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Displayed below are some selected recent viaLibri matches for books published in 1650

        An easy and compendious introduction for reading all sorts of histories: contrived in a more facile way then heretofore hathy been published . the second edition corrected and augmented, and three full indexes added.

      Leonard Lichfield . to be sold by Thomas Robinson, Oxford 1650 - Small 4to, pp. [8], 351, [38]; title-page printed in red and black and withing woodcut border, tables in the textfull contemporary calf rebacked. A summary guidebook, published posthumously, and likely edited by his father, John Prideaux, Bishop of Worcester, to the ecclesiastical and political history of the ancient world, up to and including the Stuarts and Tudors. There were six editions published from 1648 to 1682. Wing 3440.

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        Gesamtansicht ('Tonningen').

      - kolorierter Kupferstich v. Julius Milheusser b. Rambout van den Hoeye in Amsterdam, dat. 1650, 40 x 50 Klose-Martius 5. - Sehr seltene Ansicht und größte bekannte Ansicht von Tönning aus dem 1700 Jahrhundert. - Insgesamt sind 6 große Ansichten bekannt; davon 3 aus dem 1900 Jahrhundert. - Das Blatt mit 2 Wappen u. Banderole im Himmel. - Unter der Ansicht Legende.

      [Bookseller: Antiquariat Norbert Haas]
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        HIERONYMI OCHI RIZETTI MEDICI BRIXIENSIS DE PESTILENTIBUS, AC VENENOSIS MORBIS - ESACTA FEBRIUM PER INFERIOREM AGRUM BRIXIENSEM ANNO 1649 DIVAGATARUM

      BRIXIAE: APUD IO. BAPTISTAM GROMII, 1650. In 8. Dim. 21,5x16,5 cm. Pp. (22)+284+(2). Rarissima prima edizione del 1650 di questo trattato sulla peste del medico bresciano Girolamo Occhi Rizetti. Rizetti operò durante la pestilenza che colpì Brescia nel 1630 e che mietè molte vittime. Rizetti descrive diversi tipi di febbre in particolare febbre dell'Austro (dal vento Ostro, si pensava che la peste venisse trasportata dal vento), la causa della peste del 1630, diversi tipi di veleno (arsenico, sandaraca, lepre marina, veleno della salamandra, veleno della vipera e dell'aspide, dipsadi, rana, del Cantharis, oppio, mandragola, torpedine, aconito, scorpione, tarantola, veleno del cane rabbioso, mallo di noce, erba sardonia o erba annua ecc...). L'autore dedica un'ampia parte ai veleni in quanto associava gli effetti del veleno suul corpo umano alla peste studiandone la causa. Alla fine del volume un breve trattato (65 pagine) sulla febbre che colpì le basse campagne bresciane nel 1649, loro descrizione e cura. Opera collazionata e completa. Bella legatura in piena pergamena seicentesca con titolo manoscritto al dorso. Esemplare in mediocri condizioni ma raro, solo cinque copie censite su SBN delle quali una mutila. Copertina in piena pergamena seicentesca con titolo manoscritto al dorso in discrete condizioni generali con usure e parti mancanti ai margini e dorso. Segni di umidità. Legatura in buone condizioni. All'interno le pagine si presentano in discrete condizioni con fioriture e gore d'umidità marginali che hanno causato fragilità della carta al margine superiore con perdita di qualche lettera fino alla carta b e da pag. 277 alla fine. Il testo in sè non risulta tuttavia danneggiato. Very scarce first edition of 1650 of this treaty about plague by the physician from Brescia Girolamo Occhi Rizetti.Rizetti worked during plague affecting the city of Brescia in 1630 which provoqued many victims. Rizetti describes different kind of fevers in particular the austro one (deriving from the wind, because people think the plague was transported by wind), the cause of plague of 1630, different kind of poison (arsenic, sandaraca, sea hare, salamander poison, viper and aspis poison, dipsadi, frog, Cantharis poison, opium, mandrake, torpedo, monk's hood, scorpio, tarantula, raged dog poison, nut, sardonia herb or blister buttercup etc...). The author dedicates a wide part to poisons because he associated the effects of poison in human body studying the cause of plague. At the end of the volume a brief treaty about fevers (65 pages) which affected lower countryard of Brescia in 1649, their description and treatment. Collationed complete work. Beauitufl full parchment cover of the XVII century with manuscripted title in the spine. Copy in poor conditions but complete, only five copies in italian libraries of which one with missing pages. Full parchment cover of the XVII century with manuscripted title in the spine in fair general conditions with wearings and missing parts in the edges and spine. Humidity signs. Binding in good conditions. Inside pages are in fair conditions with foxings and humidity stains in the edges causing weaknesses of paper in the upper edge with loss of some letter until page b and from pag. 277 until the end. The text in itself is not damaged.

      [Bookseller: Sephora di Elena Serru]
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        Les oeuvres Les nouvelles oeuvres EDITION ORIGINALE

      à Paris: Chez Augustin Courbe, 1650. Fine. Chez Augustin Courbe, à Paris 1650 - 1658, Fort in-4 (16,5x23cm), (30) 709p. (1) 210p. (17) (1bc.) ; (8) 173pp. (5), relié. - first edition of the car works and second edition of New works. - [FRENCH VERSION FOLLOWS] Seconde édition des Oeuvres (et première chez Courbe qui venait de récupérer le privilège) de Voiture et édition originale des Nouvelles oeuvres. Deux vignettes de titre par Picart. Un beau portrait par Champaigne. Reliure en plein veau écailles du XVIIIe. Dos à nerfs joliment orné de fleurons et d'étoiles, roulette en queue. Pièce de titre en maroquin rouge. Triple filet d'encadrement su les plats. Dentelle intérieure. Tranches marbrées. Restaurations fines en coins et coiffes. Frottements. Premier feuillets jaunis avec petites mouillures marginales. Larges jaunissures sur les feuillets préliminaires des Nouvelles oeuvres. Voiture (1597-1648) fut toute sa vie un galant et un courtisan, brillant dans les salons et jouant aux jeux. Son talent épistolaire lui valut de mettre longtemps en France la prose à la mode, et ses poésies excellent dans le ton maniériste et précieux, même s'il sait tour à tour être trivial quand il le faut. C'est un personnage incontournable de la scène littéraire du début du XVIIe, un vrai personnage de Molière. Voiture, c'est tout d'abord un style, non seulement dans ses lettres (Lettres amoureuses) et ses poésies mais également dans sa prose, voir pour exemple les délicieuses Métamorphoses. Ses œuvres furent à l'image de l'homme, galant, enseignant le beau langage et les belles manières aux habitués de l'hôtel de Rambouillet. Sa renommée fut très grande durant son siècle et il demeure un emblème pour le XVIIème siècle.  

      [Bookseller: Librairie Le Feu Follet]
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        Praga. Prag

      Frankfurt, 1650. unbound. very good(+). Panoramic view. Uncolored engraving. Image measures 7.75" x 25 3/8" Exquisite panoramic view of Prague, showing the walls and fields around the city. Includes three coats of arms and two royal seals. Minor aging along edges. In three panels. Very light scattered foxing. Matthaus Merian (1593-1650), was a draughtsman, topographical engraver, and publisher from Switzerland.

      [Bookseller: Argosy Book Store]
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        Heidelberg, anno 1650, Merian Matthäus

      Merian Matthäus, 1593-1650 - Heidelberg, anno 1650, Merian Matthäus: "Wahre Contrafactur der Churfürstlichen Residentz Statt Heidelberg.", 24,5x35,5 cm., gering gebräunt. Referenz: Fauser, Nr. 5567 [Attributes: Hard Cover]

      [Bookseller: Hammelburger Antiquariat]
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        A Pisgah-sight of Palestine and the confines thereof, : with the history of the Old and New Testament acted thereon

      Printed by J.F. for John Williams .., 1650-01-01. Hardcover. Very Good. [12], 434 [i.e. 447], [1], 202, [21] p. : maps, plans.1st ed. Folio, modern calf, gilt-lettered spine. With frontis, engraved title-page and 26 (of 28) double-page folding maps and plans. Missing plate: "Jewish Habits." Hint of dampstain to upper right corner and edge for first 1/3 of book. Scattered spotting. Old library stamp on margin of title page. Modern endpapers. This curious and singular work is not a mere geographical work, but contains many things relating to Jewish antiquities, and to the manners and customs of the people" (Lowndes, 848). A Pisgah view of Palestine is a reference to Moses' view, from Mt. Pisgah of the Holy land where he was not permitted to enter. Fuller's book provides a contemporary and comparable work to Milton's works. Hopkins describes Fuller's atlas as the first English bible Atlas (169 p.) Fuller used three engravers, John Goddard, Robert Vaughan and W. Marshall and maintained a uniform style. Fuller attempted to use the maps as a primary teaching tool to enlighten. "Fuller's Pisgah Sight of Palestine: A Seventeenth-Century Bible Atlas" Hopkins: THE EVANGELICAL QUARTERLY, Vol. LIV No. 3 July-September, 1982 {"Thomas Fuller's "Pisgah-Sight of Palestine" as a Comment on the Politics of Its Time, Florence Sandler, Huntington Library Quarterly, Vol. 41, No. 4 (Aug., 1978), pp. 317-343" Wing F2455. Gibson SVIII:1. Cox I:208.

