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Displayed below are some selected recent viaLibri matches for books published in 1649

        Nieu Wapenboekxken.

      - [C. Visscher?], 1649. 4o. 19th century full cloth. Good codition, some very slight foxing. Exlibris mr. W.C. Baert de Waarde and Daniel de Bruin. (24) pag. No text, illustrated with 12 copper engravings of blank coats-of-arms after designs by Michel le Blon, I.G excudit. 4 (4,7,9 and 11) are modern copies. The Museum für angewandte Kunst in Vienna has an edition of this set with 'C. Visscher excudit' on the title page, instead of I.G. (Inventarnummer: KI 2330-1). Literature: Hollstein II, 148 (with 4 reproductions), Van der Kellen 142-153 (all 12 prints reproduced on plates 55-57). H82

      [Bookseller: Antiquariaat A.G. van der Steur]
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        The Poetical Works of Robert Burns: With Fore-Edge Painting of New Bridge and Broomielaw, Glasgow

      London: Frederick Warne and Company. Octavo, bound in full brown morocco, decoratively bordered in gilt, spine gilt, gilt dentelles, all edges gilt. With a wonderful fore-edge painting of New Bridge and Broomielaw, Glasgow. Binding by H. & C. Treacher of Brighton. 614 pp. Illustrated. The earliest fore-edge paintings date possibly as far back as the 10th century; these earliest paintings were symbolic designs. Early English fore-edge paintings, believed to date to the 14th century, presented heraldic designs in gold and other colors. The first known example of a disappearing fore-edge painting (where the painting is not visible when the book is closed) dates from 1649. The earliest signed and dated fore-edge painting dates to 1653: a family coat of arms painted on a 1651 Bible. Around 1750, the subject matter of fore-edge paintings changed from simply decorative or heraldic designs to landscapes, portraits and religious scenes, usually painted in full color. Modern fore-edge painted scenes have a lot more variation as they can depict numerous subjects not found on earlier specimens. These include scenes that are erotic, or they might involve scenes from novels (like Jules Verne, Sherlock Holmes or Dickens, etc.). In many cases, the chosen scene will depict a subject related to the book, but in other cases it did not. In one instance, the same New Brunswick landscape was applied to both a Bible and to a collection of poetry and plays. The choice of scenes is made by either the artist, bookseller or owner, thus the variety is wide. The technique was popularized in the 18th century by John Brindley (1732-1756), publisher and bookbinder to the prince of Wales and Edwards of Halifax, a distinguished family of bookbinders and booksellers. The majority of extant examples of fore-edge painting date to the late 19th and early 20th century on reproductions of books originally published in the early 19th century.

      [Bookseller: Raptis Rare Books]
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        Verdadera relacion de la grande destruicion, que ha avido en la Ciudad de Manila. Declara los Templos sumptuosos, y grandes edificios que se hundieron en la dicha Ciudad, y lugares circunvezinos, y gente que murio: con otros grandes portentos, que se declaran

      1649 - Extremely rare relation of the most destructive earthquake that stroke Manila since the Conquest by the Spanish. 1649. Madrid. Alonso de Paredes. Folio. 2 ff. Unbound. Foxed, upper corner soiled. 4,500 $ First edition. Important imprint for the history of Manila, giving a report of the destruction of Manila in the earthquake of 1645, and the state the city was left in the aftermath; extremely rare, this is apparently only the second known copy, the other at the Biblioteca Nacional de España. The imprint commences with a short review of Manila´s history, describing the original houses built by Conquistadores (made primarily of wood, and the later upgrade to housing of stone and roof tiles), and mentioning the victory won over Corsair Limahon´s Chinese fleet, who attacked Manila. The author provides an overview of the architectural history of Manila: “comencaron los Españoles a edificar sus casas de piedra, y teja, sin rezelo urgente de los temblores, que aunque son aqui ordinaries todos los años, no avian causado ruinas de cuidado; y assi en estos ultimos quarenta años, poco mas, o menos, que corrieron desde el postrer incencio, se hizieron hermosos edificios, y casas de habitacion tan altas, y capazes, que parecian Palacios; Templos sumptuosos con encumbradas, y hermosas torres, assi dentro como fuera de los muros de Manila, que la hazian muy vistosa, y luzida, y no menos acomodada para la salud y y recreo” The bulk of the relation however focuses on the natural disaster itself, the losses suffered –both in buildings and lives-, and finishes with the aftermath: most of the people from Manila left town and went to surrounding villages, some to the beach, aware of the “infieles”, or unconverted Indians. “On November 30, 1645, occurred the most destructive earthquake known in the islands since the Spanish conquest. Manila was laid waste by it. Bodies of the dead and the dying were buried under the ruins. The extent of the damage to buildings were enormous. Most of the people left the city and encamped in the fields or on the beach. Much havoc was wrought by the earthquake in various other places in the islands. The shocks and disturbances continued for some time afterward, although much lessened in force.” (The Philippine Islands, 1493-1803, Vol. 1, no. 35, Blair, Emma Helen, et. al. d.1911). The original text seems to be a manuscript held at the Real Academia de la Historia (CCPB001109932-1), which attributes it to Diego Niseno. We couldn’t trace this in any bibliography. No copy in any institution in the United States. Not in the British Library. [Attributes: First Edition]

      [Bookseller: HS Rare Books]
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        TODTEN-TANTZ, WIE DERSELBE IN DER LÖBLICHEN UND WEITBERÜHMTEN STATT BASEL ALS EIN SPIEGEL MENSCHLICHER BESCHAFFENHET.

      [Merian], Frankfurt 1649 - Small quarto (6-5/8" x 8") bound at a later date in early manuscript in red and black over boards with an illuminated letter; [3], 4-206, [2] pages. Illustrated with a title within allegorical engraved border, 42 engravings depicting the Dance of Death by Merian, an engraved illustration ("Memento Mori"), and a striking reversible portrait showing the sitter alive and dead. Merian's depictions of the Dance of Death were copied from fifteenth-century frescoes on the churchyard wall of the Dominican church in Basel; the frescoes were restored in the early sixteenth century and again in the early seventeenth century. Johann Jakob Merian originally engraved the plates in 1621, after the second restoration, and Matthaeus Merian revised them in 1649 for this edition. The images provide lively vignettes of contemporary life and costume, from the moneylender at his table to the peddler with his tray of goods, the artist and the musician, the cardinal and the king, all treated universally by Death, represented as a skeleton, as he leads them to their common destiny. Library bookplate on the front pastedown and slip on the rear, each plate with a small ink stamp on the verso. Small, old bookseller's ticket of Gustav E. Stechert of New York on the front pastedown. Very clean copy with only light marginal foxing and a small stain at the center of just the last few pages, most noticeable on the reversible portrait. Early ink name of Georg Neumann with a short paragraph in German in a small hand on the front endpaper. Binding a little darkened with white library numbers on the spine which has a small tear and a dark stain on the rear board that bleeds slightly into the interior. A Near Fine copy in an attractive binding [Attributes: First Edition; Hard Cover]

      [Bookseller: Charles Agvent, est. 1987, ABAA, ILAB]
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        D.O.M. Austriaci Caesares Mariae Annae, Magni Caesaris Ferdinandi III filiae, Maximi Regum Philippi IV sponsae in dotale auspicium Infantis Monarchae totiusque serenissimae posteritatis exhibiti [..].

      ex Tyographia Ludovici Montiae apud Antonium Petrarcam, 1649. In-4? (cm. 23,8), legatura antica in p. pergamena rimontata (usure) con titolo ms. al dorso, nota ms. al taglio superiore; pp.176 in buono stato con 1 frontespizio figurato in rame f.t. e 13 tavole di ritratti in rame f.t., grandi iniziali ornate e fregi in silografia; sporadiche fioriture e lievi segni d'uso; esemplare verosimilmente ripulito. Edizione originale dell'opera allestita a Milano in occasione delle nozze tra Filippo IV di Spagna con Maria Anna d'Austria. Pregevoli le tavole dell'incisore Federico Agnelli che per la loro fantasia iconografica e la complessit? simbolica sono considerate espressioni emblematiche del barocco milanese. Recano imprese, insegne e ritratti dei sovrani del Sacro Romano Impero da Rodolfo I a Massimiliano I, da Carlo V a Rodolfo II fino a Ferdinando III. Cfr. Praz 443; Piantanida 657; Sommervogel VI, 115, 1. Buon esemplare.

      [Bookseller: Gabriele Maspero Libri Antichi]
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        TODTEN-TANTZ, WIE DERSELBE IN DER LÖBLICHEN UND WEITBERÜHMTEN STATT BASEL ALS EIN SPIEGEL MENSCHLICHER BESCHAFFENHET...

