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         De Sermone Latino e modis Latine loquendi.

      (A la fin:) Roma, Marcellus Silber, Anno Salutis 1515, Mense Octob. - in-folio. 106ff. (le dernier blanc). Vélin souple de l'époque. Edition Originale de ces traités sur la prose latine du cardinal et humaniste italien Adriano Castellesi (c. 1460-1621), profond connaisseur de la langue latine et écrivain "au style très-pur" (Larousse). Le volume est dédié, avec une préface, à "Carolo Principi Hispania", le futur empereur Charles-Quint. Castellesi fut chargé en 1488 d'une mission diplomatique en Angleterre par le pape Innocent VIII, à la suite de laquelle il fut nommé par le roi Henri VII cardinal de Hereford, Bath et ensuite Wells. De retour à Rome il entra dans une conspiration contre le pape Leon X mais fut découvert et obligé de fuir. Il disparut alors de la scène publique peut-être retiré à Venise ou encore selon une rumeur, refugié chez les Ottomans. Le titre de ce beau volume est entouré d'une large bordure typographique gravée sur bois, illustrée de figures diverses. Au centre on trouve les armoiries de l'auteur coloriées en rouge à l'époque. Traces de vers dans les marges de quelques feuillets, quelques mouillures claires. Bon exemplaire dans sa première reliure en parchemin souple (quelques manques au dos). Cf. Grewing, "Lateinische Grammatik in Stilistik in du Renaissance" (1999). Cf. Paschini, "Tre illustri prelati des Rinascimento: Ermola Barbaro, Adriano Castellesi, Giovanni Grimani" (Rome, 1957). Manque à Brunet qui ne cite qu'une reédition. [Attributes: First Edition]

      [Bookseller: Librería Comellas]
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         M. T. Ciceronis Orationes a Nicolao Angelio Bucinensi nuper maxima diligentia recognitae et excusae

      Impressum Florentiae Sumptu Philippi Iuntae, 1515. LATINO 0,71 Due cinquecentine in 8°, buono stato, coperta rigida in pergamena, su dorso tassello in pelle con cornice e caratteri incisi in oro, poche macchie, punte e bordo appena sfregati, dorso del II volume con piccolo foro, tracce di fioritura sparsa, tagli di colore giallo, lievemente bruniti, pagine in buono stato, con scolii e qualche sottolineatura, prime pagine del I volume con macchia d'umidità sul margine di testa. Presenta registro, indice, segnatura dei fascicoli e richiami. Sulla facciata precedente l'incipit, di entrambi i volumi timbro a secco. Opera completa. USATO

      [Bookseller: Biblioteca di Babele]
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         Gli asolani di messer Pietro Bembo.

      Impresso in Vinegia, nelle case d'Alessandro Paganino, del mese di aprile dell'anno 1515), [1515] - in-24, ff, CXXVI, (2), (numerati in basso a destra, i ff. XVI e XCIIII num. XVII e XCIII, Segn.: A-P⁸ Q⁸, manca l'ultimo bianco), legatura veneziana di poco posteriore con nodo alla greca centrale ed elementi vegetali, il tutto entro cornicetta con greche. (piccoli difetti alle cerniere di piede). L'anno di svolta nelle scelte editoriali di Alessandro Paganini fu proprioil 1515, quando iniziò a pubblicare una serie di libri in un piccolo formato quasi ignoto prima di allora, utilizzando un carattere ibrido tra il tondo e il corsivo, da lui disegnato, in uno specchio di stampa di 84 x 39 mm, Il suo nome è quindi nella storia della stampa grazie all'invenzione del formato in 24°, ottenuto stampando in formato in-ottavo su un foglio tagliato in tre parti con un carattere di 2,4 mm per linea, che rendeva necessario l'uso di lenti e pinzette per la composizione tipografica. Rarissima edizione, censita in sole 4 biblioteche pubbliche italiane (Convento francescano Dongo, Biblioteca Alessandrina a Roma, Queriniana e Marciana di Venezia). Esemplare con perdite di testo al foglio del titolo e restauri al margine esterno bianco del secondo e terzo foglio, ma in bella rilegatura quasi coeva. Edit 16 v. 2 p. 92 n. 1172. A.Nuovo, p. 37-62: "La collezione in ventiquattresimo è uno dei nodi dell'editoria di Alessandro: le è affidato un programma preciso e coerente. converrà tenere presente le invenzioni e gli spunti fecondissimi di Aldo e da questi ricostruire un disegno che, con mira più modesta, tempestivamente rispondeva alle nuove esigenze dei lettori, e quindi anche all'innegabile ridimensionamento della grande scuola umanistica italiana". [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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         L. Coelii Lactantii Firmiani Divinarum institutionum libri septem. De ira Dei, liber I. De opificio Dei, liber I. Epitome in libros suos liber acephalos. Phoenix. Carmen de dominica resurrectione.

      [colophon: Venetiis: In aedibus Aldi, et Andreae soceri, 1515]. 8vo (16.3 cm, 6.375"). [16], 348, [12], [4], 48 ff. First Aldine edition for Lactantius' three major works, the editio princeps having been printed in 1465. Another Aldine version appeared in 1535. The text includes a preface by Giovanni Battista Egnazio (addressed to Antonio Trivulzio) which serves as a => eulogy for Aldo Manuzio, who died earlier that year, as well as a => Latin–Greek dictionary following the main text for the phrases used within the work. Also appearing after Lactantius' text is a short "Apologieticus contra gentes" by Tertullian, with a preface by Egnazio; UCLA's Aldine catalogue notes the two must have been released together, as corrections for the Tertullian appear at the end of the Lactantius.    Lucius Caecilius Firmianus Lactantius (ca. 240–320), born a pagan before converting to Christianity, was a North African writer whose polished style earned him, during the Renaissance, the sobriquet of "the Christian Cicero." According to the New Catholic Encyclopedia, Jerome admired his writings, judging their strengths and weaknesses as apologetics somewhat wistfully: "Would that he had been able to establish our teachings as well as he demolished that of others."    Spaces with guide letters are found throughout the work but have been left unaccomplished, no scribe having provided decorative initials; the whole is => in Aldine italic with a few phrases in Greek; and the Aldine dolphin and anchor is found on both title-pages and the last page.    Provenance: From the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.         Adams L16; Renouard (3rd ed.), Alde, 70–2; UCLA, Aldine Press: Catalogue of the Ahmanson-Murphy Collection (2001), 132. On Lactantius, see: New Catholic Encyclopedia, VIII, 308–309. Late 18th-century tree calf, flat spine ruled and decorated in gilt with two colored labels, covers framed in gilt geometric roll, all edges gilt and gauffered, speckled endpapers; rubbed with some loss of leather and covers somewhat tenuously attached, worming at one corner a little affecting an endpaper. Light age-toning with some staining/spotting, some gatherings with chiefly marginal waterstaining/very small worming; inner margin of title-page and first leaf of text repaired affecting a few letters; one leaf with short interior tear and another with inked marginal note. => This Aldine with a significant "Aldine" preface.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Fabularum quae hoc libro continentur interpretes atq[ue] authores sunt hi. In libera Argentina.[Strasbourg, Matthias SchÜrer, December 1515]

      1515 - Title within fine one-piece white-on-black woodcut border after Urs Graf incorporating architectural columns, two fools at the top and at the bottom two putti holding an empty shield, white-on-black initials. Sm 4to. (208 x 145mm). [36]ff (last blank). 19th century marbled boards. A rare early Strasbourg edition published by Matthias SchÜrer of Maarten van Dorp's anthology of fables, chiefly by Aesop and Avianus, which was one of the most popular Renaissance collections and much used in schools. Initially a product of Dutch humanism, the collection was expanded in the 1520s and 1530s and became, for example, the standard school Aesop in England. The Latin translations found here in this early collection are by Dorp's friend and correspondent Erasmus and fellow humanists Hadrianus Barlandus, Guilielmus Goudanus, Angelus Politianus, Petrus Crinitus and Ioannes Antonius Cambanus. the 'Vita Aesopi' is that of Maximus Planudes. Our copy corresponds to the VD online copy which only has an imprint 'In Libera Argentina' on the title-page while another issue is known to also read on the title-page 'apud Matthia Schurerium' and hold the initials 'M.S.' in the shield. The fine title border is a version of one by Urs Graf used by Froben in Basle in the same year (see Hieronymus). In our copy Aesop's fable no. 50 De Adolescente & Cato of a Young-Man and a Cat' obviously caused offence to an early reader and has been neatly inked over. Light marginal staining and a few small wormholesat blank lower margin of last few leaves. VD16 A449. Ritter, Rep. I, 93. Schmidt VIII, 121. OCLC (USA: Harvard only). Ref: Hieronymus Oberrheinische Buchillustration 172 & abb. 313. [Attributes: Hard Cover]

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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         M. T. Ciceronis Orationes a Nicolao Angelio Bucinensi nuper maxima diligentia recognitae et excusae

      FIRENZE: Impressum Florentiae Sumptu Philippi Iuntae, 1515. Rilegato. BUONO. 10,4 16,6. I-II USATO