      [Bookseller: SequiturBooks]
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        [A series of 4 Chinese drawings]. [China, ca. 1650/60?]. Colour drawings (3 ca. 28 x 18 cm, the 4th cut down to 16.5 x 17.5 cm), apparently showing Manchurian scenes.

      A series of 4 colour drawings of Manchurian(?) scenes. All mounted on Dutch paper probably from the period 1650-1660. The paper of the drawings themselves ranges, in three cases, from 27 x 16 cm to 30 x 19.5 cm; the fourth has been cut down to 16.5 x 17.5 cm. The drawings show the following (all outdoor scenes):1) a dignitary on horseback, with his attendant on foot carrying a parasol.2) 2 ladies, 1 holding the other's sleeve, with a flowering tree and an octagonal stone basin(?).3) a lady with a flowering plant in a basket, with a deer at her side.4) 2 ladies: 1 with a fan; the other leaning on a table with a vase of flowers.All 4 backed with matching European paper watermarked with a 7-point foolscap above "4" and 3 balls. The closest matches in the literature, Laurentius 431-437 (especially 431 and 435), date from 1651 to 1658.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        De bello Belgico : the history of the Low-Countrey warres

      Humphrey Mosley, 1650-01-01. First Edition. Hardcover. Good. Fine binding. Bound in full leather. Gilt ruled with 5 raised bands. Red leather spine label. Fine binding and cover. Hand made marbling paper end pages. Early signature of Daniel Harvey, 1651. (Presumed to be Sir Daniel Harvey, 1631 – 1672. MP, diplomat and English Ambassador to the Ottoman Empire from 1668 to 1672.) 4to. [360] pages, [14] leaves of plates : portraits ; 29 cm. Hand written list of portraits on rear end page. Old damp stain to bottom margin of a few pages. Wing S5777. 1st English ed.

      [Bookseller: SequiturBooks]
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        De Bello Belgico The History of the Low-Countrey Warres

      London: for Humphrey Moseley, 1650, 1650. FIRST EDITION IN ENGLISH. 1 vol., folio, 11-1/2" x 7-5/8", (v)144,84,58,24pp(xii), complete with the 14 engraved portrait plates, some minor foxing but generally clean and bright throughout. Bound in full contemporary paneled calf over cords, rebacked at an earlier date, gilt lettered red morocco spine label, hinges rubbed but fine, head and foot of spine fine, overall a VERY GOOD copy. Wing S5777 Famiano Strada (1572-1649) was an Italian Jesuit historian who wrote "De Bello Belgico" in Latin in 1602, although it was not published until 1632. Playwright Sir Robert Stapylton (1607-1669) translated it into English. The book is an account of the 16th-century revolt of the Netherlands against the rule of Philip II of Spain. Stapylton translated Strada's marginal notes, adapting them to English readership.

      [Bookseller: D&D Galleries - ABAA]
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        Les origines de la langue françoise

      Paris: Augustin Courbé, 1650. First edition of the first French etymological dictionary, reprinted in 1694 in an enlarged edition in folio, and again in 1750 in 2 volumes folio; 4to, pp. [16], xxxviii, [2], 845, [1], [28] indexes, approbation, and errata; engraved vignette title page after Picart; 19th century quarter brown calf over marbled boards; edges rubbed and a bit worn, but in all a good, sound copy. Menage (1613-1692), "a man of vast erudition and keen intuition," was one of the few in his day who had first hand knowledge of Old French and the early stages of other Romance languages (which he had gleaned from his studies of law and early legal documents) and was uniquely qualified to carry out such an etymological undertaking. But his sarcasm lead to his expulsion from the French Academy; he had many enemies and suffered under the satire of Moliere and Boileau (see Holmes, History of the French Language, 1938, p. 90; and Ency. Brit., 11th ed).

      [Bookseller: Rulon-Miller Books]
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        Historia naturalis de exanguibus aquaticis. Libri IV. Cum figuris aeneis.

      Frankfurt am Main, M. Merian, 1650. Folio (34.2 x 20.8 cm). 78, [i] pp. 18 [of 20] engraved plates. Later paper boards, spine with printed paper label.l This is the first edition of the fourth book of Jonston's famous "Historia Naturalis", usually not found separately but, rather, combined with the fishes and other water-bound vertebrates. The complete work depicted all known animals and this is the single part devoted to marine invertebrates. This copy includes the fine plates of all Mollusca and Crustacea. Linnaeus and others later employed many of the names used here for their genera. The last two plates, not included, are on holothurians (Echinodermata). Complete copies are very rare. Some faint water stains in a corner, but most engravings with a strong impression and clean. In all, a good copy. Nissen ZBI, 2135.

      [Bookseller: Antiquariaat Schierenberg]
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        Eremo di Camaldoli

      1650 - Acquaforte e bulino, circa 1650. Bellissima prova, impressa su carta vergata coeva priva di filigrana, con margini, minime ossidazioni all’angolo superiore destro per il resto in ottimo stato di conservazione. L’opera raffigura l'Eremo di Camaldoli che si trova nei pressi dell'omonima località, in provincia di Arezzo. Fu fondato da San Romualdo nei primi anni dell'XI secolo ed è la casa madre della Congregazione benedettina dei camaldolesi. L’opera non risulta nei repertori da noi consultati. Stilisticamente sembrerebbe relativa alla metà del XVII secolo, tuttavia una data abrasa ma ancora leggibile "1664" appare in basso a sinistra. Nel 1663 Johannes Blaeu realizza una veduta che include nel suo Theatrum Italiae , con degli spazi bianchi al posto dei cartigli decorativi agli angoli inferiori, che sembra chiaramente derivare da questa opera. Probabile quindi che la lastra sia databile alla metà del’600 e che abbia avuto più tirature. Molto rara. Dimensioni 510x375. Etching and engraving, circa 1650. Beautiful proof, printed on contemporary laid paper without watermark, with margins, minimum oxidation upper right corner otherwise in excellent condition. The work represents the Hermitage of Camaldoli which is located near the homonymous town, in the province of Arezzo. It was founded by St. Romuald in the early eleventh century and is the parent company of the Benedictine Congregation of Camaldoli. The work is not in the repertoires that we consulted. Stylistically, it would appear on the mid-seventeenth century, however, a date abraded but still readable "1664" appears in the lower left. In 1663 Johannes Blaeu creates a view that includes in his Theatrum Italiae with whitespace instead of decorative scrolls at the bottom corners, which seems clearly to be derived from this work. Therefore likely that the plate is dated to the middle '600 and has had more runs. Very rare. Size 510x375. Dimensioni [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        Historiæ Danicæ libri II. Qvi res memoratu dignas complectuntur in Dania gestas regnante Christiano tertio, ab anno Christi 1550 ad annum 1559. Opus posthumum.

      - Soroe, Henricus Crusius, 1650. 4:o. (16),+ 123,+ (12) s. Lagerfläckig. Välbevarat samtida pergamentband med fint handtextad titel i bläck på ryggen. Fint exemplar. Bibl. Danica III, sp. 54. Thesaurus 667. Den lärde historikern och bibliofilen Stephanus Stephanius (1599-1650) är idag kanske mest känd som Saxoutgivare. Han var professor vid Sorö akademi. Detta verk om Danmarks historia under slutet av Kristian III utgavs efter författarens död av Johannes Svaning. Det är en fortsättning på Johannes Meursius outgivna historia om Kristian III, först tryckt år 1746, och texten inkorporerades 1737 i Krags Annalium om Kristian III (s. 371-462).