      Frankfurt: [Merian], 1649. First Merian Edition. Hardcover. Library bookplate on the front pastedown and slip on the rear, each plate with a small ink stamp on the verso. Small, old bookseller's ticket of Gustav E. Stechert of New York on the front pastedown. Very clean copy with only light marginal foxing and a small stain at the center of just the last few pages, most noticeable on the reversible portrait. Early ink name of Georg Neumann with a short paragraph in German in a small hand on the front endpaper. Binding a little darkened with white library numbers on the spine which has a small tear and a dark stain on the rear board that bleeds slightly into the interior. A Near Fine copy in an attractive binding. Matthaeus Merian. Small quarto (6-5/8" x 8") bound at a later date in early manuscript in red and black over boards with an illuminated letter; [3], 4-206, [2] pages. Illustrated with a title within allegorical engraved border, 42 engravings depicting the Dance of Death by Merian, an engraved illustration ("Memento Mori"), and a striking reversible portrait showing the sitter alive and dead. Merian's depictions of the Dance of Death were copied from fifteenth-century frescoes on the churchyard wall of the Dominican church in Basel; the frescoes were restored in the early sixteenth century and again in the early seventeenth century. Johann Jakob Merian originally engraved the plates in 1621, after the second restoration, and Matthaeus Merian revised them in 1649 for this edition. The images provide lively vignettes of contemporary life and costume, from the moneylender at his table to the peddler with his tray of goods, the artist and the musician, the cardinal and the king, all treated universally by Death, represented as a skeleton, as he leads them to their common destiny.

      [Bookseller: Charles Agvent]
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        The Book of Oaths, And the Severall Forms Thereof, Both Antient..

      1649. A Fascinating Anthology of Oaths [Garnet, Richard, Attributed]. The Book of Oaths, And the Severall Forms Thereof, Both Antient and Modern. Faithfully Collected Out of Sundry Authentike Books and Records, Not Heretofore Extant, Compiled in One Volume. Very Useful for All Persons Whatsoever, Especially Those that Undertake any Office of Magistracie or Publique Imployment in the Common-Wealth. Whereunto is Added a Perfect Table. London: Printed for W. Lee, M. Walbancke, D. Pakeman, and G. Bedle, 1649. [xii], 96, 107-394, 405-416 pp. Pagination irregular, text complete. 12mo. (5-1/4" x 3-1/4"). Contemporary sheep, rebacked, blind rules to boards, lettering piece, blind fillets to spine, gilt-stamped date to foot, endpapers renewed, careful repairs to top-edge of front free endpaper and upper corner of title page. Light rubbing and a few minor nicks and stains to boards, moderate rubbing to extremities. Moderate toning to text, somewhat heavier in places, faint dampstaining in a few places, light soiling and two tiny early signatures to title page, faint later owner inkstamp to front free endpaper. $600. * First edition. A fascinating collection of oaths for a remarkably wide range of offices, such as attorney, archbishop, verderer of a forest, treasurer of England, receiver of the augmentations, "sheriff of a countie newly altred," surveyor of the liveries, ingrosser of the great roll, knight of the bath and lieutenant of the tower. Later editions were published in 1689 and 1715. All are scarce. It also includes historical oaths, such as the Oath of King Charles. OCLC locates 14 copies in North American law libraries. English Short-Title Catalogue R202149.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        La Redoutable Theonville Premiere conquest du Roy très-chrestin Louys XIIII, a l'entree de son Regne victorieux. Ian Blaeu, en témoignage de son inclination au service et a la Gloire se son Altesse, en a voulu laisser ce monument a la memoire de la posterité".

      - Kupferstich, J. Blaeu, 1649, koloriert. Ca. 44 x 54 cm. Ansicht der ehemals luxemburgischen Stadt Thionville (Diedenhofen) und der Umgebung aus der Vogelschau während der Belagerung 1643. Eingetragen sind alle Befestigungsanlagen, Reduten und Batterien. Links unten befindet sich eine Inset-Karte mit Details der Befestigung, rechts eine detailgenaue Erläuterung der Stellungen. Der prachtvolle Plan wurde 1649 in J. Blaeus "Stedeboek" veröffentlicht, hier mit lateinischem Rückentext. View of the former Luxemburgish city Thionville (Diedenhofen) and the environment out of bird's eye during the possession in 1643. All fortifications, redutes and batteries are inscribed. At the left bottom we find an insetmap with details of the fortification, at the right side a detailed explanation of the positions. Published in 1649 in J. Blaeus "Stedebook". With latin text on verso.

      [Bookseller: Antiquariat Peter Fritzen]
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        Brabantiae Batavae pars occidentalis, sive Antverpiensis tetrarchiae pars septentrionalis, comprehendens Baroniam Bredanam Marchionatum Bergensem ad Zomam.Amsterdam, [widow of] Nicolaas Visscher II, [1708 or later]. Engraved map (plate size 48.5 x 57.5 cm) on a whole sheet of paper (54 x 62.5 cm), coloured by a contemporary hand and with some highlights in gold.

      - Koeman, Vis 30 and p. 180 [no. 116]. Hand-coloured, engraved map of the western part of Brabant by the Dutch cartographer Nicolaas Visscher II (1649-1702). It is centered around the city of Breda, with parts of Zeeland and Holland in the north and Belgium in the south. Some of the borders and several cities, villages and estates are highlighted in gold. The map was published by Visscher's widow ca. 1708 in the atlas Variae tabulae geographicae. Browned in the margins, stained in the upper corners and two small tears along the fold, not affecting the map image. Overall in good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Examen vande valsche resolutie vande heeren burgemeesters ende raden tot Amsterdam. Op 't stuck vande West-Indische Compagnie.Amsterdam, Abraham de Bruyn, 1649. Small 4to (18.5 x 14.5 cm). Modern plain paper wrappers.

      Asher 253; Borba de Moraes, p. 297; Knuttel 6473; Sabin 23344; STCN (6 copies). First edition of an examination of the fake resolution of the burgomasters and council of Amsterdam on the question of the West India Company. The present pamphlet is a response to Copye vande resolutie van de heeren burgemeesters ende raden tot Amsterdam ... (Asher 250-252), a splendid satire of the burgomasters and council members of the city of Amsterdam, presented, and by many contemporaries accepted, as an official resolution of the city government concerning the West India Company (WIC)'s troubles with the Portuguese in Brazil. The Portuguese had retaken Brazil and other possessions from the WIC and there was a great debate in the Netherlands as to whether the government should step in to support the WIC and if so how far they should go. Many investors would lose everything if the WIC permanently lost its trade in Brazil. The present fake resolution gives a statement from each of the burgomasters and councillors (under their real names). The present pamphlet accuses the anonymous perpetrators of the hoax of deliberately trying to turn the populace against the council. This may have merely served to advertise the original pamphlet as a satire, for it was reprinted soon after the original appeared.With a few specks and a minor water stain in the lower margin of a couple pages, otherwise in very good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Amsterdams tafel-praetje, van wat goets en wat quaets en wat noodighs.Gouda, Jasper Cornelisz, 1649. Small 4to (20 x 14 cm). Modern half vellum.

      Asher 260; Borba de Moraes, p. 33; Knuttel 6479; Sabin 1352; STCN (8 copies); not in Bosch. First and only edition of a pamphlet on the strife in Brazil between the Dutch West India Company (WIC) and Portugal, in the form of a dialogue between four Dutchmen and a bartender in an Amsterdam tavern. It is one of a series of anonymous pamphlets published on the subject in that year, "much superior to anything which had as yet been written on the subject" (Asher, p. 197).The men discuss the latest news concerning Brazil, including the Zeeland privateers, the sugar trade, the establishment of the Portuguese Brazil Company (Companhia Geral para o Estado do Brazil), and the causes of the failure to make peace with the Portuguese. They also discuss the poor position of the WIC and suggest it would be better to revoke the Company's monopoly and allow merchants free trade with Brazil.Slightly browned, two small stains on last leaf, not affecting the text, otherwise in very good condition. Binding also very good.

      [Bookseller: Antiquariaat FORUM BV]
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        Copye vande resolutie van de heeren burghemeesters ende raden tot Amsterdam op't stuck vande West-Indische Compagnie. Genomen in August 1649.Utrecht, Jan Havick, 1649. 4to. Modern brown half morocco.

      Asher 252; Borba de Moraes, pp. 211-212; Sabin 16744; STCN (6 copies); WorldCat (6 other copies). Second edition of a splendid satire of the burgomasters and council members of the city of Amsterdam, presented as an official resolution of the city government concerning the West India Company (WIC)'s troubles with the Portuguese in Brazil. The Portuguese had retaken Brazil and other possessions from the WIC and there was a great debate in the Netherlands as to whether the government should step in to support the WIC and if so how far they should go. Many investors would loose everything if the WIC permanently lost its trade in Brazil. The present fake resolution gives a statement from each of the burgomasters and councillors (under their real names). Many at the time apparently thought the resolution genuine and were furious at the authorities, who were not amused. They immediately published an Examen vande valsche resolutie ... (Examination of the false resolution ...) accusing the anonymous perpetrators of the hoax of deliberately trying to turn the populace against the council. This may have merely served to advertise the original pamphlet as a satire, for it was reprinted soon after the original appeared.Slightly browned, a few small marginal tears and corner of the fifth leaf torn. Binding rubbed along the extremities. Otherwise in good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Practica der Wundartzney Felix Würtzen . Darinnen allerley schädliche Missbräuche / welche bisher von unerfahrnen / ungeschickten Wundartzten in gemeinem schwang gangen seind / ausfürlichen angedeutet / und umb vieler erheblichen Ursachen willen abgschafft werden. Itzunder alles mit grossem fleiss und trewen aus des Autoris handgeschriebenen Büchern von newem ubersehen / und mit vieler Schäden Cur vermehret. Durch Rudolph Würtzen.

