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Displayed below are some selected recent viaLibri matches for books published in 1469


         A love letter to the Mona Lisa?

      A signed love letter of the young Duke of Milan, Gian Galeazzo Maria Sforza (1469-1494) to his future bride, Isabella of Aragon (1470-1524). Sforza was later a confidant of Leonardo da Vinci; Isabella is considered by art historian Maike Vogt-Luerssen to have been the model for Leonardo's Mona Lisa. Bifolium, 300 x 210 mm, the manuscript in a fine Italian hand occupying a half side, signed at the foot Jo. Ga. Ma. Dux M[i]l[an]i and dated at the head 7 May 1481; addressed to Dne. Isabella; light foxing, residual tape at corners and edges of the horizontal fold; complete. The letter is written by the twelve-year old Duke of Milan to his cousin Isabella of Aragon, to whom he was already betrothed and whom he would marry in 1489. In it he thanks her for sending him a banner worthy of his love ("degno del amore nostro"). If he had to arm himself and enter battle, he would carry this out of love for her ("per amore de vostra S.ra"). The engagement of Gian Galeazzo and Isabella had been planned as early as 1471, and was formalised in 1480. The young couple would not actually meet until their marriage in 1489, but throughout the period of their betrothal the pair exchanged charming and naive letters expressing their love for one another, which were often accompanied by affectionate gifts. The true identity of Leonardo da Vinci's Mona Lisa has always been the subject of conjecture, but has never been conclusively proven. The beautiful Isabella, who is described in contemporary sources as having the appearance of an angel, is regarded by German-Australian academic Maike Vogt-Luerssen (and others) to be the enigmatic subject of Leonardo's portrait. The theory is compellingly presented in her book Wer ist Mona Lisa : auf der Suche nach ihrer Identität (Norderstedt, 2003). Another possibility is that Isabella's beauty inspired Leonardo to create a portrait of an ideal female with traits comparable to her own. From 1482 to 1499 Leonardo da Vinci was a court painter in Milan, and he made numerous portraits of the Sforza family. He was intimately familiar with Gian Galeazzo and Isabella, whose wedding celebrations he planned and staged in spectacular fashion.

      [Bookseller: Douglas Stewart Fine Books]
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         Sicuti antiquarum lectionum commentarios concinnarat olim Vindex Ceselius, ita nunc eosdem per incuriam interceptos reparavit ...(Colophon: Venice, "in aedibus Aldi, et Andreae soceri" [= heirs of Aldus Manutius, and Andreas Torresano de Asula], February 1516). Folio (32 x 22 cm). With title printed entirely in red, including Aldus's dolphin & anchor device with letterpress "Aldus M[anutius].R[omanus].", repeated in black on the verso of last (otherwise blank) leaf. Late 18th-century Italian half sheepskin parchment, decorative paper sides.

      Ahmanson-Murphy II, 123; Contemporaries of Erasmus III, p. 155; Renouard p. 79, no.11. First edition of an encyclopaedic collection of Latin notes on the classics and on general topics such as the human body, dance, music, poetry, art, sleep, rhetoric, the universe, etc., in sixteen books, by Lodovico Celio Ricchieri, often known by the Latin name Ludovicus Caelius Rhodiginus (1469-1525). In concept, it resembles Erasmus's famous Adagia , first published in 1500, but even though the Adagia quadrupled in size by the Aldine edition of 1508, the present work is more than twice as long as that: a folio of nearly 1000 pages (including prelims) and one of the most extensive books ever issued by the Aldine press. It appeared almost exactly a year after Aldus Manutius's death, when his father-in-law Andreas Torresano was running the press, but given its great length it is probably one of the last works to have gone to press under Aldus himself. The present copy, with no initials filled in and nearly untrimmed shows the book almost as it came from the printing office.Old owner's inscriptions in the foot margin of the title-page erased and difficult to make out. With some early, marginal manuscript notes. With a couple sheets browned, a couple slightly browned and a few others slightly foxed in the margins, and an occasional small stain, but still in very good condition, most leaves fine, and nearly untrimmed, preserving an occasional deckle. The binding is slightly worn, with the edges of the decorated paper tattered, but still good. A lovely copy of an Aldine masterpiece.