      [Bookseller: Biblioteca di Babele]
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         Gli Asolani di Messer Pietro Bembo.Impressi in Vinegia nelle Case d'Aldo Romano & Andrea Asolano suo suocero nel anno M.D.XV. del Mese di Maggio

      Venezia,Aldo romano & Andrea Asolano 1515 - In-8°(93 x 153 mm).129 carte numerate e una carta con l'ancora stampata al verso.(Marca Fletcher 5).Piacevole legatura moderna in piena pergamena, realizzata nella prima metà del secolo XX.Buon esemplare di questa seconda edizione "aldina" degli Asolani,stampata dopo la morte di Aldo e del tutto simile alla prima del 1505. Vi si ritrova la prefazione del Bembo a Lucrezia Borgia,che era stata tolta dalla maggior parte degli esemplari del 1505. Buon esemplare fresco,con margini accettabili. Adams 579. Renouard p.72.Gamba,132.Cataldi Palau p.598. UCLA Aldine Catalogue,116 [Attributes: Hard Cover]

      [Bookseller: La carta bianca studio bibliografico]
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         Una Musa

      1515 - Bulino, 1516-1518 circa. Da un disegno perduto già attribuito a Raffaello. Bellissima prova, impressa su carta vergata coeva priva di filigrana, rifilata alla linea marginale, in ottimo stato di conservazione. I disegni preparatori per questa serie non si sono conservati. L’attribuzione a Raffaello, accolta da Bartsch e Passavant, risale al Vasari che, nella Vita del Raimondi (V, 413) afferma appunto che la serie sia stata incisa su disegno dell’Urbinate. Già Delaborde dubitava dell’attribuzione, pensando invece ad un possibile allievo come Giulio Romano. Frommel, seguendo un’indicazione di Oberhuber, ne attribuisce l’invenzione al Peruzzi, datando la realizzazione al 1524-27 circa. Bianchi, riprende Delaborde solo in parte, sostenendo che Giulio Romano abbia disegnato solo le tre virtu teologali, mentre quelle cardinali sarebbero invenzione di Raffaello. La serie però è stilisticamente molto omogenea, e senz’altro riconducibile a un progetto unitario. Se l’attribuzione a Raffaello risulta dubitativa per l’assenza della morbidezza e organicità che caratterizzano le sue figure, l’attribuzione al Peruzzi risulta invece più plausibile: sono infatti diverse le corrispondenze tra alcune figure di questa serie con altre opere firmate dal Peruzzi. La datazione sarebbe riconducibile al 1516-1518, a favore della quale depone anche la tecnica esecutiva delle incisioni stesse, con le linee distanziate le une dalle altre a formare incroci semplici che si riscontra in altre opere del Raimondi riferibili allo stesso periodo. Engraving, 1516-1518 circa. After a drawing formely attributed to Raphael. Only state. Good example, printed on contemporary laid paper, trimmed to the margins, in very good conditions. The preparatory design, now lost, of the series was assigned to Raphael by Bartsch and Passavant, byfollowing Vasari, and to Giulio Romano by Delaborde. Frommel, following an indication of Oberhuber, attributes the invention to Peruzzi, dating the realization about 1524-27. Bianchi, resumes Delaborde in part, arguing that Giulio Romano has only drawn the three theological virtues, while the Cardinals would invention of Raphael. The series, however, is stylistically homogeneous, and certainly due to a single project. If the attribution to Raphael is doubtful for the absence of softness and organic unity that characterize his figures, the attribution to Peruzzi is instead more plausible: they are different correspondences between some of the figures in this series with other works signed by Peruzzi. The dating would be attributable to 1516-1518, and it’s supported by the engravings technique, with lines spaced from each other to form simple crosses that found in other works of Raimondi referable to the same period. Bartsch 266. Dimensioni 79 128mm

      [Bookseller: Libreria Antiquarius]
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         Dante col sito, et forma dell' inferno tratta dalla istessa descrittione del poeta [Divine Comedy].

      In Venegia nelle Case d'Aldo & d'Andrea di Asola [Venice: Aldus and Andrea di Asola]. Agosto,, 1515. Second Aldine edition and first illustrated edition. Octavo. pp [2]. 244. Double-page woodcut diagram of Hell; double- and single-page woodcut charts of the sins of Hell and Purgatory. Aldine device on title-page and on verso of final leaf. Early 19th century binding of full calf.From the library of William Rossetti with a gift inscription to him on the verso of the front free endpaper: ''William Rossetti from his friend Vernon Lushington. 18 June 1873''. Rossetti had published a translation in blank verse of the Inferno in 1865. Vernon Lushington (1832-1912) was a judge closely associated with the Pre-Raphaelite Brotherhood of which William Michael Rossetti was a founder member. It was Lushington, a Cambridge Apostle, who first introduced Edward Burne-Jones to Dante Gabriel Rossetti in his college rooms. Lushington's daughter Kitty was supposedly the model for Virginia Woolf's Mrs Dalloway.Early inscription on title-page. Cover rubbed at edges and joints. Hinges cracking but tight. Very good.

      [Bookseller: Peter Ellis bookseller]
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         Sermones prestantissimi sacrarum literarum

      Strasbourg: Johann Grüninger, 1515. From the Collection of Arthur & Charlotte Vershbow. Folio (272 x 198 mm). Criblé border around title, 7 woodcut illustrations (one repeat), numerous woodcut initials. Contemporary blind-stamped half pigskin over wooden boards, brass claps. Rebacked preserving old spine, lacking catches; minor worming to title (affecting a few letters) and first few leaves, a few blank margins with minor paper flaws, some light browning. Provenance: early marginalia; Joh. Wigand (signature on title); purchased from John Fleming, 1971. One of several issues of the second edition, illustrated with the same unusual set of woodcuts representing danse macabre subjects that had appeared in the first edition of 1514. Kristeller describes the full-page "Figura Mortis" cut (showing death slaying a whole family) as "a Dance of Death scene of the most moving character." The pictorial criblé title border carries the initials "E.W.", "G.W." and "V.A." Geiler's sermons held in Strasbourg Cathedral were marked by uncommon, bold and often down-to-earth turns of phrase, and great erudition. Kristeller 155; Muller II:35, 126; Muther 1435; Schmidt 146. See Minns, Dance of Death Collection, 194. Fact and Fantasy 18.

      [Bookseller: Riverrun Books & Manuscripts]
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         Discordantiae sanctorum doctorum Hieronymi et Augustini. (Con:) Sibyllarum de Christo vaticinia. (Con:) Varia Judaeorum et gentilium de Christo testimonia. Proba Falconia, Centones de utriusque, testamenti historijs ex carminibus Vergilii selecti

      Jacob Koebel, 1515. In 4°(mm 195x140), carte 4, 8, 20,18 ultima bianca. Con 14 grandi vignette raffiguranti le sibille entro bordure architettoniche, 7 piccole incisioni in legno e 3 grandi capolettera silografici, tutte ad opera del cosiddetto "Master of Koebel's press". Pergamena rigida del XVII sec. con tre nervi, titolo manoscritto al dorso, tagli rossi. La raccolta comprende varie opere, tra cui le "Discordantiae sanctorum doctorum Hieronymi et Augustini" del Barbieri, ritenuta la sua più importante produzione di carattere scientifico. In questo trattato composto per volontà dell'imperatore, egli difende, quasi polemicamente, la scuola tomistica, secondo la quale nel pensiero di San Tommaso sono contenute la scienza e la verità. Il contenuto degli altri scritti degli "Opuscula" (i vaticini delle sibille, i carmi della poetessa Falconia, il simbolo anastasiano) induce a pensare che questa raccolta fosse destinata a uso scolastico; conobbe una certa fortuna e varie edizioni, alcune delle quali successive alla morte del Barbieri.Filippo Barbieri (Barberi Filippo, Philippus de Barberis, Philippus Siculus), nato a Siracusa intorno al 1426, fece parte dell'Ordine dei domenicani, presso il locale convento dei predicatori. Si addottorò forse a Catania, insegnante di teologia, divenne famoso come filosofo e oratore. Ricoprì anche la carica di inquisitore in Sicilia e a Malta per il Santo Uffizio; durante un viaggio in Spagna con vigore persuase i sovrani a nominare tre inquisitori per perseguire gli ebrei, (i Giudei recidivi) azione peraltro implicitamente autorizzata da Sisto IV con una Bolla. La terza opera è di Proba Betizia Faltonia, la più importante poetessa latina della tarda antichità.Dopo la sua conversione, Proba compose un poema epico cristiano, il Cento Vergilianus de laudibus Christi o, più semplicemente, De laudibus Christi, composto intorno al 362. Si tratta di un centone virgiliano, cioè di un componimento ottenuto giustapponendo versi estratti dalle opere del poeta mantovano, con modifiche minime, che, nel caso in questione, corrispondono all'introduzione dei nomi biblici.Bell'esemplare in rimarchevole impressione. Lievissime tracce di ossidazione, antico restauro all'angolo inf. della carta b iii del Centones, presenti piccoli forellini di tarlo saltuari. Hain-Copinger, 2454; Panzer, II 243,3; Proctor 11924-26 (copia non perfetta); Naumann Archivio I, P. 163Treccani (per la prima edizione del 1481): "L'Opusculum de his in quibus Augustinus et Hieronymus dissentire videntur in divinis litteris fu riedito in una raccolta di scritti detta Opuscula (pubblicata per la prima volta nel 1481; il titolo è ricavato dalla prefazione), con il titolo di Discordantiae sanctorum doctorum Hieronymi et Augustini (unico opuscolo della raccolta che sia opera del Barbieri): il contenuto degli altri scritti degli Opuscula (i vaticini delle sibille, i carmi della poetessa Falconia, il simbolo anastasiano, l'orazione domenicale, la salutazione angelica, ecc.) induce a pensare che questa raccolta fosse destinata a uso scolastico; essa, comunque, ebbe una certa fortuna e varie edizioni, alcune delle quali successive alla morte del Barbieri... In conclusione, gli studi del domenicano di Siracusa, onorato della stima di alte personalità del mondo laico ed ecclesiastico, oltre a dare notorietà al suo autore, rappresentano un notevole contributo ai dibattiti filosofici e teologici del tempo e, in particolare, alla diffusione del pensiero tomistico, in ossequio alle direttive dell'Ordine domenicano"; Tiraboschi, Storia della letteratura italiana, Milano 1833, p. 603; Brunet, Manuel du libraire, Paris 1860, IV, coll. 608 s.; Graesse, Trésor des livres rares et Précieux, p. 266; Sander, Handbuch der Inkunabelpreíse, p. 39This collection of the prophecies of the Sibyls was printed by Jacob Köbel (1460-1533), who ran a press in Oppenheim from 1503 to 1532. Although there is no date in the book, we believe it was printed about 1514 (Goff B-122, after 1500). Counting the title page, there are 14 large woodcuts with quotations and architectural borders. The source for the texts of the prophecies of the Sibyls is by the Dominican Philippus de Barberis, Discordantiae sanctorum doctorum Hieronymi et Augustini adiunctis aliis opusculis, which was compiled c. 1479 and appeared in several printed versions.Very good copy in eigtheen century vellum, red cuts