      Stettin, Jeremiae Mamphrasen. 1649 - Klein-8°. 8 n.n. Bl., 730 S., 37 n.n. Bl. Register. Pergamentband der Zeit. VD17 3:002378P. - Vgl. Garrison 6357.50 und 5563. - Diese Auflage sonst nicht in den gängigen Bibliographien. Neuauflage der erstmals 1563 veröffentlichten "Practica", der 1616 erstmals das "Kinderbüchlein" anfügt wurde, dem ersten Text zur Kinderheilkunde (S. 674-730). - Felix Wirz (1518-1574) war befreundet mit Conrad Gessner und Paracelsus. Gessner drängte Würtz zur Veröffentlichung seiner Schriften, die nach dessen Tod durch seinen Bruder neu herausgegeben und mit dem Kinderbüchlein erweitert wurden. "Ein ebenbürdiger Nebenbuhler Pares" (Hirsch). - Einband fleckig und bestossen, die Schliessen ausgerissen. Durchgehend gebräunt, stellenweise sehr stark.

      [Bookseller: Daniel Thierstein]
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        Les Oeuvres de chirurgie de Jacques Guillemeau, chirugien ordinaire du roy et ivre a Paris. Avec les portraicts et figures de toutes les parties du corps humain, & des instruments necessaires au chirurgien

      Rouen: Jean Viret, Francois Vaultier, Clement Malassis, 1649-01-01. Hardcover. Very Good. Folio. 1/4 modern Moroccan leather over marble boards. A superior volume. Fine binding. 36 cm.[50], 863, [32] p. Clean, unmarked pages. Lovely illustrations. The anatomical plates are derived from Vesalius, those of instruments are from Pare. Reprint of the 1612 Paris edition.In French with Greek and Latin references. Title in red and black. Jacques Guillemeau (1550-1613) was a French surgeon noted for his contributions to obstetrics, ophthalmology and pediatrics. He worked at Hotel-Dieu de Paris and served as a surgeon to the French crown. He was the royal surgeon for Charles IX, Henry III, and Henry IV. He was the favored student (and son in law) of Ambroise Pare, whose work Guillemeau helped popularize. Wellcome III, p. 179. Garrison-Morton (citing Paris edition) 3669 for his contribution to dentistry, 5818 for his work on ophthalmology, and 6145.1 for his contribution to obstetrics. Association copy. Dr. Samuel Clark Harvey's book plate on front paste down. Samuel Clark Harvey (1886-1953) was a noted Yale surgeon. Harvery served with US Army forces in WWI under the direction of Dr. Cushing. Cushing later appointed him chief of surgery in Mobile Hospital No. 6, where he dealt with neurosurgical casualties. After the war Harvey returned to civilian practice and served as chairman of the Yale Department of Surgery 1922-1947. "In his philosophy of pedagogy he was far ahead of his time and was to a large extent responsible for the introduction of the unique method of teaching that is colloquially referred to as the "Yale system."He regarded the medical student as a mature adult who entered medical school with a sincere desire to learn, and he placed the responsibility for his education squarely upon the student himself rather than upon the faculty. A staunch and outspoken antagonist of the didactic lecture and quiz method of teaching, he believed that knowledge cannot be passively transferred or given away, but can be acquired only by an active, painstaking, and continuing process of discriminating study and reflection. He considered it the function of the teacher to arouse enthusiasm and stimulate interest in the students, to provide them with opportunities for pursuing these interests, to guide them in the use of the "experimental method," to help them develop habits of effective and sustained study-but above all to spark their curiosity and to develop within them a rational spirit of inquiry that would be a stimulus for learning and study long after they had left the protective aegis of school and teachers." Yale Journal of Biology and Medicine Vol. 26, September 1953. Also, from the library of Dr. Gert H. Brieger. Dr. Brieger was the Chairman of the Institute of the History of Medicine at Johns Hopkins. Dr. Brieger was presented this volume by the staff of the Johns Hopkins Press for his work as editor of the Bulletin of the History of Medicine 1990-2004. Includes related loose ephemera: a gift note from JHU Press, a write up of the Guillemeau's book, 2 copies of the program note for 33rd annual Samuel Clark Harvey Memorial lecture given in 1988 on Dr. Samuel Clark Harvery by Dr. Brieger.

      [Bookseller: SequiturBooks]
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        Todten-Tantz wie derselbe in der löblichen und weitberühmten Statt Basel, als ein Spiegel menschlicher Beschaffenheit, gantz künstlich gemahlet und zu sehen ist....

      Frankfurt, 1649. First Merian edition (although a sketchier and incomplete proto-edition of exceeding rarity had appeared earlier). Dance of Death cycles typically show a very quick and lively skeleton leading someone away in a dance step. The partner's social station is instantly recognizable, and much of the fun lies in death's indifference to rank: the death figure is just as cheerful leading off the queen or the pope as the merchant or the beggar. While the conventions may have originated in Medieval pageants, their popularity grew and flourished in the Renaissance and Baroque periods. Merian's cycle is based on the famous frescoes in the Basel Predigerkirche (destroyed as an "eyesore" by town authorities in 1805). Merian's Adam and Eve plate, and his famously surreal death's-head self-portrait that can be viewed right-side-up or up-side-down, make their first appearance here. The book was frequently reprinted and copied for the succeeding 150 years, becoming the most instantly recognizable of all Baroque editions of the Dance of Death. A very good copy. . Quarto (20 cm); [3], 4-206, [2] pages. Title within engraved border of macabre landscapes, and 44 full-page copperplate engravings. Contemporary (?) binding of plain brown sheep over pasteboard. Rebacked. Extremities rubbed and bumped, exposing boards at corners (one corner repaired); few small abrasions on leather. Browning to perimeter of endpapers from acid migration of the leather turn-ins. Interior: Title and following three leaves fingersoiled; scattered soiling and foxing; old mend to head fore-corner of A2; L4 with 4-cm vertical tear in gutter. Two small wormholes. Nevertheless, text and plates are remarkably clean and unblemished. References: Massmann, "Literatur Der Totentänze," 76; Sears, "A collection of works illustrative of the Dance of Death," 31; Minns, "The Dance of Death" (auction catalogue), 24.

      [Bookseller: Rodger Friedman Rare Book Studio]
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        Brabantiae Ducatus cum adjacentibus provinciis.Amsterdam, Nicolaas Visscher II, [ca. 1698]. Engraved map (59.5 x 50.5 cm) on paper (63 x 53 cm), coloured in an early hand and highlighted in gold. With the title at the head, a scale at upper right (1:310,000) and the arms of Brabant at lower right.

      Koeman, p. 179 [no. 115]; not in: Duncker & Weiss, Het hertogdom Brabant in kaart en prent. An attractive hand-coloured, engraved map of the Duchy of Brabant, apparently in its first state, by Gilliam van der Gouwen and published by Nicolaas Visscher II (1649-1702). The map shows a large area, ranging from parts of South Holland and the Duchy of Guelders in the north to the cities Charleroy and Namur in the south. The borders, cities, forests, swamps and rivers are coloured and the border of the Duchy is also highlighted in gold, as are some cities and the Brabant coat of arms at lower right. The map was published in Visscher's Atlas minor sive geographia compendosia around 1690.Margins slightly frayed and slightly torn along the fold, otherwise in good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Brabantiae Batavae pars occidentalis, sive Antverpiensis tetrarchiae pars septentrionalis, comprehendens Baroniam Bredanam Marchionatum Bergensem ad Zomam.Amsterdam, [widow of] Nicolaas Visscher II, [1708 or later]. Engraved map (plate size 48.5 x 57.5 cm) on a whole sheet of paper (54 x 62.5 cm), coloured by a contemporary hand and with some highlights in gold.

