18th century - This superb hand-colored engraving, Veue du Chasteau de Versailles, du costre, de l'allee d'eau, et de la Fontaine du Dragon, from the late 18th century measures 19.75&#148; x 26.75&#148; and is in very good condition with light staining in the margins. Illustrated in this engraving is a view of the Fountain of the Dragon and Versailles rising from the background. One of the main fountains in Versailles, the Fountain of the Dragon has a Dragon in the center, with small frightened-looking statues of children surrounding it. This lively engraving shows many courtiers on the grounds walking and on horseback. Through the use of linear perspective, the engraver allows for the cascading waterfalls and lush garden areas to be appreciated along with the Fountain of the Dragon. 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]
 36.   Check availability:     AbeBooks     Link/Print  

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