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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         M. T. Ciceronis Orationes a Nicolao Angelio Bucinensi nuper maxima diligentia recognitae et excusae

      Impressum Florentiae Sumptu Philippi Iuntae, 1515. LATINO 0,71 Due cinquecentine in 8°, buono stato, coperta rigida in pergamena, su dorso tassello in pelle con cornice e caratteri incisi in oro, poche macchie, punte e bordo appena sfregati, dorso del II volume con piccolo foro, tracce di fioritura sparsa, tagli di colore giallo, lievemente bruniti, pagine in buono stato, con scolii e qualche sottolineatura, prime pagine del I volume con macchia d'umidità sul margine di testa. Presenta registro, indice, segnatura dei fascicoli e richiami. Sulla facciata precedente l'incipit, di entrambi i volumi timbro a secco. Opera completa. USATO

      [Bookseller: Biblioteca di Babele]
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         [CAMBRIDGE BINDING]. Liber epistolarum beati Augustini episcopi Hipponensis ecclesiae

      Paris : Badius Ascensius, 1515 (colophon). Folio, ff. [viii], CCLXII, [31] (lacking last blank); title-page within a large historiated woodcut border enclosing the printer's device, many criblé initials throughout; a few minute pinhead wormholes scattered through the second part, a slightly larger one in quire f (not impairing legibility); in a contemporary Cambridge binding by Garret Godfrey of calf over wooden boards, the covers panelled in blind with a roll featuring a griffin, wyvern and lion, signed with the initials GG (Oldham, English blind-stamped bindings, no. 503), the centre occupied by two vertical rolls of quatrefoils in lozenges (ibid, no. 593) flanking a single vertical roll heraldic ornament: a gateway, fleur-de-lis, pomegranate and rose (ibid, no. 746); several impressions of an octagonal lion stamp in the margins outside the panels (not in Oldham); manuscript fore-edge title; wanting the two sets of clasps and catches, some chips at extremities and one or two small dents in the panelling, portions of the lower side sprinkled with pinhead wormholes; rebacked, preserving the original spine, portion at head renewed; new end-papers; contemporary signature 'ffran: wictor' at foot of title, and shelf-mark 'No. 35' in the upper margin; early 17th century initials GB, with price 'pret 3s. 4d.';  manuscript numbering to the initial printed content register; four leaves bound in at end, containing an extensive manuscript index of subjects and loci, dated 12 March 1602/3. Saint Augustine (354 - 430 C. E.) was a highly influential early Christian theologian from Hippo (now Annaba, Algeria), part of the Roman provinces in North Africa. His writings (in Latin) on the concepts of original sin, just war, and the Church as the City of God would influence Christianity through the medieval period and continue to have resonance in canonical teachings today. Augustine's teaching style was didactic, and radically different to that of his peers. He is also considered an important influence in the history of pedagogy. Augustine is the patron saint of brewers, printers and theologians. After the advent of printing, Augustine's texts went though numerous editions, and still remain in print. This early post-incunabule edition of his works is rare, held in only a handful of libraries worldwide. The binding is a significant example of the craftsmanship of Garret Godfrey, active as a bookbinder at Cambridge University from 1502 until his death in 1539. Born in Limburg in the Netherlands, he is thought to have gone by the name Garrett van Graten. In Cambridge he lived at the parish of St Mary's, later serving as Churchwarden along with his contemporary colleague Nicholas Spierinck. Godfrey's distinctive tooled rolls show the emblems of a wyvern, griffin and lion, along with the initials G G indicating the book came from his workshop. Godfrey was later to give some of his tools to Spierinck, who replaced these with his own initials N S. At least fourteen Godfrey bindings have been internationally recorded with the G G initials (see: Six Centuries of Master Bookbinding, Bridwell Library, 9 February - 29 April 2006, cat. 5). Along with Spierinck and another binder, Segar Nicholson, Godfrey was appointed one of the first  official University Printers and Stationers at Cambridge in 1534. This late medieval folio, with its dramatic tooling, relates closely to a Spierinck binding held at the Baillieu Library, showing similar tooling. Both works date from circa 1520, and together allow comparison and representation of the two great known binders of Cambridge's early history. There are no known Godfrey bindings or copies of this edition of Augustine in Australian collections.

      [Bookseller: Douglas Stewart Fine Books]
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         Breviario Grimani.

      Ghent and Bruges ca. 1515-1520 - 835 folia. Crimson velvet binding, richly decorated with gilt ornaments, 2 clasps, gilt-edged and gauffred text block, presented in an accompanying casket, small Folio Breviary: H. 30 x L. 24 x W. 17,5 cm. Casket: H. 34,5 x L. 30 x W. 28 cm. (Extremely fine facsimile edition of the Breviary of Cardinal Domenico Grimani, copy 238 of 750 published by Salerno Editrice at Rome, 2009. The Grimani Breviary is the most elaborate and arguably the greatest work of the history of Flemish manuscript illumination. In 1520 the breviary was purchased by Cardinal Domenico Grimani for the enormous sum of five hundred ducats. The breviary brought together the leading illuminators of the time and each of these artists created for this manuscript some of their most exquisite and original miniatures. The breviary contains 50 full-page miniatures, 18 large miniatures, 18 small miniatures, numerous historiated borders, 12 full-page calendar miniatures, and 12 bas-de-page calendar miniatures, all painted in vivid colours and embellished by the use of gold. The miniatures depict both sacred and secular subjects, including a calendar, psalms, hymns, texts from the holy scriptures, and prayers for the canonical hours of the day. The work is bound with crimson velvet and decorated with elegant frames, finely chiselled, that enclose golden bronze scrolls and medallions portraying on the front cover the Doge Antonio Grimani and on the back cover the cardinal Domenico. The work comes with an information folder: Breviario Grimani (ms. Lat. I 99 = 2138 della Biblioteca azionale Marciana di Venezia) Documetazione del fac-simile.) Kren, T./McKendrick, S. (2003). Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, p. 420-424 [Attributes: Hard Cover]

      [Bookseller: Antiquariaat de Roo]
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         La lire maçonne ou recueil de chansons des francs-maçons. Revu, corrigé, mis dans un nouvel ordre, & augmenté de quantité de Chansons qui navaient point encore paru Avec les airs notés, mis sur la bonne clef, tant pour le chant que pour le violon & la flute, Nouvelle edition.

      Mit gest. Titelvign. und Noten im Ttext. 516 S. Lederband d. Zt. Kloss 1515 Taute 2320 Wolfstieg 39707 (gibt als den wahren Verfassernamen Jean Jos. Joniot an): "217 Gesänge mit Melodien, darunter 40 in holländ. Sprache". - Mit zeitgen. Besitzeintrag Mademoiselle J. J. Hopman, 1773, und Wappenexlibris John Adam Milne. - Bestoßen.

      [Bookseller: Antiquariat Turszynski]
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         Falknerklee, bestehend in drey ungedruckten Werken über die Falknerey. ...Pest (now part of Budapest), Conrad Adolf Hartleben (verso of title-page: [Vienna], printed by the widow of Anton Strauß), 1840. 8vo. With lithographed frontispiece, elaborately decorated Turkish title-page and opening page. Set in fraktur, Arabic and Greek types with incidental roman. With a modern index of ornithological, zoological and botanical names. Later 19th-century half tanned sheepskin, with the publisher's original tinted lithographed wrappers bound in; the modern index is separately bound in modern goatskin, designed to match the main volume.