      Koeman, Vis 30 and p. 180 [no. 116]. Hand-coloured, engraved map of the western part of Brabant by the Dutch cartographer Nicolaas Visscher II (1649-1702). It is centered around the city of Breda, with parts of Zeeland and Holland in the north and Belgium in the south. Some of the borders and several cities, villages and estates are highlighted in gold. The map was published by Visscher's widow ca. 1708 in the atlas Variae tabulae geographicae. Browned in the margins, stained in the upper corners and two small tears along the fold, not affecting the map image. Overall in good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Merlini Anglici Ephemeris, or Generall and Monthly Predictions upon severall Eclipses and Celestial Configurations for the Yeare1649. By William Lilly Student in Astrology. [together with an incomplete version of an original second edition of William Lilly's "Christian Astrology" - 1659 Edition]

      Original Edition (NOT a Reprint). Duodecimo. 96 unnumbered pages including portrait - titlepage. Hardcover / 18th century full calf with rebacked 20th century spine. Overall very good. Extremely Rare ! / [96] A4, B-F8, G4. Civil War era almanac in contemporary sheep, rebacked, with William Marshall's engraving of Lilly on the title page. Collated and complete, later endpapers, light staining only to text. A very nice example of a scarce almanac by the prolific Lilly who managed to thrive whatever the political circumstances and 'the most abused as well as the most celebrated astrologer of the seventeenth century' (Bernard Capp) This 1649 edition is particularly celebrated as it predicts a purge of Parliament which took place two days after its composition date given by Lilly as 4 December, 1648, thereby clearing the path for the execution of the King - already prophesied by Lilly. ESTC R8715 (description: Christian White). William Lilly (11 May [O.S. 1 May] 1602 9 June 1681) has been described as "the most abused as well as the most celebrated astrologer of the seventeenth century". Born the son of a yeoman farmer in Leicestershire, Lilly travelled to London as a youth to take up a servant's position. Seven years later he secured his fortune by marrying his former master's widow, allowing him the leisure to study astrology. In 1644, during the English Civil War, he published the first of many popular astrological texts,and in 1647 he published Christian Astrology, a huge compendium of astrological technique. This was the first of its kind to be printed in the English language rather than Latin, and is said to have tutored "a nation in crisis in the language of the stars". By 1659, Lilly's fame was widely acknowledged and his annual almanac was achieving sales of around 30,000 copies a year. Lilly's autobiography, published towards the end of his life in 1681, at the request of his patron Elias Ashmole, gives candid accounts of the political events of his era, and biographical details of contemporaries that are unavailable elsewhere. It was described, in the late 18th century, as "one of the most entertaining narratives in our language", in particular for the historical portrayal it leaves of men like John Dee, Simon Forman, John Booker, Edward Kelley, including a whimsical first meeting of John Napier and Henry Briggs, respective co-inventors of the logarithm and Briggsian logarithms, and for its curious tales about the effects of crystals and the appearance of Queen Mab. In it, Lilly describes the friendly support of Oliver Cromwell during a period in which he faced prosecution for issuing political astrological predictions. He also writes about the 1666 Great Fire of London, and how he was brought before the committee investigating the cause of the fire, being suspected of involvement because of his publication of images, 15 years earlier, which depicted a city in flames surrounded by coffins. Lilly was a controversial character who was both aided and abetted by powerful friends and enemies. He attracted the attention of many members of Parliament, through the support of Sir Bulstrode Whitelocke, Lord Keeper of the Great Seal of England, (to whom he dedicated his Christian Astrology), but also accused Members of Parliament of engineering charges against him in 1651. To his supporters he was an "English Merlin" to his detractors he was a "juggling wizard and imposter". He is described as having been a genius at something "that modern mainstream opinion has since decided cannot be done at all", and having developed his stature as the most important astrologer in England through his social and political involvement, as well as his impact on the astrological tradition. (William Lilly)

      [Bookseller: The Time Traveller's Bookshop]
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        David Nerreters Schau-Platz Der Streitenden doch unüberwindlichen Christlichen Kyrchen, Auf welchem, Nach Anleitung der VII. Abtheilung des unterschiedlichen Gottes-Diensts, Alexander Rossens, Der christlichen Kyrchen Anfang, Fortgang, Ausbreitung, Verhinderung, Verfolgung, Verwirrung, Kätzereyen, Spaltungen, deren Ursachen, und wie solche durch Gottes Gnade zu heben, und die zertrennten Kyrchen ohne Syncretisterey waarhafftig zu vereinigen, vorgestellet wird.

      23 Blatt, 1192 Seiten, 32 Blatt Register, Normalformat 17 x 10,5 cm, Ledereinband der Zeit, goldgeprägter Buchrücken (Titel und Verzierung), marmorierter Schnitt, 1 Frontispiz. Dazu Erklärung des Titel-Kupfers über den Spruch Matth., XVI v. 18. (Christliche Kirche auf einem starken Felsen, von Teufelsheeren, Flut und Glut bedroht: Schau-Platz der Streitenden Christlichen Kyrchen), 12 Illustrationen auf Tafeln (Kupferstich), Motive u.a.: Jesus, die Apostel, Paulus, mehrere Bilder zum Thema Inquisition, Ketzererei, Clemens XI, Der römische Pabst, usw.. Ledereinband etwas berieben, am Buchrücken und den vorderen Buchecken leicht rissig, Rückentitel nicht mehr ganz lesbar. Eine Bildtafel "Verlesung der Augspurgischen Confesion" lose innenliegend. Seiten und Biidtafeln vollzählig enthalten. Reste eines Exlibris und handschriftliche Eintragungen auf dem vorderen Vorsatz. Seiten sonst größtenteils sehr sauber. Insgesamt gutes Exemplar. David Nerreter (1649 - 1726) war ein lutherischer Theologe und Generalsuperintendent in Pommern und Mitglied des Pegnesischen Blumenordens.

      [Bookseller: Antiquariat Bärbel Hoffmann]
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        Gesamtansicht aus der Vogelschau ('Emda.').

      - altkolorierter Kupferstich b. Blaeu in Amsterdam, 1649, 42 x 52,5

      [Bookseller: Antiquariat Norbert Haas]
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        Gesamtansicht aus der Vogelschau.

      - Kupferstich v. Blaeu, 1649, 37 x 48,5

      [Bookseller: Antiquariat Norbert Haas]
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        Stadsplattegrond Heusden 1649.

      J. Blaeu, Amsterdam 1649 - Kopergravure, uitgegeven in 1649 te Amsterdam door Joan Blaeu in Toonneel der Steden. Hoogte 41,5 cm. breedte 53 cm , Illustrated

      [Bookseller: Antiquariaat Meuzelaar]
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        Grolla

      Amsterdam - Map. Engraving with original hand coloring. Image measures 16.25" x 20.75" Exquisite town plan of Grolla in Holland, circa 1649, shown in an unusual panoramic birds-eye view. Features the fortress and the surrounding pastoral landscape. Includes a coat of arms, which is hand burnished with beautiful gold leaf. Cartouche and scale are also decorated in gold leaf. Wonderful vignette in bottom left corner of two men fighting on horseback. Latin text on verso. Published around the time of the Spanish acknowledgment of the Dutch Republic in "Novum Ac Magnum Theatrum Urbium Belgicae Liberae Ac Foederataee" ("Town books of the Netherlands"). Many of the town plans included in this publication emphasized their strategic importance in response to the Spanish occupation. One of the most famous mapmakers of his time, Willem Blaeu (1571-1638) and his family worked out of Amsterdam. This series was published by his son Johannes (c. 1599-1673), who took over the business upon his father's death. Overall toning, chipping to edges.

      [Bookseller: Argosy Book Store, ABAA, ILAB]
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        Les Triomphes de Louis le Juste XIII du nom, roy de France et de Navarre. Contenans les plus grandes actions ou Sa Maieste' s'est trouvée en personne, representées en Figures aenigmatiques, exposées par un Poëme Heroïque de Charles Beys, et accompagnées de vers Francois sous chaque figure, composez par P. de Corneille. Avec les portraits des rois, princes et generaux d'armees qui ont assiste ou servy ce Belliqueux Louis le Juste combattant...

      3 parts in 1 volume (complete). En l'Imprimerie Royale (Antoine Estienne), Paris 1649. Folio. 36 leaves + 87+(1)+142+(2)+engraved plate+110 pages. Engraved initials and vignettes. Woodcut vignettes as endpieces on last-pages. Engraved frontispiece with portrait of Louis XIV, followed by en engraved portrait of Anne of Austria, to whom the entire work is dedicated. 20 allegorical plates showing highlights from the martial history of Louis XIII (as illustrations to a large epic piece, "Louis le juste Combattant", by Charles Beys, each plate with text in French by Pierre Corneille) + 36 engraved full-page portraits, all included in the pagination. Part 3 with separate allegorical frontispiece and with 47 double-page maps and plans of battles or sieges not included in pagination. Elegant contemporary red French morocco binding with richly gilt decorations on spine, 6 raised bands, gilt decorations on boards and all 3 edges gilt. Some waterstaining almost throughout in lower corner, also affecting thye binding. Front outside hinge broken; spine-ends worn. 2 English 18th century bookplates on front pastedown. Brunet V,1033. Somewhat worn but fully intact copy of this magnificent French book, showing the absolute state-of-the-art of engraving as book illustration.** The reign of king Louis XIII (1610-43) was not a peaceful period, neither in Europe nor in France. The French military history thus include campaigns in the 30 Years War, as allie with Sweden and the Protestant side! The material also describes the French campaigns in Flanders as well as for instance the famous siege of the last Huguenot stronghold, the fortified city of La Rochelle in 1628. ***

      [Bookseller: Vangsgaards Antikvariat Aps]
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        IHS PROVINCIA MEDIOLANENSIS CUM CONFINIJS

      Lombardia 1649 - La tavola è contenuta in un atlante in cui sono rappresentati gli insediamenti dei frati Cappuccini, intitolata: Corographica Descriptio Provinciarum et Conventuum Fratrum Minorum S. Francisci Capucinorum, stampata a Torino nel 1649.Bibliografia: Colombo-Rondanini-GRSD, tav. alle pp. 44-45. mm 215x314

      [Bookseller: Sergio Trippini]
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        Pathomyotomia or a dissection of the significative muscles of the affections of the minde

      London: W.W. for Humphrey Moseley, 1649. FIRST EDITION. Woodcut initials and headpieces. Contemporary calf, rebacked at an early date with the original spine laid down; text block lightly toned, paste-downs strengthened with early annotations. Generally in excellent shape. First edition of this early and rare anonymously-published treatise on the relationship between muscular action and psychology, the first substantial English work on the muscular basis of the expression of emotions. Bulwer very specifically describes the facial expressions for various emotions, including anger and happiness. His intention to name facial muscles after the actual passions they were used to express foreshadowed Duchenne de Boulogne's Mecanisme de la physiognomie humaine (1862) by over two hundred years. Much of Bulwer's initial descriptions were confirmed in Darwin's Expression of emotions of man and animals (1872). Bulwer (1606-1656) is noted for having been the first in England to develop a method of communicating with the deaf and dumb.