      [Bookseller: Antiquariaat FORUM BV]
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         Goethe. Sämtliche Werke nach Epochen seines Schaffens 22 Bücher 1 - 20.1 Münchner Ausgabe

      1014, 944, 751, 967, 1019, 673, 1276, 1257, 856, 1126, 1313, 1181, 792,1003, 1469, 1355, 1199, 893, 1101, 1349, 844, 1088, Seiten, 19 cm, Kl.-8, gebundene Ausgabe Exemplar antiquarisch sehr gut erhalten, Mit Original Schutzumschlag, A8267

      [Bookseller: Antiquariat Buchhandel Daniel Viertel]
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         Opera Omnia quotquot in Sacrae Scripturae expositionem reperiuntur, cura atque industria insignis collegii S. Thomae Complutensis. 5 Bände.

      LII, 2886 Seiten, in lateinischer Sprache, gebundene Leinenausgabe. 5 Bände. Leinenbände mit goldener Rückentitelprägung. Band 1 mit kleiner Läsur am hinteren Einband, ansonsten alle Bände in sehr gutem und sauberem Zustand. - Cajetanus (1469-1534), Kardinal, Erzbischof und Generaloberer der Dominikaner, ist der wohl bedeutendste katholische Theologe der Reformationszeit. Als Kirchenpolitiker war er in der Auseinandersetzung mit Luther (den er 1518 in Augsburg examinierte) und in der Reformbewegung für eine Erneuerung des Papsttums ebenso einflußreich wie in seiner Lehrtätigkeit als Professor der Theologie und Philosophie. Unter seinen Schriften sind besonders die großen Kommentare hervorzuheben: die aus der Auseinandersetzung mit dem Humanismus entstandenen Bibelexegesen werden in der hier nachgedruckten Sammlung wieder vorgelegt. Tomus Primus. Lyon 1639. Reprint: Hildesheim 2005. XL/550 S. Leinen. ISBN 9783487097381 . Tomus Secundus. In omnes authenticos Veteris Testamenti historiales libros et Iob Commentarii. Lyon 1639. Reprint: Hildesheim 2005. II/604 S. Leinen. ISBN 9783487097398 . Tomus Tertius. In Psalmos, Parabolas Salomonis, et Ecclesiasten, nec non in tria priora Isaia Capita, Commentarii. Lyon 1639. Reprint: Hildesheim 2005. IV/670 S. Leinen. ISBN 9783487097404 . Tomus Quartus. In Quatuor Evangelia, et Acta Apostolorum, Commentarii. Lyon 1639. Reprint: Hildesheim 2005. IV/538 S. Leinen. ISBN 9783487097411 . Tomus Quintus. In omnes Pauli et aliorum Apostolorum epistolas Commentarii. Lyon 1639. Reprint: Hildesheim 2005. II/524 S. Leinen. ISBN 9783487097428 . (Verlagsanzeige)

      [Bookseller: Brungs und Hönicke Medienversand]
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         CATHOLICON. (TEXT FROM THE LETTER "E")

      [Mainz: Printer of the Catholicon (Johann Gutenberg?), ca. 1460; Peter Schoeffer(?) for Konrad Humery(?), 1469]. From the FIRST EDITION, Second Impression, on Galliziani paper n. This leaf represents Gutenberg's final printing innovation: an early form of stereotyping. According to Paul Needham, when Gutenberg printed the first impression of "Catholicon" in 1460, he also created two-line "slugs" cast from the type, which could be reassembled for later impressions. These slugs were a part of Gutenberg's typographic materials obtained by Konrad Humery after the protoprinter's death in 1468, and they were used by Humery to print another issue of "Catholicon," perhaps with assistance of Peter Schoeffer, in 1469. The 1469 edition from which our leaf comes is distinguishable by the Galliziani paper on which it is printed; the 1460 version was on either vellum or Bull's Head paper, and a 1472 third impression was on Tower and Crown paper. Gutenberg's "Catholicon," while not as famous as its older brother, the 42-line Bible, is noted for being the first book to name its place of printing, and the first extensive work of a secular nature to be published. Compiled by the Dominican priest Johannes Balbus (or John of Genoa, d. ca. 1298), the text consists of a grammar and a dictionary of Medieval Latin, and treats the etymology of Latin terms in vogue during the Middle Ages. It was the first lexicographical work to be completely alphabetized, and the text on our leaf contains entries beginning with the letter "E.". 356 x 267 mm. (14 x 10 1/2"). Double column, 66 lines of text in gothic type. From the FIRST EDITION, Second Impression, on Galliziani paper. Initials and paragraph marks in red. Goff B-20; BMC I, 39. Small patch of dustsoiling to lower margin of verso, a touch of browning to edges, one small (wax) spot to text, otherwise an excellent specimen. This leaf represents Gutenberg's final printing innovation: an early form of stereotyping. According to Paul Needham, when Gutenberg printed the first impression of "Catholicon" in 1460, he also created two-line "slugs" cast from the type, which could be reassembled for later impressions. These slugs were a part of Gutenberg's typographic materials obtained by Konrad Humery after the protoprinter's death in 1468, and they were used by Humery to print another issue of "Catholicon," perhaps with assistance of Peter Schoeffer, in 1469. The 1469 edition from which our leaf comes is distinguishable by the Galliziani paper on which it is printed; the 1460 version was on either vellum or Bull's Head paper, and a 1472 third impression was on Tower and Crown paper. Gutenberg's "Catholicon," while not as famous as its older brother, the 42-line Bible, is noted for being the first book to name its place of printing, and the first extensive work of a secular nature to be published. Compiled by the Dominican priest Johannes Balbus (or John of Genoa, d. ca. 1298), the text consists of a grammar and a dictionary of Medieval Latin, and treats the etymology of Latin terms in vogue during the Middle Ages. It was the first lexicographical work to be completely alphabetized, and the text on our leaf contains entries beginning with the letter "E."

