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

        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]
 1.   Check availability:     maremagnum.com     Link/Print  


        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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        Gaizzo

      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 220mm

      [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

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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

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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]

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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]

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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]

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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

      Venetia: Presso Paolo Baglioni, 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.

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        Il Cosmo o vero L'Italia trionfante

      1650 - Acquaforte, 1650, firmata in lastra in basso a destra. Frontespizio dell’opera di Giovan Carlo Coppola. Magnifica prova, impressa su carta vergata coeva con filigrana del "sole", rifilata al rame, in perfetto stato di conservazione. Il Cosmo o vero L'Italia trionfante, è un "poema sacro" dedicato a Ferdinando II, stampato a Firenze, nella Stamperia granducale, nel 1650. Il Cosmo, poema di venti canti in ottave, ha come materia, suggerita da Ferdinando II, un leggendario episodio della difesa dell'Italia dai barbari, al tempo dell'imperatore Onorio, per opera di Cosimo o Cosmo, discendente di Perseo e mitico capostipite della famiglia dei Medici. L’incisione del Della Bella raffigura Cosmo, con lo scudo che mostra lo stemma mediceo, vittorioso nel duello con Radagario, re dei Goti. Bellissima e rara incisione. Etching, 1650, signed in plate lower right. Frontispiece of the work of Giovan Carlo Coppola. Magnificent proof, printed on contemporary laid paper with watermark "sun", trimmed to the copperplate, in perfect condition. The Il Cosmo o vero L'Italia trionfante is a "sacred poem" dedicated to Ferdinand II, printed in Florence, in Stamperia granducale in 1650. The Cosmo, a poem of twenty songs in eighth, has the subject suggested by Ferdinand II, a legendary episode in the defense of Italy from the barbarians, at the time of the Emperor Honorius, for Cosimo or Cosmo, a descendant of Perseus and the legendary founder of the Medici family. The engraving depicts Cosmos, with a shield showing the Medici coat of arms, victorious in battle with Radagario, king of the Goths. Beautiful and rare etching. De Vesme/Massar 959. Dimensioni 187x262. Dimensioni [Attributes: Signed Copy; Soft Cover]

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        Susanna e i Vecchioni

      1650 - Acquaforte, firmata in lastra in basso al centro. Esemplare di stato unico. Magnifica prova, impressa su carta vergata coeva priva di filigrana, con sottili margini, in eccellente stato di conservazione. Di questo autore, nativo di Reggio Emilia, si conoscono solo otto lavori, dei quali quattro sono vedute di città. Opera molto rara. Bibliografia: Bartsch 1. Dimensioni 137x180. Etching, signed on lower centre plate. Example in one state. Magnificent work printed on contemporary laid paper without watermark with thin margins, in excellent condition. This artist was born in Reggio Emilia; there are eight works realized by him, four of which are city views. Very rare work. Bartsch 1. Dimensioni 137x180. Dimensioni [Attributes: Signed Copy]

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        Opera, quae extant omnia, videlicet: Divinarum institutionum adversus Gentes Libri septem. Earundem institutionum Epitome [a kephalos]. De ira Dei liber unus. De Opificio Dei, sive De formatione hominis liber unus (.) a Josepho Isaeo Caesenate olim divi Petri de urbe canonico (.) Summa diligentia recognita (.) et notis illustrata (.).

      - Romae, Ex Typographia Mascardi (.) Sumptibus Blasij Diversini, & Zenobij Masotti, 1650. In-folio (318 x 215 mm), plein maroquin rouge orné d'un décor "à la Du Seuil", dos à 5 nerfs guillochés or, richement garni de compartiments dorés aux petits fers, chiffre doré en pied, 2 jeux de triples filets dorés en encadrement sur les plats avec chiffre mitré aux angles répété au centre des plats, tranches marbrées, lxiiij, 380 p., texte imprimé sur 2 colonnes. "Excellente édition", selon Graesse, des oeuvres collectives de Lactance, le "Cicéron chrétien", éditée et annotée par Giuseppe Iseo (Josephus Isaeus), accompagnée d'un important appareil de notes (p. 253-380). Grande vignette de titre aux armes du cardinal Giangiacomo Teodoro Trivulzio, dédicataire, bandeaux et culs-de-lampe gravés sur bois, lettrines historiées, notes imprimées en marge. (Graesse, IV, 66 – Brunet, III, 736). Infime éraflure sur un coin, petit trou au feuillet Aaa3. Très bel exemplaire, très frais, imprimé sur papier fort au chiffre de Charles-Gaspard-Guillaume de Vintimille Du Luc (1655-1746). Évêque de Marseille (1692), archevêque d'Aix-en-Provence (1708), puis de Paris (1729). Sa bibliothèque fut vendue en 1776. De nombreux ouvrages lui ayant appartenu et richement reliés en maroquin rouge ou fauve frappé à son chiffre sont entrés à la Bibliothèque municipale de Toulouse, peut-être par le canal de Le Franc de Pompignan. (OHR, 1429, fer n°7). [Attributes: Hard Cover]