      [Bookseller: Centralantikvariatet]
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        De Rachitide sive Morbo Puerili, qui Volgò The Rickets Dicitur, Tractatus...Adscitis in Operis Societatem Georgio Bate, & Ahasuero Regemortero Medicinae quoque Doctoribus, & pariter Sociis Collegii Medicorum Londinensium.

      London:: G. Du-gard for L. Sadler & R. Beaumont, 1650.. 8vo. [16], 416 pp. Woodcut illustrations. Cont. speckled calf, sides ruled in blind, brown leather spine stamped spine label. Complete with the preliminary leaf signed "A" (otherwise blank). Armorial bookplate of Honorable Sir William Irby, of Boston, Lincolnshire, Bart. The Jack Pincus copy, from his library. A splendid copy. FIRST EDITION of "ONE OF THE GLORIES OF ENGLISH MEDICINE." - D.N.B. THIS BOOK IS THE FIRST FULL ACCOUNT OF THE CHILDHOOD DISEASE RICKETS, AND ONE OF THE VERY FIRST WORKS ON PEDIATRIC MEDICINE TO BE PUBLISHED IN ENGLAND. "All writers on the diseases of children agree in their admiration of this book. Its 416 pages are full of original observation. The propositions arrived at are stated in a scholastic manner, and some of the accompanying hypotheses are associated with physiological doctrines now forgotten, but these are not mixed up with the observations of patients during life and after death, which make the book a work of permanent value." - D.N.B., VII, p. 1316. A fine copy of an extremely rare book on the market. It is interesting to note that Dr. John Martin, in his long book collecting career, never obtained a copy. Garrison-Morton 3729. Still, The History of Paediatrics, pp. 214-27.

      [Bookseller: Jeff Weber Rare Books]
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        LITHUANIA, LITAUEN 1650 BLAEU Titel: Magni Ducatus Lithuaniae et Regionum Adiacentium exacta Descriptio : [Gewidmet] Nicolai Christophori Radziwil / Opera, cura et impensis olim facta, ac nunc denuo hac forma edita a I. Blaeu

      [Amsterdam] J. Blaeu ca. 1650 Landkarte, map, original Kupferstich, Maßstab in graph. Form (Milliaria magna, Milliaria mediocria). - Titelkartusche oben links, Wappen oben rechts, Verlegeradresse unten links; 52 x 43 cm mit hinterlegeten EinrissenVersand D: 9,00 EUR

      [Bookseller: ANTIQUARIAT.WIEN Fine Books & Prints- Fl]
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        Historiae naturalis e quadrupeditus libri [I], de quadrupetibus, libri II [AND] III de insectis [AND] de serpentibus, libri V de piscubus et cetis [AND] IV, de exanguibus aquaticis, Libri VI. De avibus. [Complete].

      - Frankfurt am Main, Matthias Merian, 1650-1653. Six parts in four. Folio (32.6 x 19.6 cm) with 249 engraved plates and six engraved title pages (four resembling frontispieces, engraved by Matthias Merian). Part I (no date, but 1650) 232 [iv] pp., 80 plates; Part III (AND) Part II (1653) 200, [vii]; 40, [iii] pp., 40 [28, 12] plates; Part V (no date, but 1650) (AND) part IV (1650) 228; 78; [xii] pp., 67 [47, 20] plates; Part VI (1650). 227, [vii] pp. 62 plates. Contemporary uniform full mottled calf. Spines with six raised bands, compartments with rich gilt floral patterns and two green morocco labels with gilt titles.l A nice set in the rare first edition of Jonston's famous "Historiae naturalis" depicting all then "known" animals including insects, snakes, "dragons", shells, birds, etc. This is the Frankfurt edition, which is much rarer than the second edition that was printed in Amsterdam (1657). With the fine plates of such animals as an elephant with its driver, famous different horses, a stranded sperm whale, but also the more dramatic "draco's" depicted after "aldro" (Aldrovandus) and the Hydra with seven heads. Most plates are quite accurate and the animals depicted are easily identifiable to the species level. Some, however, are rather vague; perhaps composites or entirely mythological. The "serpentibus" is bound after the "insectibus", the "exanvibus aqvaticis" after the "piscibus" (as usual). The part on snakes and dragons, and the one on molluscs, have a "regular" title page with a large vignette; all the others have a frontispiece-like title page, with the title as part of the engraving. Several plates bound out of sequence. A few pates with old paper repairs. The combined index to volumes IV and V much toned. Several text pages browned, the plates usually in much better condition. Rear endpapers of volumes II, IV, V, and VI with ink annotations in an old hand. A few plate figures, and several text page margins also with additional captions in an old hand. Provenance: "Prof Rey" handwritten on a few front pastedowns and title page margins. Very few complete copies of the first edition ever came to auction and the portrait is often lacking, as in this set. In all, a nicely bound, uniform set printed on rather thin paper (as usual) with age-toning, especially in the text and margins, and other minor defects being the result of over 350 years of use, but most engravings cleaner, with a strong impression and overall a good to very good set. Dean III, pp. 264-265; Nissen IVB, 482; Nissen ZBI, 2131-2135. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariaat Schierenberg]
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        Davide e Golia

      1650 - Acquaforte, databile alla metà del XVII secolo, firmata in basso a detra. Buona prova di questa rara incisione, impressa su carta coeva, con margini, piccola ossidazione al centro, in buono stato di conservazione. Bartsch 1; Le Blanc 1. Dimensioni 120x142. Etching, second half of XVII century, signed on lower right. Good impression of a rare work, printed on contemporary paper, with margins, light oxidation in the centre, in excellent condition. Bartsch 1; Le Blanc 1. Dimensions 120x142. Dimensioni [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        WOLGA. - Karte., "Nova et Accurata Wolgae Fluminis".

      Grenzkol. Kupferstich nach J. Janssonius & J. Waesberge bei Moses Pitt, um 1650, 47 x 55 cm. Die altkolorierte Karte zeigt in zwei Segmenten nebeneinander den Lauf der Wolga von Nischni Nowgorod bis zur Mündung ins Schwarze Meer bei Astrachan. - Mit drei schönen figürlichen Kartuschen. - Wohl erhalten. Europa, Landkarten, Rußland

      [Bookseller: Buch- und Kunstantiquariat]
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        LITHUANIA, LITAUEN 1650 BLAEU Titel: Magni Ducatus Lithuaniae et Regionum Adiacentium exacta Descriptio : [Gewidmet] Nicolai Christophori Radziwil / Opera, cura et impensis olim facta, ac nunc denuo hac forma edita a I. Blaeu

      J. Blaeu ca. 1650, [Amsterdam] - Landkarte, map, original Kupferstich, Maßstab in graph. Form (Milliaria magna, Milliaria mediocria). - Titelkartusche oben links, Wappen oben rechts, Verlegeradresse unten links; 52 x 43 cm mit hinterlegeten Einrissen de 500 Landkarte

      [Bookseller: ANTIQUARIAT.WIEN Fine Books & Prints]
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        Genio ligure risvegliato. Discorso...

      Sotto la direzione di Gio. Domenico Peri, 1650. Cm. 37, pp. (12) 204 (24) (2) 39 (5). Con bella antiporta allegorica Bloemart). Legatura coeva in piena pergamena rigida. dorso a nervi. Qualche forellino di tarlo a punta di spillo che si manifesta in modo più evidente (ma senza danno) alle ultime carte. Esemplare peraltro genuino e ben conservato. La presente copia possiede la curiosa particolarità di avere dipinta al piatto posteriore una scacchiera che risulta essere di dimensioni apparentemente reali. Veniva quindi utilizzato nel diciassettesimo secolo come base per partite a scacchi. Opera celebre in cui l'autore sprona i genovesi a combattere i turchi. Non comune a reperirsi completa della bella antiporta.

      [Bookseller: Studio Bibliografico Benacense]
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        ... Magiae Naturalis libri viginti; ab ipso quidem authore adaucti, nunc vero ab infinitis, quibus editio illa scatebat mendis, optime repurgati : in quibus scientiarum naturalium diuitiae & deliciae demonstrantur : accessit index, rem omnem dilucide repraesentans, copiosissimus ...