      [Bookseller: B & L Rootenberg Rare Books & Manuscript]
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        Eikon Basilike - The Pourtraicture of His Sacred Majestie in His Solitudes and Sufferings - Together with his Private Prayers used in the time of his restraint and delivered to Dr. Juxon, Bishop of London, immediately before his death.

      Original Edition (NOT a Reprint). Octavo. (10, including Royal Arms Woodcut and Charles I. portrait bound in just before A3), Folded Emblemata leaf with latin and english explanations, 263 pages with an additional portrait bound in just before page 259. Hardcover / Original, early 19th century or late 18th century full calf with gilt lettering and ornament on spine. The binding was professionally restored with new pastedowns and endpapers. (Extremely professional). Excellent condition. The Eikon Basilike (The "Royal Portrait"), The Pourtrature of His Sacred Majestie in His Solitudes and Sufferings, is a purported spiritual autobiography attributed to King Charles I of England. It was published on 9 February 1649, ten days after the King was beheaded by Parliament in the aftermath of the English Civil War in 1649. Written in a simple, moving, and straightforward style in the form of a diary, the book combines irenic prayers urging the forgiveness of Charles's executioners with a justification of royalism and the King's political and military programme that led to the Civil War. It is by no means certain that Charles wrote the book. After the Restoration, John Gauden, bishop of Worcester, claimed to have written it. Scholars continue to disagree about the merits of this claim, though assuming that if Gauden wrote it, he had access to Charles's papers when he did so. Jeremy Taylor is also said to have had a hand in its revision, and to be the source of its title an earlier draft bore the name Suspiria Regalia, the "Royal Sighs." The frontispiece was engraved by William Marshall. In the first edition, the frontispiece was accompanied by Latin and English verses that explain it. The Eikon Basilike and its portrait of Charles's execution as a martyrdom were so successful that, at the Restoration, a special commemoration of the King on 30 January was added to the Book of Common Prayer, directing that the day be observed as an occasion for fasting and repentance. On 19 May 1660, the Convocation of Canterbury and York canonised King Charles at the urging of Charles II, and added his name to the prayer book. Charles I is the only saint formally canonised by the Church of England. The commemoration was removed from the prayer book by Queen Victoria in 1859. Several Anglican churches and chapels are dedicated to "King Charles the Martyr." The Society of King Charles the Martyr was established in 1894 to work for the restoration of the King's name to the Calendar and to encourage the veneration of the Royal Martyr. (Wikipedia)Some later editions of the Eikon Basilike contained a sworn statement by William Levett, Esq., longtime courtier and groom of the bedchamber to the King, that Levett had witnessed Charles writing the text during the time that Levett accompanied him in his imprisonment on the Isle of Wight. A witness to the King's execution, Levett later helped transport the King's body back to Windsor Castle for burial. Whoever wrote the Eikon Basilike, its author was an effective prose stylist, one who had partaken deeply of the solemn yet simple eloquence of Anglican piety as expressed in Cranmer's Book of Common Prayer. The end result is an image of a steadfast monarch who, while admitting his weaknesses, declares the truth of his religious principles and the purity of his political motives, while trusting in God despite adversity. Charles's chief weakness, it says, was in yielding to Parliament's demands for the head of the Earl of Strafford for this sin, Charles paid with his throne and his life. Its portrait of Charles as a martyr invited comparison of the King to Jesus. The pathos of this dramatic presentation made it a master stroke of Royalist propaganda. The book was quite popular despite official disapproval during the Protectorate and the Restoration it went into 36 editions in 1649 alone. In 1657 it even appeared in musical form, with a verse rendering by Thomas Stanley (author) and music by John Wilson (composer). The musical setting blended the austere style of the metrical psalter, favoured by the Puritans, with fashionable (and Catholic) instrumental accompaniment provided by an organ, theorbo, or another such continuo instrument. Because of the favourable impression the book made of the King, Parliament commissioned John Milton to write a riposte to it, which he published under the title Eikonoklastes ("The Icon-Breaker") in 1649. Milton's response sought to portray the image of Charles, and the absolute monarchy he aspired to, as idols, claiming a reverence due only to God, and therefore justly overthrown to preserve the law of God. This theological counterattack failed to dislodge the sentimental narrative of the Eikon itself from public esteem.

      [Bookseller: The Time Traveller's Bookshop]
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        Arithmétique au miroir par laquelle on peut (en quatre vacations de demye heure chacune) pratiquer les plus belles règles d'icelle,. Mise en lumière par Allexandre Jean, arithméticien

      S.l., 1649, in 12, de 15pp. typographiques, 54pp. gavées avec jolis ornements d'encadrement et 17 pp. gavées sous forme de tableaux, cart. papier marbré début XXe, titre et deux derniers ff. restaurés en marge, qq. mouillures. Rare manuel didactique de calculs mathématiques en 3 parties dont deux sont gravées. C'est la 3e édition, la première étant de 1636 en une seule partie. Le faux-titre gravé porte d'ailleurs la date de 1636. La seconde partie semble avoir été ajoutée en 1637. Alexandre Jean est un maître écrivain et maître d'arithmétique français, né vers 1580, il a été reçu en 1609 dans la Communauté des maîtres écrivains jurés. il a rendu générale la pratique de la plume à traits, qui sert à exécuter des ornements aux traits épaissis en calligraphie. C'est l'exemple de ces maîtres écrivains aussi actifs dans l'enseignement et la comptabilité, et il a publié plusieurs méthodes d'arithmétique. Il est mort en 1670 à Paris. ¶ Sotheran suppl. II. 1730 (édit. de 1636) - Lie Tomas-Scheler mathématiques (1987) n°104 "rare et charmant ouvrage..." - cat. CCFR seulement 2ex. de cette édition (Toulouse et BNF).

      [Bookseller: L'intersigne Livres anciens]
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        Brixen.

      Frankfurt am Main, 1649. Acquaforte di dimensioni 19x30,5 cm. Buono, ordinari segni d'uso e del tempo. Veduta della cittadina di Bressanone, Brixen in lingua tedesca. Preciso nelle indicazioni dei luoghi, di cui abbiamo i rimandi nel cartiglio posto all'angolo inferiore sinistro, Merian ci mostra la cittadina nel suo svilupparsi sulle rive dell'Isarco nel punto in cui vi confluisce il Rienza. Fra i luoghi degni di nota ricordiamo il Castello Vescovile, residenza urbana dei principi vescovi, visibile sulla sinistra, e il duomo con la piazza centrale, al centro della stampa. La parte superiore ospita tre stemmi: a sinistra l'agnello (Bressanone), al centro lo stemma del principe vescovo, a destra l'aquila (l'impero). Scheda bibliografica tratta da "Il Trentino-Alto Adige: immagini dal passato" di Brunamaria Dal Lago Veneri e Arnaldo Loner , scheda n. 8.

      [Bookseller: Studio Bibliografico Adige]
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        Pathomyotomia Or a Dissection Of the significative Muscles of the Affections of the Minde. Being an Essay to a new Method of observing the most Important movings of the Muscles of the Head, as they are the neerest and Immediate Organs of the Voluntarie or Impetuous motions of the Mind. With the Proposall of a new Nomenclature of the Muscles.