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         La pharsale.

      Lucan's Pharsalia is an epic poem, the greatest in Latin after the Aeneid, on the subject of the civil war between Pompey and Caesar. Born in Córdoba, Spain, Lucan (A.D. 39-65) was the grandson of the elder Seneca, nephew of the younger Seneca, and the brother of the Gallio mentioned in Acts 18. He published the Pharsalia in A.D.. 62 or 63, but it seems likely that his poetic talent aroused the jealously of the vain Nero, as after its publication the emperor forbade him to write or even plead in the courts, and then later compelled him to commit suicide for alleged treason.The editio princeps of Lucan was printed in Rome by Sweynheym and Pannartz in 1469.The illustrated plates in this edition are after Gravelot, and the French translation is by M. Marmontel.Binding: Contemporary treed calf, spine gilt extra with badge of a thistle in compartments; red leather labels. Marbled endpapers. All edges red. Provenance: Small booklabel of William Salloch on rear pastedown.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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         De viris illustribus: parte 7. Processus iudiciarius Mascaron contra genus humanum (GW 12451).

      Augsburg Günther Zainer Type 2 1469 - Einspaltiges, 36-zeiliges O-Inkunabelblatt. Breitrandiges Exemplar auf klanghellem festem Papier mit Resten von zwei Papiermontagestreifen im Rand. Blatt mit rotgestrichenen Versalbuchstaben. Blattgöße: 21 x 30,5 cm. - - - Unter dem gemeinsamen Titel "De viris illustribus" bot Günther Zainer acht verschiedene kleine Heftchen in einen Band zum Verkauf an. Dies geht aus einen seiner Buchhändleranzeigen hervor. Auch wenn die Hefte als Band konzipiert waren, bot er dieselben auch einzeln zum Verkauf an.

      [Bookseller: Versandantiquariat Christine Laist]
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         D. Erasmi Roterodami opus de conscribendis epistolis, ex postrema autoris recognitione emendatius editum. Cum annotationibus marginalibus, que partim artificium, partim autorum locos explicant. Et indice locupletiore.

      Köln, Johann Gymnich, 1534. 8°. Mit breiter figürl. Holzschn.-Titelbordüre. 8 Bll., 390 S., 1 weißes Bl., Blindgepr. Schweinsldr.-Bd. d. Zt. a. 3 Bünden über Holzdeckeln m. 2 Schließen. Die vorliegende Abhandlung über die Kunst des Briefschreibens entstand etwa 1498 in Paris zum Gebrauch seines englischen Schülers Robert Fisher. Nach einer Raubdruckausgabe nach dem Manuskript (Cambridge 1521) veröffentlichte Erasmus die erste autorisierte Ausgabe 1522 in Basel. - Die Titelbordüre zeigt u.a. Justitia, Prudentia, Spes, Invidia, Fortuna u.a. - Eine weitere inkomplette Schrift angebunden. - Der dekorative zeitgen. Einband mit versch. figürlichen Rollenstempeln etw. berieben u. bestoßen. Titel m. kl. zeitgen. Eintrag. Vorsatzbl. u. hinterer Innendeckel m. alten Besitzvermerken. Das letzte Blatt (u. das weiße) mit Ausriß an der rechten oberen Ecke (unter tlw. Verlust der Paginierung, jedoch ohne weiteren Textverlust). Etw. gebräunt bzw. stockfleckig. - VD16, E 2517; Panzer VI, 429, 754; Van der Haeghen I, 56; Bezzel 612; nicht bei Adams u. im BM, STC. Versand D: 12,00 EUR Erasmus von Rotterdam, opus de conscribendis epistolis, ex postrema, Briefsteller

      [Bookseller: Antiquariat Wolfgang Friebes]
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         Opus epistolarum Des. Erasmi Roterodami. Denuo recognitum et auctum per P. S. Allen et H. M. Allen et H. M. Garrod [= Vol. 1-11]. Indices: Compilavit Barbara Flower / Perfecit et edidit Elisabeth Rosenbaum [= Vol. 12]. Tom. I - XII.