      Rothomagi [Rouen, France]: Sumptibus Ioannis Berthelin, 1650. Rothomagi [Rouen, France]:: Sumptibus Ioannis Berthelin, 1650.. Small 8vo. [14], 662 pp. [complete] [note: 147-148 and 629-630 omitted in pagination, as originally printed]. Woodcut headpiece, initial letters, illustrations & figs. [pp. 283, 285, 286, 288, 389, 397, 399, 410, 553, 554, 573, 575, 576, 577, 580, 583, 584, 592, 608, 609; light line of waterstaining showing in a few signatures. Original full vellum with unusual four brass corner pieces (apparently later) pieces with rivets; vellum soiled, large gash in spine exposing inner lining. Early ownership inscription

      [Bookseller: Jeff Weber Rare Books ]
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        Kattenis Rættergang med Hundene.

      1650 1650 - Huor udi foregifuis icke alleniste adskillig Kortvillighed, anlangende deris Action oc Rættergang: Men alt saadant end ocsaa henført alffuorligheds Brug. Oc under slig Poetiske Dict, denne onde arrige oc forvirrede Verden udi sin Habit oc Gestalt, affmalit, med sine Documentis oc observationibus, Huad mand deraff haffuer at lære. Prentet udi Aarhus, i Autoris Tryckeri 1650. 332 blade, alle sider i bred røskenramme. Velholdt eksemplar indbundet i samtidigt helpergament med kalligraferet titel på ryggen. Med autografer af bogens ejermand fra 1650 og fremefter. * Hans Hansen Skonning [1579-1651] virkede foruden som forfatter også som bogtrykker og klokker ved Domkirken i Århus. Da biskop Morten Madsen i 1641 afsatte ham som klokker, tog han hævn med denne satire, rettet mod forholdene i Århus. Skonning oprettede et bogtrykkeri i Aarhus ca. 1630, i 1635 fik han bevilling til at drive en papirmølle. Foruden denne virksomhed udfoldede han stor flid som forfatter. Hans i datiden mest omtalte arbejde var Kattenes Rettergang med Hundene, en dyreallegori i smag med Reinecke Voss. Det er bredt satiriske fremstillinger i dårlige knittelvers, og Skonning hævder indædt, at sandhed og retfærdighed er hjemløse i denne verden, hvor lasten triumferer. Thesaurus 644. Bibl. Danica IV, 246. Houghton no. 15.:"A contemporary of Arrebo, Skonning is today an obscure figure. In his life-time, however, he was well-known as a poet and a printer. This first edition, an allegorical verse epic with prose commentary, is a relatively rare seventeenth-century Aarhus imprint, published at the author's own printing house. Each page of text is printed within a border of type ornaments." [Attributes: First Edition]

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        Un cavaliere ungherese

      1650 - Acquaforte, priva della firma dell’artista. Magnifica prova, ricca di toni, impressa su carta vergata databile alla prima metà del diciottesimo secolo, rifilata alla linea marginale, in buono stato di conservazione. Etching, the artist's signature is missing. Beautiful proof, with rich tonalities, printed on laid paper datable from the first half of the eighteenth century, trimmed at the borderline, in good conditions. De Vesme/Massar 277. Dimensioni 170 170mm [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        Wratislavia. Breslau

      Frankfurt: Mattheus Merian, 1650. unbound. Birds Eye View Map. Uncolored copper engraving. Image measures 11.25 x 14.25" This incredible bird's-eye view of Wroclaw or Breslau or Wratislavia by Matthaus Merian dates to 1650. It maps the historic capital of Silesia and Lower Silesia, today the largest city in Western Poland. The map is beautifully detailed noting bridges, islands, rivers, lakes, fields, and exquisitely delineated buildings with an index in the lower left and right corners listing 38 of the landmarks of the town.The map dates to the time of the Thirty Years' War, during which the city was occupied by the Saxons and Swedish troops. Silesia would later come under Prussian control in 1740. In 1806, after Napoleon's invasion and the dissolution of the Holy Roman Empire which lead to the unification of Germany in 1871 and the following world wars, Silesia today has been divided into German, Austrian, Czech and Polish Silesia. Wroclaw is today seen as a unique European city of mixed heritage with Bohemian, Austrian, Prussian, and German influences and traditions.Issued in Merian's "Theatrum Europaeum". The print is in good condition with minor wear and verso repairs along the original folds and edges. Original plate mark is visible. Minor foxing and staining.The Swiss-born Matthäus Merian (1593-1650) studied in Zurich and Paris before moving to Frankfurt, where he worked as an engraver, etcher and publisher. He lived in Basel, the city he was born in, for brief periods during his lifetime. This is a beautiful example of his work.

      [Bookseller: Argosy Book Store ]
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        ... Magiae Naturalis libri viginti; ab ipso quidem authore adaucti, nunc vero ab infinitis, quibus editio illa scatebat mendis, optime repurgati : in quibus scientiarum naturalium diuitiae & deliciae demonstrantur : accessit index, rem omnem dilucide repraesentans, copiosissimus ...