      Printed by W. W. for Humphrey Moseley and are to be sold at his Shop at the Princes Armes in St. Pauls Church-yard. London First edition. 12mo 1649 - pp. (xxxvi), 240. Later sheepskin, a couple of wear patches to the edges of the spine, one also to the fore-edge of the rear board, a tiny dent to the fore-edge margin of a few text leaves, overall a very nice copy, with the book label of JOHN FARQUHAR FULTON [with a 'withdrawn' stamp], inscription on the front free end-paper - 'To the President of the British Neurological Society Macdonald Critchley from the President of the American Neurological Associat. Hans H. Reese . February 21st. 1953'. *This is the least common of Bulwer's several publications, mostly concerned with the teaching of the deaf-mute. SEE ROBERT RUBEN Hear, Hear ! Six Centuries of Otology, 2002, #80 - referring to Philocophus: or the deafe and dumbe mans friend. London: Humphrey Mosely, 1648. SEE - ESTC R8806 - WING B5468 - NORMAN #371 [Norman sale 1998, part II, #340]. SEE also - STEVENSON & GUTHRIE A History of Oto-Laryngology, page 74 - 'The first in Britain to devote his attention to the subject [education of the deaf] was John Bulwer. Of his life little is known, but his memory survives in a number of quaint works, now rare and highly prized by collectors.'. SEE also - NEIL WEIR Otolaryngology an Illustrated History, pages 90, 98 - 'The Spanish Method did not emphasize the full advantages of speechreading and it is to the credit of John Bulwer (1614-1684), the English physician and linguist, that speechreading was recognized as an important prerequisite for a successful oral education.' Most historian and commentators have concentrated upon Bulwer's pioneering work in the education of the deaf-mutes; the above work, scarcer than his works on signing though clearly interconnected, has been largely overlooked. Even PAUL EKMAN in his analytical reprint of Darwin's Expression of the Emotions of Man and Animals, discusses Duchenne's earlier monograph extensively but makes no mention of Bulwer. In his time, Darwin was the only investigator to consider the question - WHY do expressions occur in a particular form ? His proposition that the nervous system had a direct action on emotions was indeed vague and he admitted it, but it was an unexplored topic. Bulwer however discusses just this - 'Yet we allow not the Heart to be the chiefe original and seat of the Affections, which are (indeed) originally from the Head; for although in asmuch as they concern the Body, their chief seat is in the Heart, because that is chiefly alterd by them, yet forasmuch as they affect the mind also, it is onely in the Brain, because the mind can immediately suffer from this onely. And hence it follows that the Head and Face doe so manifestly by signes (exhibited by the operation of certaine Muscles) expresse the affections of the mind.' Darwin's objective in his study of the emotions was to show that both animals and humans shared structures whose operation manifested a common base and that humans were not a divinely created species. Bulwer was concerned with demonstrating that the actions of the facial muscles were a form of communication. A curious aside - Darwin was distantly related to Sir Edward Bulwer through Erasmus Earle. It would be rather nice to show that he had a familial connection with John Bulwer ! More work is needed .

      [Bookseller: Patrick Pollak Rare Books ABA ILAB]
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        La Veronica

      1649 - Bulino, 1649, datato e firmato in basso C MELLAN G P ET F. IN AEDIBUS REG. 1649 Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L’ opera, la più celebre e straordinaria di Claude Mellan, rappresenta la più venerabile reliquia custodia in San Pietro, un miracoloso tessuto di lino utilizzato da santa Veronica per asciugare il volto santo del Signore sulla strada del Calvario. L’immagine di Mellan, e la sua particolarità, è realizzata da una sola linea continua a spirale che, iniziando dal naso, tramite sottili variazioni di spessore e direzione, crea il volto di Cristo, il tessuto, l’iscrizione, la firma e la data. Uno degli effetti più sorprendenti dell’opera è che l’immagine è intessuta nella materia, che è sia la carta che il lino: tessuto e piastra coincidono. Il panno si arriccia all’estremità inferiore, mentre la firma e il motto fanno parte del supporto. Inoltre, le spirali descritte sono parallele e quindi infinitamente estensibili in ogni direzione. Le iscrizioni, come ha scritto Irvin Lavin. costituiscono "una sublime ambiguità che si adatta perfettamente ai misteriosi effetti polivalenti dell’immagine": FORMATUR UNICUS UNA letteralmente: Uno o l’Unico è formato da una. Unicus potrebbe riferirsi a Cristo in quanto unigenito, generato dall’Una Virgo, la Vergine Maria; oppure unicus si riferisce all’oggetto dell’Immagine, il Volto Santo, unico perché acheropita, cioè non prodotto da mano umana, ma dall’Una manus di Dio Padre che fece la vera icona sul lino della Veronica. Una potrebbe anche riferirsi alla mano dell’artista che ha formato l’immagine da una linea continua. NON ALTER: nessun altro altra anfibologia: non alter, ancora a ribadire l’unicità di Cristo, ma anche non alter a rivendicare che nessun altro, ma solo la mano di Mellan, ha riprodotto la sacra reliquia. Oggi, la lastra di rame originale per questa stampa di Mellan è nella collezione della Bibliothèque royale di Bruxelles. Engraving, 1649, dated and signed at the bottom C MELLAN G P ET F. IN AEDIBUS REG. 1649 Good impression, printend on contemporary laid paper, trimmed to the platemark, in very good condition. It is an exceptional and unique work of art for it is engraved from a unique spiral line. Mellan's virtuosity was extraordinary, and can be appreciated in his famous Holy Face (1649; Paris, Biblio- theque Nationale), which was engraved with a continuous line that The print represents the Mellan’s most famous. It reproduces the Sudarium Veronica. The Sudarium is the cloth with which, according to Christian legend, St Veronica wiped the face of Christ as He was carrying the Cross on the way to Calvary, the place of His crucifixion, and on which His features were miraculously impressed. The subject became a popular devotional image in Christian art. This image of Christ’s true likeness – a portrait which, most remarkably, had not been created by human hands – became the object of a widespread cult, with pilgrims flocking to Rome to venerate it. It also gave rise to a proliferation of copies, which in turn inspired countless works of art. The face of Christ is conjured from a continuous spiralling line that starts at the tip of the nose and is thickened in places to delineate the features and create tone. It is a demonstration of the artist’s unerring skill in guiding the burin. Starting with the tip of his burin in the centre of the plate, Mellan pushed the tool forward while simultaneously rotating the copper plate with his free hand in an anti- clockwise direction to create a near perfect spiral. In a single line and starting from the tip of Jesus' nose, Mellan has engraved the entire face, the folded veil, and the lettering below. The modulations in direction, from thick to thin, model the image in chiaroscuro (light and dark). Thus the shapes and volume of the engraving are achieved. The inscriptions have a sublime ambiguity that perfectly matches the uncanny effects of the image. On one leve [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Libreria Antiquarius]
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        De tyrannide papæ in reges & principes christianos, diascepsis.

      Cui, in fine addita est, Laurentii Vallæ declamatio. Franeker, impensis Johannis Arceri, typis I. Alberti, 1649. 12:o. Extra grav. titelblad,(22),664,(36) s. Samtida lätt fläckat pergamentband med senare handskriven ryggtitel. Båda titelbladen med bortklippta namnteckningar och små lagningar efter detta. Enstaka fläckar. Fuktränder på s. 325-36 och 639-50. Registret i slutet något fuktbuckligt och med större fuktrand. Många samtida understrykningar i bläck. Samtida anteckning på latin på frampärmens insida. Med Tranemålaexlibriset från Göteborgs stadsbibliotek på bakre pärmens insida, Per Hiertas och Thore Virgins namnteckningar, den senare daterad den 16 november 1932, samt Virgins stpl Biblioteca Qvarnforsiana och guldpressade pärmexlibris samt anteckning om författaren. Collijn Sveriges bibliografi 1600-talet 47. Med tryckt dedikation till drottning Kristina och hyllningsverser av P. Moll och Dominicus Acronius samt Lorenzo Vallas "De falso creditæ & ementiæ Constantini donatione, declamatio", vilken upptar s. 565-664. Laurentius Gunnari Banck (ca 1617-82) från Norrköping lämnade Sverige efter studier vid Uppsala universitet för en studieresa med tre bröder Sparre och blev efter resor i Spanien, Frankrike och Italien professor i juridik i Franeker i Holland. Banck gjorde sig känd för hätska angrepp på katolicismen, vilket här kan utläsas redan av titeln. Thore Virgin ropade in boken på Hiertas stora auktion 1932 för 4 kr.