      Harting 112; Schwerdt I, p. 228; not in Atabey; Blackmer. First printing in any language of three important manuscripts on falcons and falconry: a 12th-century Turkish treatise on falconry by Mahmud Ibn Mehmed al-Bargini, "Baz nama" [= Falcon book] (in the original Turkish and in German translation); the Holy Roman Emperor Maximilian I's ca. 1515(?) "Über die Falknerey" in the original German; and a shorter Greek treatise on hawking, "Hierakosophion" [= Hawking apprenticeship] in the original Greek and in German translation, a variant form of part of a 13th-century work by the Byzantine Emperor Michael VIII (1223-1282). Little is known about the author of the Turkish treatise, but he came from Anatolia on the southeastern coast of what is now Turkey, where he apparently worked in service of the Bey of Mentese. He cites another work from 597 AH (1200/01 CE).Hammer-Purgstall (1774-1856), a leading Austrian orientalist with an extensive knowledge of languages, took up a diplomatic position at the Austrian embassy in Constantinople in 1799 and remained in Turkey and the Middle East until 1807. He found the Turkish manuscript on falconry at the Biblioteca Ambrosiana in Milan in 1825 and the other two manuscripts at the Hofbibliothek in Vienna. He not only translated and edited the present texts but also contributed a 32-page introduction and a list of 63 works on the subject of falconry, from the 15th-century to his own day. The book, printed in only 300 copies, has been largely overlooked in the literature on ornithology and Islamitica, but Schwerdt notes that it is "particularly important to lovers of falconry, its origin and history". It also provides insights into the Turkish language and Islamic culture. With some modern pencil notes on the flyleaf and in the margins. Somewhat foxed throughout, as usual, but otherwise in very good condition and nearly untrimmed. The original publisher's illustrated wrappers, rarely preserved, show a few small chips, tears and scrapes but are still in good condition. The binding is chipped at the foot of the spine and slightly worn, but still generally good.

      [Bookseller: Antiquariaat FORUM BV]
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         Venere e Cupido

      1515 - Bulino, 1515-20, privo di dati editoriali. Magnifica prova, impressa su carta vergata coeva, rifilata alla linea marginale, sporadiche fioriture visibili sul verso, per il resto in ottimo stato di conservazione. La scena mostra Venere sdraiata su una sporgenza rocciosa; la sua mano sinistra tesa ad accarezzare la guancia di Eros che tiene in mano una torcia ardente. L’opera è ritenuta da Bartsch creazione di Giulio Romano, incisa da Agostino Veneziano. Armano, invece, indica Raimondi quale incisore della splendida lastra. Due timbri di collezione al verso: uno della collezione Johann Melchior von Birckenstock (Lugt 345), ed uno non leggibile. Bellissima prova di questa rarissima incisione. Engraving, circa 1515-20, without date and signature. A magnificient proof, printed on contemporary laid paper, trimmed close to the platemark, just occasional foxing on the back, otherwise in very good condition. The scene depicts Venus recumbent on a rocky ledge, her outstretched left hand stroking the cheek of Eros who holds a burning torch. Bartsch suggests that this engraving is by Agostino Veneziano after Giulio Romano; Armano however, considers that the engraver could be Raimondi. Ex collection Johann Melchior von Birckenstock (Lugt 345). A fine example of this very rare work. Bartsch XIV.239.318 Dimensioni 170 237mm [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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         Falknerklee, bestehend in drey ungedruckten Werken über die Falknerey. ...Pest (now part of Budapest), Conrad Adolf Hartleben (verso of title-page: [Vienna], printed by the widow of Anton Strauß), 1840. 8vo. With lithographed frontispiece, elaborately decorated Turkish title-page and opening page. Set in fraktur, Arabic and Greek types with incidental roman. With a modern index of ornithological, zoological and botanical names. Later 19th-century half tanned sheepskin, with the publisher's original tinted lithographed wrappers bound in; the modern index is separately bound in modern goatskin, designed to match the main volume.

      Harting 112; Schwerdt I, p. 228; not in Atabey; Blackmer. First printing in any language of three important manuscripts on falcons and falconry: a 12th-century Turkish treatise on falconry by Mahmud Ibn Mehmed al-Bargini, "Baz nama" [= Falcon book] (in the original Turkish and in German translation); the Holy Roman Emperor Maximilian I's ca. 1515(?) "Über die Falknerey" in the original German; and a shorter Greek treatise on hawking, "Hierakosophion" [= Hawking apprenticeship] in the original Greek and in German translation, a variant form of part of a 13th-century work by the Byzantine Emperor Michael VIII (1223-1282). Little is known about the author of the Turkish treatise, but he came from Anatolia on the southeastern coast of what is now Turkey, where he apparently worked in service of the Bey of Mentese. He cites another work from 597 AH (1200/01 CE).Hammer-Purgstall (1774-1856), a leading Austrian orientalist with an extensive knowledge of languages, took up a diplomatic position at the Austrian embassy in Constantinople in 1799 and remained in Turkey and the Middle East until 1807. He found the Turkish manuscript on falconry at the Biblioteca Ambrosiana in Milan in 1825 and the other two manuscripts at the Hofbibliothek in Vienna. He not only translated and edited the present texts but also contributed a 32-page introduction and a list of 63 works on the subject of falconry, from the 15th-century to his own day. The book, printed in only 300 copies, has been largely overlooked in the literature on ornithology and Islamitica, but Schwerdt notes that it is "particularly important to lovers of falconry, its origin and history". It also provides insights into the Turkish language and Islamic culture. With some modern pencil notes on the flyleaf and in the margins. Somewhat foxed throughout, as usual, but otherwise in very good condition and nearly untrimmed. The original publisher's illustrated wrappers, rarely preserved, show a few small chips, tears and scrapes but are still in good condition. The binding is chipped at the foot of the spine and slightly worn, but still generally good.

      [Bookseller: Antiquariaat FORUM BV]
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         La vie du P. Gaspar Barzee Zelandois, de la Compagnie de Jesus. ... En la conqueste d'un Nouveau Monde à la foy Chrestienne, soubs les estandarts du bon Jesus, en l'Inde Orientale.Douai, Noel Wardavoir, 1615. Small 8vo (14.5 x 9 cm). Contemporary limp vellum.

      De Backer & Sommervogel VIII, col. 238, 4; Streit V, 188. First French edition of a biography of the Jesuit Gaspar Berse (1515-1553), who preached in Ormuz at the mouth of the Persian Gulf and Goa in India. Berse was born in Goes on the island of Walcheren in Zeeland, the Netherlands. After his studies in Louvain he went to Coimbra in 1546 where he entered the Jesuit order. In 1548 he was sent to the island of Ormuz and in 1551 to Goa where the well-known François Xavier, who would soon depart for Japan, appointed him director of St. Paul's College in Goa and entrusted him with the provincialate of the Indian Mission. He died in Goa on 6 October 1553.With engraved armorial bookplate of John Drummond of Logy Almond on back of title-page. In very good condition. The cords were never attached to the vellum cover and the endleaves never pasted down, so that the cover is held on by the headbands laced through at the hinges.

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         LIBRO DEL PEREGRINO.

      Mediolani, in Officina Minutiana, 1515. In-24 gr. (mm. 136x94), p. pergam. ottocentesca, tit. impresso al dorso, tagli dorati, 15 cc.nn., 1 c.b., CCCXLVI cc.num. Dedicato, con parole di profonda devozione, a Lucrezia Borgia. Al fine “Vita” dell’autore “per Georgio Anselmo. Al. R. Messer Piramo di Pepuli”. Bella marca al frontesp. e grandi iniziali ornate, su fondo nero, inc. su legno. "Manca" la c. CXX, qui sapientemente riprodotta su carta antica. “Romanzo in tre libri del sacerdote parmense Iacopo Caviceo (1443-1511), pubblicato nel 1508. E’ la storia boccaccesca degli amori di due giovani, Peregrino e Ginevra, che l’autore finge d’aver ascoltato (in tre tempi) dall’ombra del protagonista stesso apparsogli in visione.. e reso piccante dalle numerose allusioni a uomini contemporanei e dalla lubricità di parecchi episodi. Godette al suo tempo di una grandissima popolarità; in mezzo secolo fu ristampato 19 volte e tradotto in francese e in castigIiano.” Così Diz. Opere Bompiani, IV, p. 394. Cfr. Choix de Olschki,IX,12693 - The British Library, p. 162 - Brunet,I,1701. Con frasi ms. di appartenenza e con piccolo timbro “Bibliotheca Heberiana” (timbro particolarmente apprezzato dai bibliofili perchè indica la provenienza dalla straordinaria biblioteca del londinese Richard Heber, 1733-1833, che arrivò a collezionare ca. 200.000 volumi antichi. Così Diz. Treccani,V, p. 735). Esemplare ben conservato. Raro.