      Rothomagi [Rouen, France]:: Sumptibus Ioannis Berthelin, 1650.. Small 8vo. [14], 662 pp. [complete] [note: 147-148 and 629-630 omitted in pagination, as originally printed]. Woodcut headpiece, initial letters, illustrations & figs. [pp. 283, 285, 286, 288, 389, 397, 399, 410, 553, 554, 573, 575, 576, 577, 580, 583, 584, 592, 608, 609; light line of waterstaining showing in a few signatures. Original full vellum with unusual four brass corner pieces (apparently later) pieces with rivets; vellum soiled, large gash in spine exposing inner lining. Early ownership inscription “Ex Libris selorandri [?] ---off medcin Gesdinienoff[?]” applied to front endleaf. Internally very good. Early Latin edition of the full text of the author's expanded text containing XX books. The work was later translated into English (1658). The contents of the twenty books are (translated here): 1) Of the causes of wonderful things; 2) Of the generation of animals; 3) Of the production of new plants; 4) Of increasing household stuff; 5) Of changing metals; 6) Of counterfeiting gold; 7) Loadstone; 8) Of Strange Cures; 9) Of Beautifying Women; 10) Distillation; 11) Perfuming; 12) Of Artificial Fires; 13) Of Tempering Steel; 14) Of Cookery; 15) Of Fishing & Hunting; 16) Of Invisible Writing; 17) Of Strange Glasses; 18) Of Statick Experiments; 19) Of Pneumatick Experiments; 20) Of the Chaos. ¶ “From 1574 to 1580 Della Porta was repeatedly interrogated by inquisitors, and the publication of his writings was prohibited. Jean Bodin, in his Démonomanie des sorciers (1580), accuses Della Porta of being a ‘poisonous sorcerer' and goes on to attack Agrippa. Among the various followers of Paracelsus, Jacques Gohory, denounced Della Porta. As Massimo L. Bianchi has recently demonstrated, Della Porta was up to date on Paracelsus' ideas, although perhaps only through his followers. As if this were not enough, Thomas Erastus, a Protestant critic of Paracelsism, spoke out against Della Porta as well – which leads one to believe that the last two accusations were also reactions against his chemical experiments. This onslaught forced Della Porta, at the height of his fame, to cease published for several years.” – Zambelli, p. 28. ¶ “Natural Magic was revised and considerably expanded throughout the author's lifetime.” The text contents include: I: natural phenomena; II: medicinal preparations; III: alchemy, metallurgy, glass; IV: optics, a chapter on the camera obscura (the first known full description). ¶ A large part of Porta's philosophical speculation is contained in the two versions of his Magia naturalis (1558, 1589), crystallized in the persona of the natural magus. Porta seeks to avoid all religious topics, as well as even the remotest hint of ceremonial magic; other than in the third book of Heinrich Cornelius Agrippa of Nettesheim's (1486–1535) De occulta Philosophia, for instance, there are no instructions for prayers, fasting, or invocations (Klaassen 2013). Porta's magic is thus less a way to improve one's own mind or to communicate with divine forces, and more a means to manipulate objects and human beings with crafty tricks. Porta developed this secular approach to magic in the face of ecclesiastical prosecution, for it seems that he was condemned for exercising ceremonial magic (Zambelli 2007). Porta's magus is a decidedly male figure who unites the physical dexterity of the trickster, the experience of the alchemist, the erudition of the humanist, the astrologer's command of mathematics, and the intuitive knowledge of the psychic medium in order to embody a superhuman, ideal man capable of manipulating everything and everybody. The magus must be talented, rich, educated, and hard-working; magic is the most noble part of philosophy for Porta (Magia 1558: bk. 1, ch. 2). Instead of a priest or metaphysician in quest of the divine—as in Pico della Mirandola or John Dee—(Harkness 1999), Porta's magus is thus depicted as an artifex (a craftsman or mastermind) who knows how to manipulate the natural and occult properties of certain bodies. Here, the attractive power a magnet exercises on iron is taken as a paradigm: the speculation is that all bodies have an inherent property to attract certain other bodies (Copenhaver 1991, 2007). According to Porta, these qualities are occult because their workings cannot be grasped by our intellect. Yet he infers that occult properties derive from formal, not material causes—partly because a very small quantity of matter often may have an enormous effect (Magia 1558: bk. 1, ch. 8). ¶ Magic is therefore a specific science of natural objects (animals, herbs, stones), the servant or minister of nature; in Porta's characteristic definition of natural magic, just as a peasant prepares the soil to help nature produce its marvelous effects, so the natural magus prepares matter in a special way to allow its natural (but nevertheless occult) properties to appear. Structurally, this magic is a form of applied Platonist metaphysics—in Ernst Cassirer's words, an emanatist form of physics (“emanatistische Form der Physik” Cassirer 2002 [1926]: 128). In reasoning highly reminiscent of Marsilio Ficino's (1433–1499) cosmology in the De via coelitus comparanda and the De amore, Porta maintains that in the strict hierarchical order of Creation the transcendent forms are directly affiliated with God; they are projected into the world in various manifestations, first into the Angels (or daemons), subsequently into the soul, and ultimately into qualities (qualitates) via the elements, again of celestial origin, as their instruments shape matter (Magia 1558: bk. 1, ch. 4).” – Stanford Encyclopedia of Philosophy. ¶ “Porta's first book, published in 1558 as Magiae naturalis, was a treatise on the secrets of nature, which he began collecting when he was fifteen. The secrets are arranged in four books, and the conception implied in the title is that natural magic is the perfection of natural philosophy and the highest science. This small collection of secrets constituted the basis of a twenty-book edition of the Magiae naturalis published in 1589, which is Porta's best known work and the basis of his reputation. It is an extraordinary hodgepodge of material representing that unique combination of curiosity and credulity common in the late Renaissance. But combined with the author's insatiable desire for the marvelous and apparently miraculous is a serious attempt to define and describe natural magic and some refined application of both mathematical and experimental techniques in science.” – DSB, XI, pp. 96. ¶ Giambattista della Porta, noted Neapolitan mathematician and natural philosopher, overshadowed only by Galileo in the work of Renaissance science, had a wide range of scientific and literary interests. There are demonstrated by his numerous published works. His most famous and best remembered are those on natural magic, optics, refraction and the telescope. He was also a member of the outstanding literary academy of Naples, Altomare, and the founder of the Accademia de' Secreti (Secrets of Nature). Later, he became a member of the famous Accademia dei Lincei, as well as other lesser known literary academies in Naples. His dabbling in pseudo-scientific and occult sciences caused his works to be banned by the Inquisition in 1592, which was lifted in 1598. Thorndike points out that Della Porta was either adept at escaping “serious molestation or punishment by submission or by influence in high places.” – Thorndike, v.6, p. 156. ¶ See [most referring to 1558 first ed.]: DSB; Duveen p. 481 (1651 ed.); Mottelay, pp. 72-75; Partington, II, p. 17; Poggendorff, II, p. 505; Wellcome, I [not mentioning this ed.]; Wolf, History of Science, I, pp. 544-545. See: Lynn Thorndike, A History of Magic and Experimental Science, volume 6, p. 156; Paola Zambelli, White Magic, Black Magic in the European Renaissance. Brill, 2007; Steven P. Marrone, A History of Science, Magic and Belief: From Medieval to Early Modern Europe. New York: Palgrave Macmillan Education, 2015, pp. 202-204; Kristie Macrakis, Prisoners, Lovers, and Spies: The Story of Invisible Ink from Herodotus to al-Qaeda. Yale University Press, 2014.

      [Bookseller: Jeff Weber Rare Books]
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        Physiomathematica, sive Colestis Philosophia .

      Giovan Battista Malatesta,, milano, 1650 - In 4° (21,8 x 17). Pp. (16), 323, (1). Stupenda antiporta allegorica incisa (firma di app. coeva "Ioannis Livii Gaioni" al verso). Altra firma abrasa al front. Con 9 illustrazioni incise f.t. (la terza ripiegata e le restanti a piena pagina al recto e al verso su 4 fogli). Un fascicolo di testo proviene da altro esemplare ed è stato rimarginato in basso; ciononostante copia attraente in legatura coeva pergamena rigida, titolo su tassello al dorso. Unica edizione di questo trattato. Titi (1601-1668) è ancor oggi considerato uno dei principali dissertatori della materia astrologica di tutto il Seicento. L’opera, come descritto esaustivamente da Cantamessa (Astrologia in & outs, Milano 2011, III-8022), verte sulla difficoltà di calcolare con precisione l’oroscopo natale, già peraltro affrontato da Tolomeo in epoca antica. La questione viene risolta individuando il pianeta dominante e la congiunzione del Sole e della Luna. Titi è ancor oggi noto tra gli appassionati per aver definito il sistema delle case, noto come sistema placidiano, che è quello dell'astrologia moderna. RICCARDI, II-II, 150. PIANTANIDA, Libreria Vinciana, n. 1618 (riporta data errata). THORNDIKE, VIII, pp. 302-303. CAILLET, III-10734

      [Bookseller: LIBRERIA ANTIQUARIA PIEMONTESE]
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        Nicolai Lancicii e Societate Jesu (Iesu) Opusculorum Spiritualium (Opuscula Spiritualia), Tomus Primus + Tomus Secundus. 2 Bände / Volumes.

      Antverpiae (Antwerpen), Apud Iacobum Meursium 1650 - (16)/838/(26), (12)/937/(37) S., Bibliotheksexemplar (Jesuitenbibliothek) mit Resten eines Rückenschildes und Stempeln (entwidmet), Einbände berieben und bestoßen, Außengelenke teils etwas eingerissen, Vorsatzblätter erneuert, Papier gebräunt und teils stock-/braunfleckig, Seiten im Randbereich teils mit altem Wasserrand, ansonsten gut erhaltenes Exemplar, Text in Latein / ex-library copy with rests of a label on spine and stamps (Jesuits library), binding rubbed / bumped, some joints with a tear, new preliminary pages, paper browned and partially foxed, pages at the margin partially waterstained, else good, text in Latin, la Gewicht in Gramm: 4500 Gr.4° (ca. 19,5 x 29,5 cm), gebunden in spätere Halbledereinbände / bound in later half calf,

      [Bookseller: Antiquariat An der Vikarie]
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        Les Quatre Livres de l'Architecture d'Andre' Palladio.

      Paris: Edme Martin, 1650. Rare French language edition of Palladio's famous Quattro libri dell' Architettura. This edition was the last to be printed from the woodblocks of the first Venetian edition of 1570. Later editions became even more ornate, yet demand for copies printed from Palladio's original designs was so great that Consul Smith had a facsimile printed for English admirers of the work in the eighteenth century. Printing and the Mind of Man, no. 92 (listing the second edition, with the same plates as here). A very good copy with splendid provenance. Small folio, together four books each with ornamental title page, illustrated throughout, continuous pagination and a single leaf with printed Royal imprimatur, ample margins; an innocuous watermark to the top margin of the fourth book, but a very good copy in early half calf binding of the Berlin Royal Library with stamp to title-page, some wear, joints starting. Printing and the Mind of Man, second edition, number 92. Berlin Catalogue 2596.

      [Bookseller: Rare Illustrated Books]
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        Magiae Naturalis libri viginti; ab ipso quidem authore adaucti, nunc vero ab infinitis, quibus editio illa scatebat mendis, optime repurgati : in quibus scientiarum naturalium diuitiae & deliciae demonstrantur : accessit index, rem omnem dilucide repraesentans, copiosissimus .