      Oxonii / Oxford: In typographeo Clarendoniano / Clarendon 1906 - 1958. 12 Bände mit Index / 12 Volumes with indices (vollständig / complete). Bände mit Textabbildungen auf Tafeln. Gr. 8° (22,5-25 cm). Orig.-Leinenbände mit goldgeprägten Rückentiteln. [Hardcover / fest gebunden]. 12 Bände (inklusive des Indexbandes) jener, für die Renaissanceforschung Masstäbe setzenden, kritischen Ausgabe der Briefe / Briefwechsel des Erasmus\'. Briefe in lateinischer Sprache, Kommentare in englischer Sprache. - So schrieb Paul O. Kristeller mit Blick auf die Veröffentlichung des Indexbandes als Abschluss der Edition: \"With this volume [the Indices] P. S. Allen\'s monumental edition of Erasmus\' correspondence, one of the most important contributions of this century to Renaissance scholarship, has been finally completed, and all scholars who have been using this indispensable work for many years will be grateful because it is now, with the help of these rich indices, much more easily referred to.\" (Kristeller, Renaissance News, 14/1 (1961), S. 14-17). - Ecken und Kanten berieben und leicht bestoßen. Ehemalige Bibliotheksexemplare mit Rückensignatur, Inventarnummern und Stempeln auf Schnitten, Vorsatzpapieren und Titelblättern. Im ersten Band fehlt die erste Lage der Briefe (= Seiten 1 bis 16), diese in Kopie beigelegt. Ein Blatt etwas eingerissen, ein Blatt im Band 9 etwas stärker, hier mit transparentem Klebeband hinterlegt. Ansonsten guter Zustand, innen durchgehend sauber ohne Anstreichungen / Anmerkungen. - Clean ex-library copies with labels and stamps. The first 16 pages of the first volume missing but enclosed as photostatic copies. Two pages a bit cracked but complete. Else good copies and internally very clean. Versand D: 5,50 EUR Briefe Brief, Correspondence, Korrespondenz. Opus epistolarum Des. Erasmi Roterodami. Denuo recognitum et auctum per P. S. Allen et H. M. Allen et H. M. Garrod [= Vol. 1-11]. Indices: Compilavit Barbara Flower / Perfecit et edidit Elisabeth Rosenbaum [= Vol. 12].Tom. I - XII.

      [Bookseller: Antiquariat Kretzer]
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        TEATRO DELLA GLORIA. Consagrato All?Ecc.ma Signora D. Felice Sandoval Enriquez, Duchessa d?Uceda, defonta, dall?Ecc.mo Signore D. Gaspar Tellez Giron, Duca d?Ossuna, Conte d?Uregna, Governatore dello Stato di Milano.... nelle solennni esequie di Essa, celebrate in Milano, l?anno 1671, à 26 di ottobre.

      In-4 gr. (mm. 348x230), p. pergam. molle coeva (picc. manc. a un bordo), tit. ms. al dorso, 2 cc.nn., 230 pp.num., 1 c.nn. (errata), ornato da grandi iniziali figur. a vignetta inc. su legno, testo su due colonne: italiano e latino a fronte. Il vol. è molto ben illustrato f.t. da 2 ritratti (il duca d?Ossuna e la defunta sua consorte Felice Sandoval Enriquez) inquadrati da figure allegoriche, inc. in rame da G. B. Bonacina e Ambrogio Besozzi su disegno di Cesare Fiori (o de Floribus) e da 8 grandi tavv. più volte ripieg. raffiguranti le esequie nella chiesa di S. Maria alla Scala, tutte in rame e degli stessi incisori. Rarissima "edizione originale" Cfr. Cat. Piantanida,I,194: ?Assai raro? - Cicognara,1469: ?Le invenzioni furono di Cesare Fiore architetto? - Vinet,788 - Palau,VII, p. 15 per la versione in spagnolo - Predari, p. 270. Qualche lieve uniforme arross. altrim. esemplare ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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