      [Bookseller: Libreria Malavasi sas]
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         La vie du P. Gaspar Barzee Zelandois, de la Compagnie de Jesus. ... En la conqueste d'un Nouveau Monde à la foy Chrestienne, soubs les estandarts du bon Jesus, en l'Inde Orientale.Douai, Noel Wardavoir, 1615. Small 8vo (14.5 x 9 cm). Contemporary limp vellum.

      De Backer & Sommervogel VIII, col. 238, 4; Streit V, 188. First French edition of a biography of the Jesuit Gaspar Berse (1515-1553), who preached in Ormuz at the mouth of the Persian Gulf and Goa in India. Berse was born in Goes on the island of Walcheren in Zeeland, the Netherlands. After his studies in Louvain he went to Coimbra in 1546 where he entered the Jesuit order. In 1548 he was sent to the island of Ormuz and in 1551 to Goa where the well-known François Xavier, who would soon depart for Japan, appointed him director of St. Paul's College in Goa and entrusted him with the provincialate of the Indian Mission. He died in Goa on 6 October 1553.With engraved armorial bookplate of John Drummond of Logy Almond on back of title-page. In very good condition. The cords were never attached to the vellum cover and the endleaves never pasted down, so that the cover is held on by the headbands laced through at the hinges.

      [Bookseller: Antiquariaat FORUM BV]
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         Noctium Atticarum Libri Undeviginti

      8vo., ff. (xxxii), 289, (li). Imprint from colophon, anchor devices to first and final leaves. A few very faint marginal annotations in an old hand (e.g. f.147 verso). Dampstaining radiating from bottom edge, sometimes imperceptible but sometimes causing tidemarks and affecting , though by no means obscuring, text. Title-page a little grubby. Wormhole from first leaf to approx. f.166, tiny but affecting first line of text (a few letters, not legibility); a little additional worming to lower margin f.102, diminishing towards f.141. A few neat paper repairs generally to lower edge, the final leaf being particularly affected. Recent semi-limp vellum, gilt title to spine, fore-edges turned in, gilt gauffered edges, title faintly inked to tail edge, endpapers renewed. Spine a little darkened, a few smudgy marks, gilt egdes a bit worn but still very attractive. A very good copy, sympathetically rebound.Edited by J. B. Egnatius, pseud. of G. B. Cipelli, with a preface by Antonius Marsilius. Renouard finds two variations of the final leaf, one with 'duerniorem' and one with 'duernionem': this copy carries the latter spelling. He continues,'on y voit encore plusieurs autres variations du même genre: au reste le choix entre les deux est indifférent.' Dibdin notes that, 'the work does not contain any commentaries, but a double index sufficiently ample [...]. Fine copies are becoming very scarce.' A lovely example of the beauty and convenience of Aldine's unelaborated octavo volumes of popular Classical authors, highlighted with some early annotations: 'By pruning away one element - the commentaries - and combining two others - the smaller format and the most acceptable titles - Aldus was freeing literature from the study and the lecture-room.' (Lowry, 143)

      [Bookseller: Unsworth's Antiquarian Booksellers]
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         IN HOC LIBRO HAEC CONTINENTUR.

      (Florentiae), (opera & sumptu Philippi Iuntae), (1515 mense Nouembri). In-8 p. (mm. 217x148), p. pergam. antica, dorso a cordoni con tit. oro su tassello, cc.nn. 284 + 4 (Alphabetum Hebraicum). L’ultima c. “B8” (la 284) così termina al recto: “Finis Phocylidis Carminum. & deo gloria” ed è senza colophon. Testo latino e greco a fronte. Epistola di Bernardo Giunti a Pier Vettori. L’opera contiene: “Constantini Lascaris Byzantini de octo partibus orationis Lib. I - Eiusdem de constructione Liber Secundus - Eiusdem de nomine & uerbo Liber Tertius - Eiusdem de pronomine in omni idiomate loquendi, ac ut poete utuntur opusculum - Cebetis Thebani Tabula - Plutarchi de his quae apud Homerum linguis - De literis graecis ac diphthongis & quemadmodum ad nos ueniant - De potestate litterarum graecarum, & quo modo quis per se discat legere graeca uerba - Item quare Christus & Iesus sic scribimus Xps IHS - Cur in alphabeto ypsilon quibusdam fio dicitur - Oratio dominica & duplex salutatio ad Beatiss. Virginem - Euangelium diui Ioannis Euangelistae - Carmina aurea Pythagorae - Phocylidis Poema ad bene, beateque uiuendum - Introductio per breuis ad hebraicam linguam..”. Cfr. Annali dei Giunti,I,80: “Esistono due serie di esemplari, con e senza data” (il ns. esempl. è stato collazionato con quello della Bibl. Braidense che porta data e stampatore) - Renouard, p. XL,75 - Brunet,III,858. Solo lieve alone margin. sulle prime 2 cc.; qualche lieviss. fiorit., altrimenti esemplare ben conservato. "L’umanista Costantino Lascaris (Costantinopoli 1434 - Messina 1501), fatto prigioniero dai Turchi alla caduta di Costantinopoli (1453), riuscì a fuggire e venne in Italia. A Milano fu maestro di greco a Ippolita Sforza, per la quale compose l’”Epitome delle otto parti del discorso”, il primo libro stampato in greco (1476), grammatica assai diffusa fino al secolo XIX. Il suo maggior merito è di aver atteso indefessamente a salvare i classici greci, esposti al pericolo di perire dopo la rovina dell’Impero Bizantino". Così Diz. Treccani,VI, p. 704.

      [Bookseller: Libreria Malavasi sas]
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         Falknerklee, bestehend in drey ungedruckten Werken über die Falknerey. .Pest (now part of Budapest), Conrad Adolf Hartleben (verso of title-page: [Vienna], printed by the widow of Anton Strauß), 1840. 8vo. With lithographed frontispiece, elaborately decorated Turkish title-page and opening page. Set in fraktur, Arabic and Greek types with incidental roman. With a modern index of ornithological, zoological and botanical names. Later 19th-century half tanned sheepskin, with the publisher's original tinted lithographed wrappers bound in; the modern index is separately bound in modern goatskin, designed to match the main volume.

      - Harting 112; Schwerdt I, p. 228; not in Atabey; Blackmer. First printing in any language of three important manuscripts on falcons and falconry: a 12th-century Turkish treatise on falconry by Mahmud Ibn Mehmed al-Bargini, "Baz nama" [= Falcon book] (in the original Turkish and in German translation); the Holy Roman Emperor Maximilian I's ca. 1515(?) "Über die Falknerey" in the original German; and a shorter Greek treatise on hawking, "Hierakosophion" [= Hawking apprenticeship] in the original Greek and in German translation, a variant form of part of a 13th-century work by the Byzantine Emperor Michael VIII (1223-1282). Little is known about the author of the Turkish treatise, but he came from Anatolia on the southeastern coast of what is now Turkey, where he apparently worked in service of the Bey of Mentese. He cites another work from 597 AH (1200/01 CE).Hammer-Purgstall (1774-1856), a leading Austrian orientalist with an extensive knowledge of languages, took up a diplomatic position at the Austrian embassy in Constantinople in 1799 and remained in Turkey and the Middle East until 1807. He found the Turkish manuscript on falconry at the Biblioteca Ambrosiana in Milan in 1825 and the other two manuscripts at the Hofbibliothek in Vienna. He not only translated and edited the present texts but also contributed a 32-page introduction and a list of 63 works on the subject of falconry, from the 15th-century to his own day. The book, printed in only 300 copies, has been largely overlooked in the literature on ornithology and Islamitica, but Schwerdt notes that it is "particularly important to lovers of falconry, its origin and history". It also provides insights into the Turkish language and Islamic culture. With some modern pencil notes on the flyleaf and in the margins. Somewhat foxed throughout, as usual, but otherwise in very good condition and nearly untrimmed. The original publisher's illustrated wrappers, rarely preserved, show a few small chips, tears and scrapes but are still in good condition. The binding is chipped at the foot of the spine and slightly worn, but still generally good. [Attributes: First Edition; Soft Cover]

      [Bookseller: Antiquariaat FORUM BV]
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         Der Jüden Glaube und Aberglaube/ Ehemals auff Verlangen seiner Auditorum zu mehrerer Gewißheit/ sonderlich dessen/ was anitzo noch würcklich unter den Jüden gelehret/ geglaubet/ und an ihren Sabbaten/ Fest- und Fast-Tagen/ in ihren Häusern und Schulen/ an ihrer Kleidung/ etc. bey Krancken und Sterbenden observiret und gehandelt wird/ beschrieben von Friedrich Albrecht Christiani, Judæo Converso, und ehemaligem Lectore Talmudico bey der Universität Leipzig/ Itzo zum erstenmahl mit einigen nützlichen Anmerckungen/ deutlichen Kupffern und nöthigen Registern/ wie auch einer Vorrede/ darinn des (Tit.) Hn. D. J. C. Wagenseils vorgetragene Hoffnung von der großen solennen und fast allgemeinen Jüden-Bekehrung erwogen wird.