      Sumptibus Ioannis Berthelin, 1650., Rothomagi [Rouen, France]: - Small 8vo. [14], 662 pp. [complete] [note: 147-148 and 629-630 omitted in pagination, as originally printed]. Woodcut headpiece, initial letters, illustrations & figs. [pp. 283, 285, 286, 288, 389, 397, 399, 410, 553, 554, 573, 575, 576, 577, 580, 583, 584, 592, 608, 609; light line of waterstaining showing in a few signatures. Original full vellum with unusual four brass corner pieces (apparently later) pieces with rivets; vellum soiled, large gash in spine exposing inner lining. Early ownership inscription "Ex Libris selorandri [?] ---off medcin Gesdinienoff[?]" applied to front endleaf. Internally very good. Early Latin edition of the full text of the author’s expanded text containing XX books. The work was later translated into English (1658). The contents of the twenty books are (translated here): 1) Of the causes of wonderful things; 2) Of the generation of animals; 3) Of the production of new plants; 4) Of increasing household stuff; 5) Of changing metals; 6) Of counterfeiting gold; 7) Loadstone; 8) Of Strange Cures; 9) Of Beautifying Women; 10) Distillation; 11) Perfuming; 12) Of Artificial Fires; 13) Of Tempering Steel; 14) Of Cookery; 15) Of Fishing & Hunting; 16) Of Invisible Writing; 17) Of Strange Glasses; 18) Of Statick Experiments; 19) Of Pneumatick Experiments; 20) Of the Chaos. "From 1574 to 1580 Della Porta was repeatedly interrogated by inquisitors, and the publication of his writings was prohibited. Jean Bodin, in his Démonomanie des sorciers (1580), accuses Della Porta of being a ‘poisonous sorcerer’ and goes on to attack Agrippa. Among the various followers of Paracelsus, Jacques Gohory, denounced Della Porta. As Massimo L. Bianchi has recently demonstrated, Della Porta was up to date on Paracelsus’ ideas, although perhaps only through his followers. As if this were not enough, Thomas Erastus, a Protestant critic of Paracelsism, spoke out against Della Porta as well – which leads one to believe that the last two accusations were also reactions against his chemical experiments. This onslaught forced Della Porta, at the height of his fame, to cease published for several years." – Zambelli, p. 28. "Natural Magic was revised and considerably expanded throughout the author’s lifetime." The text contents include: I: natural phenomena; II: medicinal preparations; III: alchemy, metallurgy, glass; IV: optics, a chapter on the camera obscura (the first known full description). A large part of Porta’s philosophical speculation is contained in the two versions of his Magia naturalis (1558, 1589), crystallized in the persona of the natural magus. Porta seeks to avoid all religious topics, as well as even the remotest hint of ceremonial magic; other than in the third book of Heinrich Cornelius Agrippa of Nettesheim’s (1486–1535) De occulta Philosophia, for instance, there are no instructions for prayers, fasting, or invocations (Klaassen 2013). Porta’s magic is thus less a way to improve one’s own mind or to communicate with divine forces, and more a means to manipulate objects and human beings with crafty tricks. Porta developed this secular approach to magic in the face of ecclesiastical prosecution, for it seems that he was condemned for exercising ceremonial magic (Zambelli 2007). Porta’s magus is a decidedly male figure who unites the physical dexterity of the trickster, the experience of the alchemist, the erudition of the humanist, the astrologer’s command of mathematics, and the intuitive knowledge of the psychic medium in order to embody a superhuman, ideal man capable of manipulating everything and everybody. The magus must be talented, rich, educated, and hard-working; magic is the most noble part of philosophy for Porta (Magia 1558: bk. 1, ch. 2). Instead of a priest or metaphysician in quest of the divine—as in Pico della Mirandola or John Dee—(Harkness 1999), Porta’s magus is thus depicted as an artifex (a craftsman or mastermind) who knows how to manipulate the natural and occult properties of certain bo [Attributes: First Edition]

      [Bookseller: Jeff Weber Rare Books, ABAA]
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        Il Matrimonio Mistico di Santa Caterina

      1650 - Acquaforte, monogrammata in lastra in basso, sulla ruota. Lastra ovale. Bellissima prova, impressa su carta vergata coeva, con margini, in perfetto sttao di conservazione. Opera rara. Al verso firma di appartenenza, sconosciuta al Lugt. Etching, signed BB at lower center. A fine impression, printed on contemporary laid paper, with margins, perfect conditions. A rare work. Unknown collector's mark on verso (not in Lugt). Bartsch XXI.198.33; Le Blanc 38. Dimensioni 113 148mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Mercurio ed Argo

      1650 - Acquaforte e punta secca, firmata in lastra in basso a sinistra. Esemplare nell’unico stato conosciuto. Bellissima prova, impressa su carta vergata coeva priva di filigrana, irregolarmente rifilata al rame, lievi restauri agli angoli perfettamente eseguiti, in ottimo stato di conservazione. Il soggetto è tratto dalle Metamorfosi di Ovidio. Giunone gelosa di Io, principessa di Argo amata da Giove, la trasformò in una giovenca affidandola ad Argo, il gigante dai cento occhi. Mercurio, invitato da Giove, uccise il guardiano dopo averlo incantato con la sua musica. L’opera rappresenta una delle due incisioni d'invenzione del Mola insieme alla Vergine ed il Bambino (Batsch 3). L’atteggiamento disinvolto dell'artista verso l'arte si manifesta in questo lavoro in cui sembra indifferente alle finezze tecniche lasciando andare la mano di getto, come usava nel disegno. Nessuna sua acquaforte testimonia di un grande impegno verso questo mezzo di espressione artistica, lasciando lo spazio all'istinto. La composizione, pur non essendo uguale, ricorda un suo dipinto del medesimo soggetto conservato oggi ad Oberlin (Ohio). Foglio molto raro. Etching with drypoint, signed on plate at lower left. Example in the only known state. Beautiful proof, on contemporary laid paper, no watermark, irregularly trimmed at the platemark, small perfectly repaired areas at the corners, in very good conditions. This theme is taken from Ovidius' Metamorphoses. Juno is jealous of the princess Io who, in turn, is loved by Jupiter. For this reason the goddes transforms Io into a heifer and places her under the care of Argus, the hundred-eyed giant. Following Jupiter's instructions, Mercury kills the princess' guard after having enchanted him with his music. Together with the Virgin Mary and Child (Bartsch 3), this is one of the two etchings completely created by Mola. The artists doesn't seem to care about the finer technical details but, as in his drawings, works in a rather sketchy manner. This print is similar to a painting by the same artist which is now kept at Oberlin (Ohio-US). Very rare sheet. Bartsch 6, Cat. Mostra Lugano pag. 296 III, 124. Dimensioni 148 102mm [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        Viterbium urbs patrimoni divi Petri Primaria

      Francia 1650 - Cabreo finemente eseguito su carta francese con filigrana databile alla metà del XVII secolo. Il foglio appareneva ad un "Album Amicorum" venduto in asta a Parigi nel dicembre 2008 e successivamente, purtroppo, diviso in singoli fogli che risultano presenti nel mercato antiquario dallo scorso gennaio. L'album era composto da una miscellanea di incisioni e manoscritti, quasi tutti raffiguranti piante delle fortificazioni delle principali città europee, con particolare attenzione alle città italiane che, a differenza delle altre opere manoscritte, sono accuratamente rifinite con acquarello dai toni verde e rosa. I cabrei risutano tutti della stessa mano, con titolo latino ed iscrizioni e commenti in lingua francese. Una sorta di album di disegno da viaggio eseguito da un anonimo autore con grandi conoscenze architettoniche e militari, con probabili finalità di studio preparatorio, probabilmente ispirato ad un opera cartografica a stampa del periodo. Le piante delle città italiane ricordano per molti elementi le opere di Jodocus Hondius II inserite nel "Nova et accurata Italiae Hodiernae descriptio" pubblicato a Leida nel 1627. Ottimo stato di conservazione di questo unico documento sulla città. Dimensioni 285 210mm

      [Bookseller: Libreria Antiquarius]
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        Ajtos/Ungarn 1427 - 1502 Nürnberg). Vater Albrecht Dürers, des Jüngeren. Hüftstück ein Viertel nach rechts, mit Filzkappe und Faltenmantel,.

      - Kupferstich v. Reichius ( Wilh. Reich), um 1650, 15,7 x 11 (H) Nicht bei Nagler. - Auf ein altes Büttenpapier montiert, kaschiert und verso in alter Schrift und Tinte bezeichnet: Ecce homo. geätzt von M. Reichius nach einem Original-Gemälde des Albrecht Dürern vom Jahre 1512." - Mit 4-zeiligem Text unter der Darstellung und in einem feinen Druck. - Selten.