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        Lacus Lemanni locorumque circumiacentium accuratissima descriptio auctore Iacobo Goulartio Genevensi

      Amsterdam 1650 - Bella e dettagliata mappa dell'area del Lago di Ginevra, basata sul lavoro del teologo e cartografo svizzero Jacques Goulart (1580-1622). Orientata con il Nord in alto. Incisione su rame, bella colorituta coeva, in ottimo stato di conservazione. A very nice and detailed map from Switzerland with three decorative cartouches and an ornate font. The cartouche label is in Latin with French place names. Based upon the work of Jacob Goulart (1580-1622), a Swiss theologian and cartographer. There are a number of fortified cities and towns. Nice original color example of Jansson's map of the Lake Geneva region. This is a northerly orientated map. Koeman I [4985:1C.1]; Van der Krogt 2, 4985 Dimensioni 515 415mm

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        HORTUS EYSTETTENSIS. - Lilie., "Lilium fatuum. Dorea Narbonensium". Rechts eine rot-gelbe Taglilie und links ein fettblättriges Kreuzkraut oder Greiskraut.

      Altkol. Kupferstich aus "Hortus Eystettensis", um 1650, 47 x 39,5 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Mit Text auf der Rückseite. - Breitrandig und frisch. Dekorative Graphik, Blumen

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        \"Lilium fatuum. Dorea Narbonensium\". Rechts eine rot-gelbe Taglilie und links ein fettblättriges Kreuzkraut oder Greiskraut.

       Altkol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 47 x 39,5 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Mit Text auf der Rückseite. - Breitrandig und frisch. Versand D: 6,00 EUR Dekorative Graphik, Blumen

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        HORTUS EYSTETTENSIS. - Paprika., "Piper Indicum cordatum oblongum. Piper Indicum cordatum". Paprika.

      Altkol. Kupferstich aus "Hortus Eystettensis", um 1650, 47 x 38,5 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Rechts in professionell restaurierter Einriss. Dekorative Graphik, Blumen

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        HORTUS EYSTETTENSIS. - Artischocke., "Cinera cum flore". Gemüse-Artischocke oder Kardone.

      Altkol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Die linke untere Ecke, im weißen Bereich, professionell und kaum sichtbar ergänzt. Dekorative Graphik, Blumen

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        \"Piper Indicum cordatum oblongum. Piper Indicum cordatum\". Paprika.

       Altkol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 47 x 38,5 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Rechts in professionell restaurierter Einriss. Versand D: 6,00 EUR Dekorative Graphik, Blumen

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        \"Cinera cum flore\". Gemüse-Artischocke oder Kardone.

       Altkol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Die linke untere Ecke, im weißen Bereich, professionell und kaum sichtbar ergänzt. Versand D: 6,00 EUR Dekorative Graphik, Blumen

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        HORTUS EYSTETTENSIS. - Siegwurz und Schwertlilie., "I. Iris Bulbosa flore diluto coeruleo. II. Victorialis Rotunda. III. Gladiolus Narbonensium flore purpureo. IV. Gladiolus Narbonensis flore incarnato". In der Mitte englische Zwiebel-Schwertlilie, rechts dunkelblütige Garten Siegwurz (Gladiole), rechts Sumpf-Siegwurz und Garten-Siegwurz (Gladiole).

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mittig leichte Quetschfalten. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        HORTUS EYSTETTENSIS. - Gemeine Siegwurz., "I. Gladiolus Italicus flore rubro. Gladiolus Hispanicus flore albo. III. Gladiolus Narbonensis flore incarnato". Jeweils die gemeine Siegwurz mit ungefüllten Blüten.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        HORTUS EYSTETTENSIS. - Schwertlilie und Porree., "I. Moly latifolium. II. Iris bulbosa variegata. III. Iris bulbosa mixta". In der Mitte Porree oder Sommer-Lauch, rechts und links bunte spanische Schwertlilie.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Nur minimal fleckig. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        HORTUS EYSTETTENSIS. - Krokus, Safran und Lilie., "I. Iris bulbosa flore luteo. II. Lilium Bizantinum Serot: III. Crocus Montanus Vernalis. IV. Crocus Sativus". In der Mitte spanische Schwertlilie, rechts Scharlach-Lilie und links Alpen-Krokus und echter Safran.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        \"I. Iris Bulbosa flore diluto coeruleo. II. Victorialis Rotunda. III. Gladiolus Narbonensium flore purpureo. IV. Gladiolus Narbonensis flore incarnato\". In der Mitte englische Zwiebel-Schwertlilie, rechts dunkelblütige Garten Siegwurz (Gladiole), rechts Sumpf-Siegwurz und Garten-Siegwurz (Gladiole).