      Mit gestochenem illustrierten Titel und 8 (3 gefalteten) Kupfertafeln. Drucktitel, 88, 186 S., 5 Bll. Späterer Umschlag. Fürst I, 178 (ungenau) und III, 144 (unter Reineccius) Faber du Faur 1515 ADB IV, 213 Handbuch österr. Autoren jüd. Herkunft I, 70. - Erste Ausgabe. Christiani, als Baruch ben Moses in Proßnitz/Mähren geboren, konvertierte 1674 in Straßburg zum Christentum und war bis 1695 Lektor für Hebräisch an der Universität Leipzig. Wegen einer Unterschlagung flüchtete er nach Proßnitz und trat dort wieder zum Judentum über. Die Kupfer zeigen jüdische Bräuche, Trachten und Kultgegenstände. - Gebräunt stellenw. mit schwachem Wasserfleck wenige Bll. leicht sporenfleckig S. 5/6 mit Verlust weniger Buchstaben durch Löchlein.

      [Bookseller: Antiquariat Turszynski]
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         Sermone del Reuerendo Padre Frate Hieronymo de Ferrara, facto a suoi Frati nella uigilia della Pascua di natale, sopra la natiuita del nostro signore Iesu Christo

      Bartolomeo de' Libri o Giovanni Stefano di Carlo. In 4°, cc. 4. Legatura moderna in pelle rossa con i piatti inquadrati da filetti oro. Custodia marmorizzata. Qualche alone ai margini. Capolettera istoriato all'inizio del testo. Edizione stampata non dopo il dicembre 1515 (data di acquisto dell'esemplare conservato nella Biblioteca Colombina). Cfr. Audin de Rians, n. 89; Boutourlin, n. 819; Simona Periti, Incunaboli Moreniani; IGI V p . 50.

      [Bookseller: Libreria antiquaria Atlantis]
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         De halosantho seu spermate ceti vulgo dicto, liber nunc primum in lucem abditus.Zürich, [Jacob Gessner], 1566. 8vo. With woodcut printer's device on title-page and a woodcut initial. Modern paper boards, early marbled edges.

      - Adams, G-522/[5]; Durling 1033; Osler 646/[5]; Sinkankas 2366/5. First and only edition of a treatise on certain salts sometimes found in crystaline "efflorescences" from the surface of the sea, which Dioscorides and Galen had recommended for the treatment of skin diseases. The Hessian doctor and botanist Valerius Cordus (1515-1544) left this treatise unpublished at his premature death, and Conrad Gesner added a preface and "Corollarium" for its posthumous publication in his compilation, De omni rerum fossilium genere, but the treatise with corollarium is separately signed and foliated for separate publication as well. Gessner's corollarium, slightly longer than the treatise itself, refutes the popular notion that these salts were the sperm of whales. Slightly browned with some occasional stains, once resulting in a small hole (leaf 9), and some, mostly marginal, foxing. Bookblock detached from binding, otherwise in good condition.

      [Bookseller: ASHER Rare Books]
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         Practica nova medicine [.]. Summula [.] de curis febrium.

      (Venice, heirs of Ottaviano Scoto, 19 Febr. 1515). - Folio (218 x 304 mm). 101 ff., final blank. With woodcut printer's device at the end and numerous woodcut initials. Modern red morocco, blindstamped to style, with gilt spine and inner dentelle. Marbled endpapers. All edges sprinkled in red. In cloth slipcase. A rare medical compendium drawing strongly on the Arabic physicians who dominated the medieval medical schools of France and Northern Italy, including the author's treatise on fevers (fol. 68 ff.), based on Avicenna, who is variously quoted. Some of the surprisingly modern ailments discussed include tinnitus (fol. 40), diabetes (fol. 61), and manic depression (an extensive chapter, fol. 13-16). This is the third edition of the collection first published thus in 1501 (not counting the only incunabular edition of 1485). "Concoreggio, born in Milan around 1380, was made professor in Bologna in 1404 before teaching at the Universities of Pavia, Florence and (in 1439) Milan. His works are composed after the model of the Arabs, without much personal observation, and were published as a collection after his death in Pavia around the year 1440" (cf. Hirsch). - Some waterstaining to margins (more pronounced near beginning). Bound in a sumptuous modern morocco binding decorated with rollstamps showing Renaissance heads, likely for the 20th-century physician and collector Piergiorgio Borio (his bookplate on the front pastedown). Only 3 copies in Italy (Biblioteca comunale dell'Archiginnasio Bologna; Biblioteca Angelica Roma; Biblioteca Casanatense Roma). Edit 16, CNCE 14741. Durling 1008. Hirsch VI, 645. Sangiorgio, Cenni storici sulle due Università di Pavia e di Milano (1831), p. 57f. Brambilla I, 128. Astruc 211. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         La Flagellazione

      1515 - Bulino, 1515 circa, non datato, siglato in lastra con la tavoletta, in basso al centro. Esemplare nel secondo stato di tre. Da una xilografia di Albrecht Dürer. Bellissima prova, impressa su carta vergata coeva, rifilata alla linea marginale, in ottimo stato di conservazione. L’opera è una traduzione a bulino di una xilografia del Dürer, della "Piccola Passione di Cristo". La scena rappresenta Gesù, legato ad una colonna, percosso da due uomini, mentre sulla sinistra assistono altre tre figure. La stampa appartiene alla serie di 37 stampe dedicate alla Passione di Cristo realizzate a bulino su rame, copie dalla nota serie della piccola passione su legno di Albrecht Dürer. Della serie si conoscono tre diversi stati, uno senza numerazione, il secondo con ogni esemplare numerato in basso a destra, ed un terzo stato con la numerazione inserita nella tavoletta. Raimondi copia tutti gli episodi, compreso il frontespizio, nello stesso verso, con evidente intento riproduttivo e perfino imitando con il bulino la tecnica xilografica. Omette però in questo caso il monogramma di Dürer, contrariamente a quanto avviene per altre copie dall'artista tedesco, per le quali invece si sospetta un intento di falsificazione vera e propria. La datazione delle copie di Raimondi da questa serie dovrebbe risalire alla metà del secondo decennio del XVI secolo (in ogni caso costituisce un terminus post quem la data dell'edizione del 1511), quando Marcantonio si trovava a Roma a capo di una fiorente bottega divenuta celebre soprattutto per i soggetti copiati da Raffaello. La mancanza della sigla dell'artista, nonostante la costante presenza del cartellino predisposto per accoglierla, ha fatto pensare che questa serie di rami sia stata in realtà incisa da Agostino dei Musi nella bottega di Marcantonio. Le copie di Raimondi ebbero esse stesse una notevole diffusione, venendo spesso associate a quelle di Dürer e frequentemente collezionate congiuntamente, così come avviene agli Uffizi e anche a Pavia, nella collezione Malaspina. Engraving, 1515 circa, no dated, inscribed on plate with the tablet at the bottom center. After a woodcut by Albrecht Dürer. Example of the second state of three, with the number 15 at lower right. A very good impression, printed on contemporary laid paper, trimmed on the marginal line, in good condition. he work is an engraved copy of a woodcut by Albrecht Dürer., form the serie "Little Passion". It shows Christ, bound to a column, being scourged by two figures at right while three others attend at left Bartsch XIV, p.403, n. 601 Dimensioni 98 130mm

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         Diuinarum institutionum libri septem. De ira Dei, liber I. De opificio Dei, Liber I. Epitome. Phoenix. Carmen de Dominica Resurrectione. (con:) TERTULLIANUS - Apologeticus.

      Eredi di Aldo Manuzio,, Venetiis, 1515 - In 8° (16 x 9,7). Cc. (16), 348, (12); (4), 48. Ancora aldina a entrambi i frontespizi e in fine. Bell’esemplare reglé e fresco in attraente legatura primissimo Ottocento marocchino verde con grande àncora aldina ai piatti. Tagli dorati e bulinati nello stile cinquecentesco. Ex-libris al risguardo ant.: Syston-Park, James Stevens Cox e Kenneth Rappoport. Elegante edizione (prima per i tipi del Manuzio) delle opere del "Cicerone cristiano" (denominazione coniata da Pico della Mirandola), composte intorno alla metà del III secolo. L’edizione è curata e corretta da Giovan Battista Egnazio e da Andrea Sodano; la cura testuale ne fece un grande successo e un modello per le edizioni di altri tipografi stranieri (principalmente Cratander a Basilea e il Petit a Parigi). Com’è noto l'Apologeticon di Tertulliano ha frontespizio e colophon propri tanto che Renouard aveva ipotizzato che fosse un’opera prevista per essere impressa a parte. AHMANSON-MURPHY, n. 132; ADAMS, L-16; RENOUARD, pp. 70-72 n. 2. OLSCHKI Choix, n. 4728.