      [Bookseller: Antiquariat Nikolaus Struck]
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        I cinque fiumi

      1650 - Coppia di incisioni all’acquaforte e puntasecca, circa 1650/60, monogrammate in lastra in basso a destra ed a sinistra rispettivamente. Stato unico. Bellissime prove, impresse su carta vergata coeva priva di filigrana, con sottili margini, in ottimo stato di conservazione. Le due stampe documentano la capacità del Rosa di ricreare un’atmosfera da favola ellenistica, dove le divinità mitologiche sono rappresentate in perfetto equilibrio con la natura circostante. Rotili ritiene che le opere siano databili intorno al 1651/6, sostenendo che simboleggino i fiumi dei quattro continenti, in analogia con la Fontana dei Quattro Fiumi di Piazza Navona realizzata da Gian Lorenzo Bernini, 1648/51. Pair of etchings and drypoint, about 1650/60, signed on plate at the bottom right and left respectively. Only state. Beautiful proof, printed on contemporary laid paper without watermark, with narrow margins, in excellent condition. The two prints documenting the ability of Rosa to recreate a fairytale Hellenistic, where mythological gods are represented in perfect harmony with the surrounding nature. Rotili believes that the works are dated around 1651/6, arguing that symbolize the rivers of the four continents, in analogy with the Fountain of the Four Rivers in Piazza Navona created by Gian Lorenzo Bernini, 1648/51. Bartsch 15&16; Rotili 16 & 17; Wallace 96 & 97; Massari, Tra Mito ed Allegoria, p. 438, 163 & 164; Costamagna, Incisori Napoletani del’600, 63 & 64. Dimensioni 210x94. Dimensioni [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        Sulmo urbse pulchritudine

      Francia 1650 - Cabreo finemente eseguito su carta francese con filigrana databile alla metà del XVII secolo. Il foglio appareneva ad un "Album Amicorum" venduto in asta a Parigi nel dicembre 2008 e successivamente, purtroppo, diviso in singoli fogli che risultano presenti nel mercato antiquario dallo scorso gennaio. L'album era composto da una miscellanea di incisioni e manoscritti, quasi tutti raffiguranti piante delle fortificazioni delle principali città europee, con particolare attenzione alle città italiane che, a differenza delle altre opere manoscritte, sono accuratamente rifinite con acquarello dai toni verde e rosa. I cabrei risutano tutti della stessa mano, con titolo latino ed iscrizioni e commenti in lingua francese. Una sorta di album di disegno da viaggio eseguito da un anonimo autore con grandi conoscenze architettoniche e militari, con probabili finalità di studio preparatorio, probabilmente ispirato ad un opera cartografica a stampa del periodo. Le piante delle città italiane ricordano per molti elementi le opere di Jodocus Hondius II inserite nel "Nova et accurata Italiae Hodiernae descriptio" pubblicato a Leida nel 1627. Ottimo stato di conservazione di questo unico documento sulla città. Dimensioni 270 210mm

      [Bookseller: Libreria Antiquarius]
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        Paesaggio con Maria Maddalena

      1650 - Acquaforte, 1650 circa, priva della firma ma con il nome dell’editore De Rossi i basso a destra. Magnifica prova, ricca di toni, impressa su carta vergata coeva priva di filigrana, rifilata al rame, in ottimo stato di conservazione. Conosciuto come "il Bolognese", Grimaldi era probabilmente nato in questa città intorno al 1606 e, in effetti, la produzione degli ultimi anni fu fortemente influenzata dai suoi primi contatti con la tradizione dei Carracci. Etching, 1650 circa. A very good impression, printed on contemporary paper, trimmed to the platemark, in very good conditions. Around 1606 and, as a matter of fact, his later production was strongly influenced by his first contacts with the Carracci tradition. He moved to Rome when twenty and in 1636 he was admitted to the Accademia di San Luca, of which he became principe in 1666. Once in Rome, he worked on several important commissions, mainly landscapes, for many famous patrons, among them three popes. His reputation grew very fast this way; in 1648 he was called in Paris to work on decorative project inside the Louvre, in the palazzo of Cardinal Mazzarino and the Jesuit church. He came back to Rome in 1651 and he lived there until his death, in 1680. Although his landscape style is rooted in the classical tradition of Annibale Carracci and Domenichino, it also recalls other tendencies about landscape painting of the time, such as the Venetian, the Northern and the Romantic tradition of Gaspar Dughet and Salvator Rosa. Grimaldi worked with Dughet on the realization of the incredible cycle of landscape frescoes in San Martino ai Monti in Rome. Bartsch 43. Dimensioni 388 275mm

      [Bookseller: Libreria Antiquarius]
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        Sansone e Dalila

      1650 - Acquaforte e bulino, 1650 circa, monogrammato in lastra, in basso a sinistra I.C.F. Splendida prova, impressa su carta vergata coeva, completa oltre la linea del margine, in ottimo stato di conservazione. Stato unico. La scena raffigura il noto episodio biblico in cui Dalila, fatto addormentare Sansone sulle sue ginocchia, gli rade i capelli, privandolo così della sua forza leggendaria. Dietro la colonna, si scorgono dei Filistei con la spada, pronti a catturare Sansone. La storia di Sansone, uno dei Giudici d’Israele ed eroe nazionale nella lotta contro i Filistei, si trova nella Bibbia, Antico Testamento, Giudici, dal capitolo 13 al 16. Nato miracolosamente nella tribù di Dan, fu consacrato nazireo: in omaggio a tale consacrazione era obbligato a portare i capelli lunghi, e il segreto della sua forza, risiedente appunto nei capelli, sembra significare la fedeltà al voto. Si innamorò di Dalila, una filistea, pagata dal suo popolo per sedurlo e carpire il segreto della sua forza. Sansone cedette ingenuamente alla lusinghe della donna che, perfida, lo addormenta e gli taglia i capelli: così Sansone cade in potere dei Filistei, che lo accecano e lo mettono incatenato a girar la mola in Gaza. Passato molto tempo, l’eore è condotto dai Filistei ad allietare una festa al loro dio Dagon; ma nel frattempo i capelli sono ricresciuti e perciò la forza tornata, così fattosi condurre presso le due colonne principali del tempio di Dagon, le scrolla con tutta la sua forza, le abbatte e con essa atterra il tempio seppellendo fra le macerie sé stesso e gli spettatori Filistei, pronunciando le famose parole "Muoia Sansone con tutti i Filistei" Soltanto l’espressione del volto di Dalila, e in particolare quella delle sue labbra, esprimono benissimo la spregiudicata malvagità della donna, in una posa altrimenti composta. L’opera, già nell’800, era celebrata come la migliore tra le stampe intagliate dal Caletti. Bellissimo esemplare di questa rarissima incisione. Etching and engraving, circa 1650, signed at lower left. A very good impression, printed on contemporary laid paper, with thin margins, perfect condition. The scene depicts Delilah seated on a tree trunk at right, in profile to left, cutting the sleeping Samson's hair. judge Samson sleeps in the lap of his Philistine lover Delilah, who shears a lock of hair from his head to drain his superhuman strength. A group of soldiers emerges from the background. The subject is from the Old Testament Book of Judges (16: 17-20) which tells the story of the Jewish hero Samson and his love for Delilah. The Philistines - Samson’s sworn enemies - bribed Delilah with 1,100 pieces of silver to tell them where his strength lay in the hope that they could eventually defeat and capture him. After much persistence, Delilah discovered that his hair was the source of his power, and informed the Philistines.Rather than killing him, the Philistines preferred to humiliate him by gouging out his eyes and subjecting him to hard labor in a Gaza prison. As he slaved at grinding grain, his hair began to grow. During a pagan sacrificial ritual, the Philistines had gathered in Gaza to celebrate. As was their custom, they paraded their prized enemy prisoner into the temple to entertain the jeering crowds. Samson braced himself between the two central support pillars of the temple, he said "Let me die with the Philistines!" and pushed with all his might. Down came the temple, killing Samson and all of the people in it. Through his death, Samson destroyed more of his enemies in this one sacrificial act, than he had previously killed in all the battles of his life. This work, already in ‘800, was celebrated as the best among the prints engraved by Caletti Bartsch, XX, 132, 4; Le Blanc, 4; TIB 44/20, 4. Dimensioni 150 130mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Paesaggio con tre piccole barche nel fiume