      [Bookseller: Mats Rehnström]
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        Provincia Insvlae Sardiniae

      Torino 1649 - Carta geografica tratta dalla "Chorographica Descriptio Provinciarum et Conventum.", atlante dell'ordine dei frati cappucini. L'atlante delle province cappuccine era stato iniziato in forma manoscritta dal ministro generale dell'ordine, padre Silvestro da Panicale nel 1632 e doveva servire da sussidio geografico per le visite generali. Alla sua morte il successore Padre Giovanni di Montecaliero, al quale spesso viene erroneamente attribuita la paternità delle carte, incaricò padre Massimino da Guechen di proseguire l'opera. Gli incisori delle lastre furono appunto Massimino da Guechen, Bernardino Burdigalensis e Ludovico Monteregali. La prima edizione fu stampata a Roma nel 1643, la seconda a Torino nel 1649 e quindi nel 1654 ed infine un'altra uscì nel 1712. Per convenzione attribuiamo le mappe al Montecalerio. L'opera mostrava visivamente la diffusione dell'ordine, infatti le diverse carte dell'atlante, che rappresentano nazioni e province, offrono per ognuna di esse la statistica completa dei conventi. Incisione in rame, lievissima gora d'acqua, per il resto in ottimo stato di conservazione. Dimensioni 315 225mm [Attributes: First Edition]

      [Bookseller: Libreria Antiquarius]
 33.   Check availability:     AbeBooks     Link/Print  


        Merlini Anglici Ephemeris, or Generall and Monthly Predictions upon severall Eclipses and Celestial Configurations for the Yeare1649. By William Lilly Student in Astrology. [together with an incomplete version of an original second edition of William Lilly's "Christian Astrology" - 1659 Edition]

      London: Printed for F.Partridgeand H. Blunden. Original Edition (NOT a Reprint).. Overall very good. Extremely Rare !. Original Edition (NOT a Reprint). London, Printed for F.Partridgeand H. Blunden, 1649. Duodecimo. 96 unnumbered pages including portrait - titlepage. Hardcover / 18th century full calf with rebacked 20th century spine. Overall very good. Extremely Rare ! William Lilly (11 May [O.S. 1 May] 1602 – 9 June 1681) has been described as "the most abused as well as the most celebrated astrologer of the seventeenth century". Born the son of a yeoman farmer in Leicestershire, Lilly travelled to London as a youth to take up a servant's position. Seven years later he secured his fortune by marrying his former master's widow, allowing him the leisure to study astrology. In 1644, during the English Civil War, he published the first of many popular astrological texts,and in 1647 he published Christian Astrology, a huge compendium of astrological technique. This was the first of its kind to be printed in the English language rather than Latin, and is said to have tutored "a nation in crisis in the language of the stars". By 1659, Lilly's fame was widely acknowledged and his annual almanac was achieving sales of around 30,000 copies a year. Lilly's autobiography, published towards the end of his life in 1681, at the request of his patron Elias Ashmole, gives candid accounts of the political events of his era, and biographical details of contemporaries that are unavailable elsewhere. It was described, in the late 18th century, as "one of the most entertaining narratives in our language", in particular for the historical portrayal it leaves of men like John Dee, Simon Forman, John Booker, Edward Kelley, including a whimsical first meeting of John Napier and Henry Briggs, respective co-inventors of the logarithm and Briggsian logarithms, and for its curious tales about the effects of crystals and the appearance of Queen Mab. In it, Lilly describes the friendly support of Oliver Cromwell during a period in which he faced prosecution for issuing political astrological predictions. He also writes about the 1666 Great Fire of London, and how he was brought before the committee investigating the cause of the fire, being suspected of involvement because of his publication of images, 15 years earlier, which depicted a city in flames surrounded by coffins. Lilly was a controversial character who was both aided and abetted by powerful friends and enemies. He attracted the attention of many members of Parliament, through the support of Sir Bulstrode Whitelocke, Lord Keeper of the Great Seal of England, (to whom he dedicated his Christian Astrology), but also accused Members of Parliament of engineering charges against him in 1651. To his supporters he was an "English Merlin"; to his detractors he was a "juggling wizard and imposter". He is described as having been a genius at something "that modern mainstream opinion has since decided cannot be done at all", and having developed his stature as the most important astrologer in England through his social and political involvement, as well as his impact on the astrological tradition. (William Lilly)

      [Bookseller: The Time Traveller's Bookshop]
 34.   Check availability:     Biblio     Link/Print  


        Eikon Basilike - The Pourtraicture of His Sacred Majestie in His Solitudes and Sufferings - Together with his Private Prayers used in the time of his restraint and delivered to Dr. Juxon, Bishop of London, immediately before his death.

      [London]. Original Edition (NOT a Reprint).. Very good condition. . Original Edition (NOT a Reprint). [London], 1649. Octavo. (10, including Royal Arms Woodcut and Charles I. portrait bound in just before A3), Folded Emblemata leaf with latin and english explanations, 263 pages with an additional portrait bound in just before page 259. Hardcover / Original, early 19th century or late 18th century full calf with gilt lettering and ornament on spine. The binding was professionally restored with new pastedowns and endpapers. (Extremely professional). Very good condition. The Eikon Basilike (The "Royal Portrait"), The Pourtrature of His Sacred Majestie in His Solitudes and Sufferings, is a purported spiritual autobiography attributed to King Charles I of England. It was published on 9 February 1649, ten days after the King was beheaded by Parliament in the aftermath of the English Civil War in 1649. Written in a simple, moving, and straightforward style in the form of a diary, the book combines irenic prayers urging the forgiveness of Charles's executioners with a justification of royalism and the King's political and military programme that led to the Civil War. It is by no means certain that Charles wrote the book. After the Restoration, John Gauden, bishop of Worcester, claimed to have written it. Scholars continue to disagree about the merits of this claim, though assuming that if Gauden wrote it, he had access to Charles's papers when he did so. Jeremy Taylor is also said to have had a hand in its revision, and to be the source of its title; an earlier draft bore the name Suspiria Regalia, the "Royal Sighs." The frontispiece was engraved by William Marshall. In the first edition, the frontispiece was accompanied by Latin and English verses that explain it. The Eikon Basilike and its portrait of Charles's execution as a martyrdom were so successful that, at the Restoration, a special commemoration of the King on 30 January was added to the Book of Common Prayer, directing that the day be observed as an occasion for fasting and repentance. On 19 May 1660, the Convocation of Canterbury and York canonised King Charles at the urging of Charles II, and added his name to the prayer book. Charles I is the only saint formally canonised by the Church of England. The commemoration was removed from the prayer book by Queen Victoria in 1859. Several Anglican churches and chapels are dedicated to "King Charles the Martyr." The Society of King Charles the Martyr was established in 1894 to work for the restoration of the King's name to the Calendar and to encourage the veneration of the Royal Martyr. (Wikipedia) Some later editions of the Eikon Basilike contained a sworn statement by William Levett, Esq., longtime courtier and groom of the bedchamber to the King, that Levett had witnessed Charles writing the text during the time that Levett accompanied him in his imprisonment on the Isle of Wight. A witness to the King's execution, Levett later helped transport the King's body back to Windsor Castle for burial. Whoever wrote the Eikon Basilike, its author was an effective prose stylist, one who had partaken deeply of the solemn yet simple eloquence of Anglican piety as expressed in Cranmer's Book of Common Prayer. The end result is an image of a steadfast monarch who, while admitting his weaknesses, declares the truth of his religious principles and the purity of his political motives, while trusting in God despite adversity. Charles's chief weakness, it says, was in yielding to Parliament's demands for the head of the Earl of Strafford; for this sin, Charles paid with his throne and his life. Its portrait of Charles as a martyr invited comparison of the King to Jesus. The pathos of this dramatic presentation made it a master stroke of Royalist propaganda. The book was quite popular despite official disapproval during the Protectorate and the Restoration; it went into 36 editions in 1649 alone. In 1657 it even appeared in musical form, with a verse rendering by Thomas Stanley (author) and music by John Wilson (composer). The musical setting blended the austere style of the metrical psalter, favoured by the Puritans, with fashionable (and Catholic) instrumental accompaniment provided by an organ, theorbo, or another such continuo instrument. Because of the favourable impression the book made of the King, Parliament commissioned John Milton to write a riposte to it, which he published under the title Eikonoklastes ("The Icon-Breaker") in 1649. Milton's response sought to portray the image of Charles, and the absolute monarchy he aspired to, as idols, claiming a reverence due only to God, and therefore justly overthrown to preserve the law of God. This theological counterattack failed to dislodge the sentimental narrative of the Eikon itself from public esteem.

      [Bookseller: The Time Traveller's Bookshop]
 35.   Check availability:     Biblio     Link/Print  


        Merlini Anglici Ephemeris, or Generall and Monthly Predictions upon severall Eclipses and Celestial Configurations for the Yeare1649. By William Lilly Student in Astrology. [together with an incomplete version of an original second edition of William Lilly's "Christian Astrology" - 1659 Edition]

      London, Printed for F.Partridgeand H. Blunden, 1649. - Original Edition (NOT a Reprint). Duodecimo. 96 unnumbered pages including portrait - titlepage. Hardcover / 18th century full calf with rebacked 20th century spine. Overall very good. Extremely Rare ! William Lilly (11 May [O.S. 1 May] 1602 – 9 June 1681) has been described as "the most abused as well as the most celebrated astrologer of the seventeenth century". Born the son of a yeoman farmer in Leicestershire, Lilly travelled to London as a youth to take up a servant's position. Seven years later he secured his fortune by marrying his former master's widow, allowing him the leisure to study astrology. In 1644, during the English Civil War, he published the first of many popular astrological texts,and in 1647 he published Christian Astrology, a huge compendium of astrological technique. This was the first of its kind to be printed in the English language rather than Latin, and is said to have tutored "a nation in crisis in the language of the stars". By 1659, Lilly's fame was widely acknowledged and his annual almanac was achieving sales of around 30,000 copies a year. Lilly's autobiography, published towards the end of his life in 1681, at the request of his patron Elias Ashmole, gives candid accounts of the political events of his era, and biographical details of contemporaries that are unavailable elsewhere. It was described, in the late 18th century, as "one of the most entertaining narratives in our language", in particular for the historical portrayal it leaves of men like John Dee, Simon Forman, John Booker, Edward Kelley, including a whimsical first meeting of John Napier and Henry Briggs, respective co-inventors of the logarithm and Briggsian logarithms, and for its curious tales about the effects of crystals and the appearance of Queen Mab. In it, Lilly describes the friendly support of Oliver Cromwell during a period in which he faced prosecution for issuing political astrological predictions. He also writes about the 1666 Great Fire of London, and how he was brought before the committee investigating the cause of the fire, being suspected of involvement because of his publication of images, 15 years earlier, which depicted a city in flames surrounded by coffins. Lilly was a controversial character who was both aided and abetted by powerful friends and enemies. He attracted the attention of many members of Parliament, through the support of Sir Bulstrode Whitelocke, Lord Keeper of the Great Seal of England, (to whom he dedicated his Christian Astrology), but also accused Members of Parliament of engineering charges against him in 1651. To his supporters he was an "English Merlin"; to his detractors he was a "juggling wizard and imposter". He is described as having been a genius at something "that modern mainstream opinion has since decided cannot be done at all", and having developed his stature as the most important astrologer in England through his social and political involvement, as well as his impact on the astrological tradition. (William Lilly)