      [Bookseller: LIBRERIA ANTIQUARIA PIEMONTESE]
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         Un giovane eroe davanti ad un’ara (Alcibiade davanti a un’ara)

      1515 - Bulino, 1515-30 circa, monogrammato in lastra: AV, in basso a sinistra. Da un soggetto di Raffaello. La scena mostra un soldato romano, con un elaborato elmo, in piedi, circondato da parti di un’armatura, accanto ad un altare fiammante. La figura del soldato deriva da quella di Alcibiade della Scuola di Atene di Raffaello. Il disegno con lo studio di nudo e di drappeggio, in controparte rispetto all’incisione, è conservato al British Museum (inv. 1956-7-13-500), e oggi ritenuto autografo di Raffaello. Esemplare nel primo stato di due, avanti l’excudit di Antonio Salamanca. Bellissima prova, con diffuso tono di lastra, impressa su carta vergata coeva, con filigrana non leggibile, rifilata alla linea marginale, in ottimo stato di conservazione. Timbro della collezione D'ARENBERG al verso (Lugt, 567). Engraving, circa 1515 - 1530, signed with monogram 'AV' on slab in foreground. After Raphael The scene depicts a young Roman warrior wearing an elaborate helmet and surrounded by pieces of armour, standing in front of a flaming altar. The warrior derives from the figure of Alcibiades in Raphael's School of Athens. Example of the first state (of two), before Salamanca’s excudit. A very good impression, printed on contemporary laid paper, with unidentified watermark trimmed close to platemark, some soiling, otherwise in good conditions. Ex collection D'ARENBERG (Lugt, 567). Bartsch XIV.358.483; Passavant VI.63.116; Raphael Invenit, p. 39, no. IV.4 Dimensioni 187 245mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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         Statutes and Ordinances of the Diocese of Nantes, Ms. on vellum, 1515.

      1515 - Early Sixteenth-Century Manuscript Collection of Statutes and Ordinances on Vellum with Two Illuminated Initials [Manuscript]. [France]. [Diocese of Nantes]. [Statutes and Ordinances of the Diocese of Nantes]. [Nantes, c. 1515]. 51, [2] vellum leaves. Folio (12-1/2" x 10-1/2"). Contemporary calf, rebacked in period style, blind frames to boards, small Maltese crosses in center of each board, raised bands to spine, ties lacking, front hinge mended, rear pastedown renewed. Moderate rubbing, a few minor chips and scuffs, corners bumped and somewhat worn. Content to rectos and versos of all leaves except Folio 3, which is ruled but otherwise blank. Text lettered neatly by a scribe in brown ink with wide margins, headings in red, 2 and 3-line initials throughout, introduction and main section begin with 7-line multi-color illuminated initials, one of St. John, the other of St. Peter. Final 2 leaves, with the running title Index in Statuta Ecclesiae Nannetensis, in fine later, non-scribal hand, later annotations to front pastedown. Discoloration and minor stains to some leaves, rodent damage (?) to upper corners of text block with no loss to text, overall condition is very good. * An interesting manuscript of statutes for the diocese of Nantes, established in the 4th century, promulgated by Francois Hamon, Bishop of Nantes from 1511-1532. These statutes, which cover a broad range of topics, including clerical duties, rules of residence, rules for students and punishment for nonobservance, offer a glimpse of Church law in Nantes shortly after the death of Anne of Brittany and before the French Wars of Religion that culminated in the Edict of Nantes (1598). The work of a talented scribe, this handsomely produced volume is a reminder that the manuscript transmission of texts continued long after the advent of printing. In some cases a manuscript was produced for a special occasion. More often, they were a less-expensive alternative to printing when only a few copies of a text were required. The high quality of the present manuscript suggests it was produced for a high-ranking cleric, such as a Bishop. [Attributes: Hard Cover]

      [Bookseller: The Lawbook Exchange, Ltd., ABAA ILAB]
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         La Chanson de Geste de Garin Le Loherain ; illuminated manuscript on paper in French with three full-page miniatures and three historiated initials

      - A UNIQUE PRESENTATION COPY OF THE MEDIEVAL EPIC BY PHILIPPE DE VIGNEULLE WITH THREE ANIMATED FULL-PAGE MINIATURES AND FANCIFUL HISTORIATED INITIALS. Illuminated manuscript on paper, in French, France, Metz, c. 1515-1527/28. Dimensions 285 x 205 mm. 613 folios, written in a cursive secretary hand on 28-37 lines in dark brown ink with corrections by six hands including the author, THREE FULL-PAGE MINIATURES, THREE HISTORIATED INITIAL, and numerous penwork initials in brown ink. BINDING: Contemporary brown calfskin blind stamped front and back center, spine restored. TEXT: Philippe de Vigneulles's Garin le Loherain is a translation into sixteenth-century French prose of the Geste de Loherain , a 12th- and 13th-century cycle of epic songs recounting the heroic exploits of four generations of a legendary Lorraine family and their endless feud with the treacherous Bordelais family. It was intended as a more entertaining version of the tale. The only other known copy of the text was lost during WWII. ILLUSTRATION: This is the only known work by Philippe de Vigneulles to have full-page colored miniatures and historiated initials maring three of the main division in the text. This was undoubtable intended as a presentation copy made by a professional artist working in Metz whose dynamic miniatures depict the feuds between the Loherains and their enemies in atmospheric landscapes. The delightful penwork initials incorporate flourishes, flora, and exaggerated human faces reminiscent of the great calligraphic Alphabet of Mary of Burgundy (c. 1480). PROVENANCE: Composed by Philippe de Vigneulles (1471-1527/28) in Metz in 1514-1515. It was then acquired in 1644 by Paul Ferry (1591-1669) who was married to Philippe de Vigneulles's great-granddaughter, Esther de Vigneulles. By the early 19th-century, Count Emmery of Metz owned the manuscript which was sold as part of is library in 1849. Later in the collection of the Count of Hunolstein and, most recently, the James and Elizabeth Ferrell Collection, United States, on long-term deposit at the Parker Library, Corpus Christi College, Cambridge, UK. CONDITION: Some minor loss on p. 270, minor stains, overall very good condition. Full description and photographs available.

      [Bookseller: Les Enluminures (ABAA & ILAB)]
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         Civilis belli

      Aldo, Venezia 1515 - In-8 (157x90 mm.), pp. 137, (3, di cui l'ultima con registro, explicit e, al verso, ancora aldina incisa). Segnatura: [a-r]8 s4. Ex libris araldico al contropiatto anteriore di Nicolò e Angelo Papadopoli Aldobrandini (stemma coronato, sole raggiante sopra una fenice con ali spiegate; in cartiglio 'Ex libris N & A Papadopoli). Bella legatura del secolo XVIII in piena pergamena, autori, editore e data incisi in oro su tassello in pelle verde filettato in oro al dorso. Tagli spruzzati di verde. Frontespizio un po' sporco, ottimo per il resto. Edizione copiata da quella del 1502, con la stessa dedicatoria dell'editore al Mauroceno. Bibliografia: Ahmanson-Murphy, 123. Adams, L, 1564. Brunet III, 1199. Ebert, 12336. Graesse, IV, 272. Panzer, VIII, 425, 726. Proctor, 12851. Renouard I, 171. [Attributes: Hard Cover]

      [Bookseller: AU SOLEIL D'OR Studio Bibliografico]
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         [OPERA PHILOSOPHICA]