      1650 - Acquaforte, 1650 circa, firmata in lastra in basso a sinistra. Magnifica prova, ricca di toni, impressa su carta vergata coeva con parziale filigrana non identificabile, sottili margini, in ottimo stato di conservazione. Conosciuto come "il Bolognese", Grimaldi era probabilmente nato in questa città intorno al 1606 e, in effetti, la produzione degli ultimi anni fu fortemente influenzata dai suoi primi contatti con la tradizione dei Carracci. Si trasferì a Roma ventenne e nel 1636 venne ammesso all’Accademia di San Luca, della quale poi divenne principe (presidente) nel 1666. Nell’Urbe lavorò ad una serie di commissioni importantissime, principalmente paesaggi, per altrettanti patroni illustri tra cui tre papi. Accrebbe in questo modo la sua reputazione, anche a livello internazionale, tanto che nel 1648 venne chiamato a Parigi, dove lavorò per tre anni a progetti decorativi nel Louvre, nel palazzo del Cardinal Mazzarino e nella chiesa dei Gesuiti. Grimaldi realizzò oltre cinquanta incisioni di paesaggi, tutti fortemente influenzati dalla formula paesaggistica di Annibale Carracci e Domenichino. Le sue stampe, così come i dipinti e i disegni di vedute, sono caratterizzate da un approccio alla natura estremamente regolare e controllato, enfatizzando le linee orizzontali, verticali e i piani. Alla stregua dei suoi modelli bolognesi, Grimaldi usava spesso masse rocciose o di terra sporgenti, file di alberi posizionate strategicamente, e architetture posizionate nei piani per disporre il suo schema organizzativo. Il suo modo di utilizzare l'ago da incisione era sempre molto controllato e regolare; sebbene occasionalmente si sia lasciato tentate dallo spontaneo romanticismo alla maniera di Dughet, le sue stampe, diversamente da quelle del maestro, raramente trasmettono un senso di confidenza con la natura. Sebbene il suo stile paesaggistico affondi le sue radici nella tradizione classicizzante di Annibale Carracci e Domenichino, esso riflette anche altre tendenze dell'epoca relative alla pittura di paesaggi, ovvero quella veneta, quella settentrionale e parte del romanticismo di Dughet e Salvator Rosa. Etching, 1650 circa, signed at lower left. Magnificent work, rich shade, printed on contemporary laid paper with partial, unidentified watermark, thin margins, in excellent condition. Grimaldi realized more than fifty landscape etchings, all deeply influenced by the landscape formula of Annibale Carracci and Domenichino. His impressions, like the paintings and the landscape drawings, are characterized by a regular and controlled approach to nature, stressing the horizontal and vertical lines and the planes. Like his Bolognese models, Grimaldi used quite often rocky or earth masses, strategic rows of trees and architectures in planes to set his organizational scheme. His way to use the etching needle was always regular and controlled; though he occasionally indulged in the spontaneous romantic manner of Dughet, his prints, unlike his master’s, rarely convey a sense of confidence with nature. The architectural drawings and the figurative paintings of Giovanni Francesco Grimaldi have been completely overshadowed by his landscapes, drawings and etchings. Known as "il Bolognese", Grimaldi was in all probability born in the city around 1606 and, as a matter of fact, his later production was strongly influenced by his first contacts with the Carracci tradition. He moved to Rome when twenty and in 1636 he was admitted to the Accademia di San Luca, of which he became principe in 1666. Once in Rome, he worked on several important commissions, mainly landscapes, for many famous patrons, among them three popes. His reputation grew very fast this way; in 1648 he was called in Paris to work on decorative project inside the Louvre, in the palazzo of Cardinal Mazzarino and the Jesuit church. He came back to Rome in 1651 and he lived there until his death, in 1680. Although his landscape style is rooted in the classical tradition of Annibale Carracci [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Nouvelle carte Marine de tous les Ports de l’Europe sur l’Ocean et sur la Mediterranée.

      Parigi 1650 - Carta nautica del Mediterraneo, edita da Jaillot. Nicolas Berey (1606-1665), conosciuto come abile coloritore di carte geografiche, divenne in seguito intagliatore delle stesse, e parzialmente, per brevissimo tempo, editore. La sua attività si svolse principalmente intorno alla bottega di Nicolas Sanson I; sua figlia sposò Alexis Hubert Jaillot. Incisione in rame, coloritura coeva dei contorni, tracce di umidità in alto con parziale perdita di parte incisa del bordo, per il resto in ottimo stato di conservazione. Molto rara. Bibliografia: Mare Nostrum p. 36. Sea chart of the Mediterranean sea, published by da Jaillot. Nicolas Berey (1606-1665), famous for his skills as painter of maps, became also engraver and, for a short period, he was also a publisher. He worked mainly in close contact with Nicolas Sanon’s workshop, his daughter married Alexis Hubert Jaillot. Copperplate, contemporary colour on the outlines, signs of humidity on upper part which partly damaged the engraving, in general in good condition. Very rare. Dimensioni 770 460mm

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        An Exact Abridgment in English, Of the Commentaries, Or Reports of.

      1650 - The First Abridgment of Plowden in English Plowden, Edmund [1518-1585]. H[icks], F[abian], Editor and Translator. [Walter, Sir John [1566-1630], Digestor]. An Exact Abridgment in English, Of the Commentaries, Or Reports of the Learned and Famous Lawyer, Edmond Plowden, An Apprentice of the Common Law. Concerning Diverse Cases and Matters in Law, And the Arguments Thereupon; In the Times of the Reignes of King Edward the Sixth, Queen Mary, King Philip, And Queen Mary, And Queen Elizabeth, With the Exceptions to the Pleadings, And Answers Thereunto; The Resolutions of the Matters in Law, And All Other Principall Matters Arising Upon the Same. By F.H. of the Inner Temple London, Esq. London: Printed by R. White, And T. Roycroft, For Henry Twyford, And Are to be Sold at His Shop in Vine Court in the Middle Temple, 1650. [viii], 232, 62 pp. Octavo (5-1/2" x 3-1/2"). Contemporary sheep, blind frames to boards, blind rules and small early private-library shelf label to spine, early hand-lettered title to fore-edge. Light rubbing, minor worming to front board, shallow slice to rear, front free endpaper and rear endleaves lacking, armorial bookplate of the Earls of Macclesfield to front pastedown, small embossed Macclesfield stamp to head of title page. Moderate toning to text, light foxing in a few places, brief corrections in early hand to a few leaves. A handsome copy. $750. * First edition, one of two issues from 1650. Thomas Ashe's Abridgment des Touts les Cases Reportes a Large per Plowden (c. 1597) was the first abridgment of Plowden. An Exact Abridgment was the first in English. A second edition was published in 1659. First published in 1571 and covering the period of 1550-1580, Plowden's Reports marks the transition away from the cumulative method of the Year Books to one based on exposition and commentary. In most respects it is a precursor of the modern law report. The Earls of Macclesfield owned one of the finest private libraries in Great Britain. Counting both issues, OCLC locates 11 copies of the first edition in North America, 6 in law libraries (Columbia, Georgetown, Harvard, NYU, University of Pennsylvania, Yale). English Short-Title Catalogue R208982. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Lawbook Exchange, Ltd., ABAA ILAB]
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        Historia Delle Guerre Civili Di Frnacia Di Henrico Caterino Davila; Nella Quale Fi Contengono Le Operationi Di Quattro re--Francesco II, Carlo IX, Henrico III and Henrico IIII

      Presso Paolo Baglioni, Venetia 1650 - Thick Octavo. [23] 1056 pages, Italian Text. Enrico Caterino Davila's work influenced Clarendon in his writing of the English Civil Wars. He consider Davila as the most worthy to stand besides the ancients [a reference to Tacitus]. Clarendon saw that his account of the French Civil Wars paralleled what had happened in England; in fact, he wrote in his own account that Davila's was written "as our's should be written". Sir Philip Warwick wrote of John Hampden, "He was very well read in history; and I remember the first time I ever saw that of D'Avild of the Civiil Warrs of France, it was lent me under the title of Mr. Hampden's Vade Mecum; and I believe no copy was liker an originall than that rebellion was like ours." (Warwick, Memoirs of the Reigne of King Charles I (London, 1701). For Clarendon, Davila's work was how a political narrative should be written. In other words, he saw history of Davila as an equally Tacitist and Machiavellian interpretation of royal policy under Catherine de Medici, Henry III and Henry IV. The text is printed in Italic except for titles, summaries and index. The title vignette is an armorial etching. Bound in full vellum, raised bands, title in brown ink, some occasional scattered browning or foxing, upper board warping as usual with stiff vellum. A very good copy.

      [Bookseller: Alcuin Books, ABAA]
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