       Kol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mittig leichte Quetschfalten. Versand D: 6,00 EUR Dekorative Graphik, Blumen

      [Bookseller: Antiquariat Bierl]
 36.   Check availability:     buchfreund.de     Link/Print  


        \"I. Moly latifolium. II. Iris bulbosa variegata. III. Iris bulbosa mixta\". In der Mitte Porree oder Sommer-Lauch, rechts und links bunte spanische Schwertlilie.

       Kol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Nur minimal fleckig. Versand D: 6,00 EUR Dekorative Graphik, Blumen

      [Bookseller: Antiquariat Bierl]
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        \"I. Iris bulbosa flore luteo. II. Lilium Bizantinum Serot: III. Crocus Montanus Vernalis. IV. Crocus Sativus\". In der Mitte spanische Schwertlilie, rechts Scharlach-Lilie und links Alpen-Krokus und echter Safran.

       Kol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. Versand D: 6,00 EUR Dekorative Graphik, Blumen

      [Bookseller: Antiquariat Bierl]
 38.   Check availability:     buchfreund.de     Link/Print  


        \"I. Gladiolus Italicus flore rubro. Gladiolus Hispanicus flore albo. III. Gladiolus Narbonensis flore incarnato\". Jeweils die gemeine Siegwurz mit ungefüllten Blüten.

       Kol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. Versand D: 6,00 EUR Dekorative Graphik, Blumen

      [Bookseller: Antiquariat Bierl]
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        HORTUS EYSTETTENSIS. - Vexiernelke., "I. Lychnis coronaria flore rubro pleno. Lychnis coronaria flore incarnato punctata. III. Lychnis coronaria flore incanato non punctata". In der Mitte Viexiernelke mit gefüllten Blüten, links Vexiernelke mit einfachen, gesprenkelten Blüten und rechts Vexiernelke.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mit professionell restaurierten Einriss mittig, kaum sichtbar. Gerahmt. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        \"I. Lychnis coronaria flore rubro pleno. Lychnis coronaria flore incarnato punctata. III. Lychnis coronaria flore incanato non punctata\". In der Mitte Viexiernelke mit gefüllten Blüten, links Vexiernelke mit einfachen, gesprenkelten Blüten und rechts Vexiernelke.

       Kol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mit professionell restaurierten Einriss mittig, kaum sichtbar. Gerahmt. Versand D: 6,00 EUR Dekorative Graphik, Blumen

      [Bookseller: Antiquariat Bierl]
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        HORTUS EYSTETTENSIS. - Akelei., "I. Aquilegia stellata flore purpureo. II. Aquilegia flore albo pleno. III. Aquilegia flore coeruleo pleno". In der Mitte sternförmige und gefüllte Akelei, rechts gefüllte weiße Akelei und links gefüllte blaue Akelei.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Mit Text auf der Rückseite. - Vorwiegend in den Rändern leicht stockfleckig. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        HORTUS EYSTETTENSIS. - Bartnelke., "I. Flos Armerius albus. II. Flos Armerius ruber. III. Flos Armerius variegatus". In der Mitte Bartnelke mit weißen Blüten, rechts Bartnelke mit purpurnen Blüten und links Bartnelke mit panaschierten Blüten.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mittig leichte Quetschfalte. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        HORTUS EYSTETTENSIS. - Absinth., "I. Absinthium vulgare. II. Absinthium latifolium marinum. III. Absinthium Ponticum album". In der Mitte Wermut oder Absinth, rechts Beifuß und links pontischer Beifuß oder römischer Wermut.

      Kol. Kupferstich aus "Hortus Eystettensis", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk "Hortus Eystettensis" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mittig leichte Quetschfalten im Papier. Dekorative Graphik, Blumen

      [Bookseller: Buch- und Kunstantiquariat]
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        \"I. Flos Armerius albus. II. Flos Armerius ruber. III. Flos Armerius variegatus\". In der Mitte Bartnelke mit weißen Blüten, rechts Bartnelke mit purpurnen Blüten und links Bartnelke mit panaschierten Blüten.

       Kol. Kupferstich aus \"Hortus Eystettensis\", um 1650, 46 x 38 cm. Nissen BBI, 158. - Fürstbischof Johann Conrad von Gemmingen (1561-1612) ließ Anfang des 17. Jahrhunderts den berühmten Garten von Eichstätt anlegen. Der Nürnberger Apotheker Basilius Besler (1561-1629) zeigt in seinem prachtvollen, 367 Kupfertafeln umfassenden Werk \"Hortus Eystettensis\" die Pracht und Vielfalt dieses botanischen Gartens. - Ohne Text auf der Rückseite. - Mittig leichte Quetschfalte. Versand D: 6,00 EUR Dekorative Graphik, Blumen

      [Bookseller: Antiquariat Bierl]
 45.   Check availability:     buchfreund.de     Link/Print  

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