      Basel: J. Froben, 1515. First Erasmus Edition. This is a beautifully preserved blind-stamped volume produced by André Boule (fl. 1500-30), a talented and prolific purveyor of bindings created using pressed plates and rolls, and one of the few 16th century binders to sign his work in full. According to Gruel and Goldschmidt, the Saint Sebastian and Crucifixion plates used here were the most frequently encountered, and the most beautiful, French panel stamps of the early 16th century. Both the rolls and the plates have a distinctive artistry and charm, certainly worthy of being boldly signed. Boule bindings are represented in a number of institutions--the British Library Database of Bookbindings records 37 specimens, mostly in French libraries--but they are infrequently seen in the marketplace. ABPC does not record another example since at least 1975, and Rare Book Hub locates just three others, the most recent in 1951. The contents here are a collection of the philosophical writings of the first century Stoic, and this printing was the first to be edited by Erasmus (1466-1536), who claimed to have corrected 4,000 mistakes from earlier editions. The Roman statesman, philosopher, and dramatist Seneca (ca. 1 B.C. - 65 A.D.) has the unusual distinction of being popular with both the Medieval church--which believed him to be a Roman converted to Chrisitianity, perhaps by Saint Paul himself--and with Renaissance humanists like Erasmus. He appears as a character in Dante's "Divine Comedy," where he resides in Limbo with other "virtuous pagans," and his works greatly influenced Petrarch, who adopted Seneca's rhetorical style in his own essays. He is also one of the few Roman philosophers whose works are still read today.. 320 x 215 mm. (12 1/2 x 8 1/2"). 643, [23] pp. Edited by Desiderius Erasmus. First Erasmus Edition. SUPERB CONTEMPORARY BLIND-STAMPED CALF OVER WOODEN BOARDS BY ANDRÉ BOULE (signed below panel stamps), front cover framed by multiple concentric rolls of floral patterns or bees (with their wings spread), BOTH BOARDS WITH FINE CENTRAL PANEL STAMPS, the one on the upper cover depicting the martyrdom of Saint Sebastian, the one on the lower cover showing the Crucified Christ flanked by Saint Thomas Aquinas and Saint Catherine of Siena, the latter scene with various frames containing grape vines, oak limbs with acorns, wyverns, and then more of the flowers and bees seen on the front board, raised bands, spine panels with diagonal hatching (the joints and clasps renewed with considerable skill), newer but expertly restored brass and leather clasps and catches (catchplates probably original), newer (but not displeasing) endpapers. Woodcut initials, title page and dedication with allegorical frames. Front pastedown with modern hexagonal cipher book label; title page with several early signatures partially erased or marked through, later signature of Berauld; first 15 pages with neat underlinings and marginal annotations in a lovely humanist hand. Adams S-883; Dibdin II, 395; Moss II, 577. For the binding: Goldschmidt 56; Gruel I, 58-59; Foot, Henry Davis Gift II, 5. Minor scratches to boards, light stain to lower cover, the decoration on the lower back board just a bit muted, but the enormously appealing binding solid, lustrous, and altogether pleasing. Repairs to a couple of short marginal tears on m4 (affecting one word in the last line of text), s5 with repaired meandering tear, with minor discoloration, extending the width of the page (several letters in the text slightly displaced, but nothing lost), isolated marginal stains, a tiny wormhole in the fore margin of most leaves, otherwise a very fine copy, the text unusually clean and fresh, and with wide margins.This is a beautifully preserved blind-stamped volume produced by André Boule (fl. 1500-30), a talented and prolific purveyor of bindings created using pressed plates and rolls, and one of the few 16th century binders to sign his work in full. According to Gruel and Goldschmidt, the Saint Sebastian and Crucifixion plates used here were the most frequently encountered, and the most beautiful, French panel stamps of the early 16th century. Both the rolls and the plates have a distinctive artistry and charm, certainly worthy of being boldly signed. Boule bindings are represented in a number of institutions--the British Library Database of Bookbindings records 37 specimens, mostly in French libraries--but they are infrequently seen in the marketplace. ABPC does not record another example since at least 1975, and Rare Book Hub locates just three others, the most recent in 1951. The contents here are a collection of the philosophical writings of the first century Stoic, and this printing was the first to be edited by Erasmus (1466-1536), who claimed to have corrected 4,000 mistakes from earlier editions. The Roman statesman, philosopher, and dramatist Seneca (ca. 1 B.C. - 65 A.D.) has the unusual distinction of being popular with both the Medieval church--which believed him to be a Roman converted to Chrisitianity, perhaps by Saint Paul himself--and with Renaissance humanists like Erasmus. He appears as a character in Dante's "Divine Comedy," where he resides in Limbo with other "virtuous pagans," and his works greatly influenced Petrarch, who adopted Seneca's rhetorical style in his own essays. He is also one of the few Roman philosophers whose works are still read today.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         Auli Gellii noctivm Atticarvm libri vndeviginti.

      [colophon: Venetiis: in Aedibus Aldi, et Andreae Soceri, mense Septembri 1515. 8vo (17 cm; 6.625"). [32], 289, [51] ff. (errors in foliation, but complete. First of two Aldine editions published in 1515 of Gellius' only known work, with "duerniorem" on the final leaf as prescribed by Renouard. The iconic Aldine printer's device appears on both the title-page and the final leaf of text, with the fore-edge of the title-page having been slightly repaired long ago at the margin.    Gellius's Attic Nights, supposed to have been written for the entertainment and education of his children, offers a rich tapestry of the life and times of the Roman Empire under the five good emperors. In an informal style Gellius ranges from law, grammar, history, and literary criticism to evening chats with fellow students and visits to the awe-inspiring villas of Herodes Atticus, the most famous philanthropist of Athens. Editor Giovanni Battista Egnazio (1478–1553), an important part of the Aldine literary circle and executor of Manuzio's will, here presents a newly revised text — complete with two indexes and explanation of the Greek passages.         Renouard, Alde, 73.9; Brunet, II, 1523; Adams G344; Graesse, Trésor de Livres Rares, III, p. 45; Schweiger, Handbuch der classischen Bibliographie, II, p. 376; on Egnazio, see: Contemporaries of Erasmus, pp. 424–25. 18th-century vellum over boards with red and green gilt leather spine labels, one edge with one very small chip to vellum; fore-edge of title-page repaired, light age-toning, a few words in old ink to front endpapers, some unevenly trimmed pages with the occasional (chiefly light) marginal stain or spot. "A. Gellius" in old ink to fore-edge of volume. => A worthy Aldine.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        [OPERA PHILOSOPHICA]

      Basel: J. Froben, 1515. First Erasmus Edition. This is a beautifully preserved blind-stamped volume produced by André Boule (fl. 1500-30), a talented and prolific purveyor of bindings created using pressed plates and rolls, and one of the few 16th century binders to sign his work in full. According to Gruel and Goldschmidt, the Saint Sebastian and Crucifixion plates used here were the most frequently encountered, and the most beautiful, French panel stamps of the early 16th century. Both the rolls and the plates have a distinctive artistry and charm, certainly worthy of being boldly signed. Boule bindings are represented in a number of institutions--the British Library Database of Bookbindings records 37 specimens, mostly in French libraries--but they are infrequently seen in the marketplace. ABPC does not record another example since at least 1975, and Rare Book Hub locates just three others, the most recent in 1951. The contents here are a collection of the philosophical writings of the first century Stoic, and this printing was the first to be edited by Erasmus (1466-1536), who claimed to have corrected 4,000 mistakes from earlier editions. The Roman statesman, philosopher, and dramatist Seneca (ca. 1 B.C. - 65 A.D.) has the unusual distinction of being popular with both the Medieval church--which believed him to be a Roman converted to Chrisitianity, perhaps by Saint Paul himself--and with Renaissance humanists like Erasmus. He appears as a character in Dante's "Divine Comedy," where he resides in Limbo with other "virtuous pagans," and his works greatly influenced Petrarch, who adopted Seneca's rhetorical style in his own essays. He is also one of the few Roman philosophers whose works are still read today.. 320 x 215 mm. (12 1/2 x 8 1/2"). 643, [23] pp. Edited by Desiderius Erasmus. First Erasmus Edition. SUPERB CONTEMPORARY BLIND-STAMPED CALF OVER WOODEN BOARDS BY ANDRÉ BOULE (signed below panel stamps), front cover framed by multiple concentric rolls of floral patterns or bees (with their wings spread), BOTH BOARDS WITH FINE CENTRAL PANEL STAMPS, the one on the upper cover depicting the martyrdom of Saint Sebastian, the one on the lower cover showing the Crucified Christ flanked by Saint Thomas Aquinas and Saint Catherine of Siena, the latter scene with various frames containing grape vines, oak limbs with acorns, wyverns, and then more of the flowers and bees seen on the front board, raised bands, spine panels with diagonal hatching (the joints and clasps renewed with considerable skill), newer but expertly restored brass and leather clasps and catches (catchplates probably original), newer (but not displeasing) endpapers. Woodcut initials, title page and dedication with allegorical frames. Front pastedown with modern hexagonal cipher book label; title page with several early signatures partially erased or marked through, later signature of Berauld; first 15 pages with neat underlinings and marginal annotations in a lovely humanist hand. Adams S-883; Dibdin II, 395; Moss II, 577. For the binding: Goldschmidt 56; Gruel I, 58-59; Foot, Henry Davis Gift II, 5. Minor scratches to boards, light stain to lower cover, the decoration on the lower back board just a bit muted, but the enormously appealing binding solid, lustrous, and altogether pleasing. Repairs to a couple of short marginal tears on m4 (affecting one word in the last line of text), s5 with repaired meandering tear, with minor discoloration, extending the width of the page (several letters in the text slightly displaced, but nothing lost), isolated marginal stains, a tiny wormhole in the fore margin of most leaves, otherwise a very fine copy, the text unusually clean and fresh, and with wide margins. This is a beautifully preserved blind-stamped volume produced by André Boule (fl. 1500-30), a talented and prolific purveyor of bindings created using pressed plates and rolls, and one of the few 16th century binders to sign his work in full. According to Gruel and Goldschmidt, the Saint Sebastian and Crucifixion plates used here were the most frequently encountered, and the most beautiful, French panel stamps of the early 16th century. Both the rolls and the plates have a distinctive artistry and charm, certainly worthy of being boldly signed. Boule bindings are represented in a number of institutions--the British Library Database of Bookbindings records 37 specimens, mostly in French libraries--but they are infrequently seen in the marketplace. ABPC does not record another example since at least 1975, and Rare Book Hub locates just three others, the most recent in 1951. The contents here are a collection of the philosophical writings of the first century Stoic, and this printing was the first to be edited by Erasmus (1466-1536), who claimed to have corrected 4,000 mistakes from earlier editions. The Roman statesman, philosopher, and dramatist Seneca (ca. 1 B.C. - 65 A.D.) has the unusual distinction of being popular with both the Medieval church--which believed him to be a Roman converted to Chrisitianity, perhaps by Saint Paul himself--and with Renaissance humanists like Erasmus. He appears as a character in Dante's "Divine Comedy," where he resides in Limbo with other "virtuous pagans," and his works greatly influenced Petrarch, who adopted Seneca's rhetorical style in his own essays. He is also one of the few Roman philosophers whose works are still read today.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 37.   Check availability:     Biblio     Link/Print  

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