      [Bookseller: The Time Traveller's Bookshop Ltd.]
 36.   Check availability:     ZVAB     Link/Print  


        Eikon Basilike - The Pourtraicture of His Sacred Majestie in His Solitudes and Sufferings - Together with his Private Prayers used in the time of his restraint and delivered to Dr. Juxon, Bishop of London, immediately before his death.

      Original Edition (NOT a Reprint). Octavo. (10, including Royal Arms Woodcut and Charles I. portrait bound in just before A3), Folded Emblemata leaf with latin and english explanations, 263 pages with an additional portrait bound in just before page 259. Hardcover / Original, early 19th century or late 18th century full calf with gilt lettering and ornament on spine. The binding was professionally restored with new pastedowns and endpapers. (Extremely professional). Very good condition. The Eikon Basilike (The "Royal Portrait"), The Pourtrature of His Sacred Majestie in His Solitudes and Sufferings, is a purported spiritual autobiography attributed to King Charles I of England. It was published on 9 February 1649, ten days after the King was beheaded by Parliament in the aftermath of the English Civil War in 1649. Written in a simple, moving, and straightforward style in the form of a diary, the book combines irenic prayers urging the forgiveness of Charles's executioners with a justification of royalism and the King's political and military programme that led to the Civil War. It is by no means certain that Charles wrote the book. After the Restoration, John Gauden, bishop of Worcester, claimed to have written it. Scholars continue to disagree about the merits of this claim, though assuming that if Gauden wrote it, he had access to Charles's papers when he did so. Jeremy Taylor is also said to have had a hand in its revision, and to be the source of its title an earlier draft bore the name Suspiria Regalia, the "Royal Sighs." The frontispiece was engraved by William Marshall. In the first edition, the frontispiece was accompanied by Latin and English verses that explain it. The Eikon Basilike and its portrait of Charles's execution as a martyrdom were so successful that, at the Restoration, a special commemoration of the King on 30 January was added to the Book of Common Prayer, directing that the day be observed as an occasion for fasting and repentance. On 19 May 1660, the Convocation of Canterbury and York canonised King Charles at the urging of Charles II, and added his name to the prayer book. Charles I is the only saint formally canonised by the Church of England. The commemoration was removed from the prayer book by Queen Victoria in 1859. Several Anglican churches and chapels are dedicated to "King Charles the Martyr." The Society of King Charles the Martyr was established in 1894 to work for the restoration of the King's name to the Calendar and to encourage the veneration of the Royal Martyr. (Wikipedia)Some later editions of the Eikon Basilike contained a sworn statement by William Levett, Esq., longtime courtier and groom of the bedchamber to the King, that Levett had witnessed Charles writing the text during the time that Levett accompanied him in his imprisonment on the Isle of Wight. A witness to the King's execution, Levett later helped transport the King's body back to Windsor Castle for burial. Whoever wrote the Eikon Basilike, its author was an effective prose stylist, one who had partaken deeply of the solemn yet simple eloquence of Anglican piety as expressed in Cranmer's Book of Common Prayer. The end result is an image of a steadfast monarch who, while admitting his weaknesses, declares the truth of his religious principles and the purity of his political motives, while trusting in God despite adversity. Charles's chief weakness, it says, was in yielding to Parliament's demands for the head of the Earl of Strafford for this sin, Charles paid with his throne and his life. Its portrait of Charles as a martyr invited comparison of the King to Jesus. The pathos of this dramatic presentation made it a master stroke of Royalist propaganda. The book was quite popular despite official disapproval during the Protectorate and the Restoration it went into 36 editions in 1649 alone. In 1657 it even appeared in musical form, with a verse rendering by Thomas Stanley (author) and music by John Wilson (composer). The musical setting blended the austere style of the metrical psalter, favoured by the Puritans, with fashionable (and Catholic) instrumental accompaniment provided by an organ, theorbo, or another such continuo instrument. Because of the favourable impression the book made of the King, Parliament commissioned John Milton to write a riposte to it, which he published under the title Eikonoklastes ("The Icon-Breaker") in 1649. Milton's response sought to portray the image of Charles, and the absolute monarchy he aspired to, as idols, claiming a reverence due only to God, and therefore justly overthrown to preserve the law of God. This theological counterattack failed to dislodge the sentimental narrative of the Eikon itself from public esteem.

      [Bookseller: The Time Traveller's Bookshop]
 37.   Check availability:     booklooker.de     Link/Print  


        Jan Luyken.

      Ecce Homo [zie de mens, Johannes 19:5]. Pontius Pilatus toont Christus aan het volk in Jeruzalem. Gewassen tekening met pen en bruine inkt en houtskool door Jan Luyken (Amsterdam 1649-1712): De tekening is een ontwerp voor een van de door Jan en zijn zoon Caspar Luyken ge?llustreerde Bijbels. Afmeting ca. 16,1 x 27,6 cm.Pontius Pilatus toont Christus aan het volk in Jerusalem. De tekening is een ontwerp voor een gravure in Luykens platenbijbel, die in Amsterdam in verschillende edities is uitgebracht. Luyken nam daarvoor de ge?llustreerde bijbels van Albrecht D?rer en Lucas van Leyden als voorbeeld.J. Immerzeel schreef in 1842 dat Jan Luyken ?in teeken- en etskunst eene hoogte van vermaardheid bereikt, die alleen het doel wordt van genie?n.? In vele voorstellingen ?duidt de rijkheid van zijn ordonnanties het geoefend oog genoegzaam aan, dat hij alle onderwerpen met al die oplettendheid en zorg bewerkt heeft, als zijne vlugge en geestige manier van werken toeliet. Hoe vindingrijk, doordacht en oordeelkundig zijn Luyken?s groote Bijbelprenten in de zamenstelling van groote partijen en groeperingen van duizenden figuren, waaronder zelfs de kleinste op verre afstanden een eigen karakter hebben! Wie wist als hij, zooveel aan het wonderbare grenzende verscheidenheid aan zijne beelden te brengen en er met een enkele trek uitdrukking en waarheid aan te geven?? Daarnaast was Luyken ?volleerd in de regelen der perspectief en bouwkunde, en toonde ook in het laatste vak zijne rijke verbeeldingskracht en zijnen uitmuntenden smaak.??In bijna al zijn grootere en kleinere kunstwerken heerscht een verwonderlijk effect en harmonie; zijne figuren zijn doorgaans vast geteekend; doch over het costumm bekommerde hij zich weinig, volgde daarin meestal zijne vrije phantasie.?Provenance: verso geannoteerd Bought at the Sale of Mr. Reveley drawings May 11. 1852. (In whose ?Notices? this drawing is mentioned.)Prijs: ?3.150,- (incl. lijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 38.   Check availability:     NVvA     Link/Print  


        Binnenhof en Buitenhof Den Haag - Blaeu, 1649.

      Binnenhof en Buitenhof Den Haag - ?Curia Hollandiae Exterior?? en ?Curia Hollandiae Interior??Met de hand gekleurde kopergravures uitgegeven door Joan Blaeu ca. 1649. Afm.: 39 x 53 cm en 41.5 x 52.5 cm.Het Buitenhof aan de Hofvijver. Een aantal figuren te paard, kinderen doen de ruiters op speelgoed paarden na. In de achtergrond doorwaden vier ruiters de vijver.Op het Binnenhof met zonnewijzer en middeleeuwse Ridderzaal, brengt iemand met een kruiwagen een koffer, een zwaard en andere bagage naar de koetsen die op hun passagiers staan te wachten. De gebouwen zijn en detail weergeven. Voor de Ridderzaal staat nog een aantal gebouwen die later zijn afgebroken. Ook de dakbedekking van verschillende gebouwen is tijdens de 19e-eeuwse restauratie geheel veranderd.Deze stadsgezichten werden gegraveerd voor Blaeu?s fameuze Stedenboek der Vereenighe Nederlanden uitgegeven na de 80-jarige oorlog.Prijs: ?2.450,- (2 stuks, incl. lijst, incl. 21% BTW).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 39.   Check availability:     NVvA     Link/Print  

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