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Displayed below are some selected recent viaLibri matches for books published in 1516

        In hoc volumine haec continentu.r Ioannis Baptistae Egnatii Veneti In Dioscoridem ab Hermolao Barbaro tralatum annotamenta, quibus morborum et remediorum vocabula obscuriora ... : explicantur. / Hermolai Barbari ... Corollarii libri quinque non ante impressi.

      Venice: Gregoriis Brothers for Aloisius and Franciscus Barbari, and Johannes Bartholomeus Astensis, 1516. 1st Edition. Hardcover. Folio - over 12 - 15" tall. 1 Feb. 1516. 2 parts in one volume. Folio (305 x 215 mm). [36], CXXXIII (i.e. CXXXIV); 106 leaves. Signatures: AA6 [cross]8 [cross]a-[cross]b8 [cross]c6 A-X6 Y8; A-C8 D6 E-M8 N-O6. 16th century limb vellum, spine titled in manuscript (soiling, spotting and light creasing of covers, closing bands gone). Text very fresh and clean with very minor occasional spotting or browning, final gatherings with faint dampstain at fore margin, manuscript note on second title. An exceptionally crisp and wide-margined copy. ---- NLM/Durling 1140; Greene, Landmarks of Botanical History pp. 553-568; Pritzel 2301; Wellcome I 1794. Bird 669; Wellcome I, 1794. FIRST EDITION by Johannes Baptista Egnatius and the definitive one of Ermolao Barbaro's (1454-1493) Latin translation. De medicinali materia, first printed in Latin in 1479 by Petro Paduano was the fons et origo of botanical knowledge until the early seventeenth century: as Sprengel states, "during more than sixteen centuries [Dioscorides] was looked up to as the sole authority, so that everything botanical began with him. Every one who undertook the study of botany, or the identification of medicines swore by his words. Even as late as the beginning of the seventeenth century both the academic and the private study of botany may almost be said to have begun and ended with the text of Dioscorides" (Greene, Landmarks of Botanical History, p.219). The second part is Barbaro's own Corollarii, and is an extended commentary on the plants discussed by Dioscorides with a preface by G.B. Egnazio, printed here for the first time: "Barbaro begins to tell things before untold about familiar plants that have been too succinctly written of during fifteen or twenty centuries; a kind of innovation in botany which was of profound import, and one with which Ruel, Valerius Cordus, Tragus, and Conrad Gesner, of a generation later, have been accredited as first pioneers" (Greene). - Visit our website for additional images and information. Near Fine.

      [Bookseller: Milestones of Science Books]
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        Die xxiii mensis octobris 1516 per finali conclusione per consilia opportuna ciuitatis Florentie prouisum fuit ut intra vs.

      Florence: [Giunta press? after 23 October 1516]. Broadsheet (437 x 296 mm). Two columns, roman type. 85 lines (left column), including first line of text in larger type, used also for the two-line drop-title and final "Gratia et Privilegio," the latter printed on eaither side of a woodcut roundel device of the Florentine lily. Watermark: hand, 48 x 26/27 mm. (cf. Briquet 10661, no measurements given). Later (17th-century?) ink inscription on verso, "1516. ordine sopra la Pragmatica nella Citta di firenze." Formerly folded four times, tear at top entering title and first line of text, a marginal tear and a few other small tears at vertical fold, including a small hole at fold junction, small stain in lower margin. *** An unrecorded early Florentine broadside list of sumptuary regulations, containing detailed specifications of forbidden and condoned items of clothing and adornment for young women and men. Norms of what men and women of different social classes could and could not wear, in public generally and on specific occasions, were strictly regulated in medieval and Renaissance Italian cities and city-states, as part of a general effort to restrain individual citizens' luxury expenses. Over 300 Italian sumptuary laws have been recorded in the period 1200-1500. These laws and regulations, which governed food consumption and all kinds of luxury goods, as well as the conduct of baptisms, funerals, and weddings, are preserved in manuscript registers in Italian archives, usually either as part of general city statutes or as amendments of earlier statutes (known as provvisioni, or pragmatiche [(cf. Rainey, pp. 18-19). Before the mid-sixteenth century, printed collections of sumptuary laws were either infrequently produced, or do not survive in large numbers. A search in OCLC under the subject headings "Sumptuary Law" and "Clothing and dress Law and legislation" reveals no entries from any country before 1525, and no Italian examples before the 1570s. The earliest printed sumptuary statutes in EDIT-16 seem to date to the 1560s. None of these are broadsides. The present printed pragmatica is therefore not only extremely early, but, as a broadside intended for display in public places, it is an exceedingly scarce survival. The most comprehensive survey of Renaissance Florentine sumptuary law to date was provided by Ronald Rainey in his 1985 Columbia University doctoral dissertation. Rainey established that the earliest regulations enacted in Florence date to the late 13th century, and that revisions and new regulations were promulgated regularly thereafter, more or less until the fall of the Florentine Republic in 1532. Some of these laws evidently had economic origins, while others were attempts to control social morality or maintain class distinctions. "The primary function of sumptuary law was to limit extravagance, which was not always easy to define, but was something the legislators thought they recognized when they saw it, something contrary to the republican and burgher ideals of simplicity and thrift that seem to have given rise to the sumptuary ethic in the first place" (Rainey, p. 516). Sumptuary regulations appeared in reaction to periods of perceived extravagance, often postdating them by years. "The regulation of vita privata ... had a life of its own: it was the currents of ostentatious display and the trends in fashion innovation to which the laws directly responded" (loc. cit.). This produced a certain ebb and flow of the restrictiveness of these periodically promulgated regulations. One of the stricter overhauls of sumptuary law in Florence was promulgated in February 1472. (Rainey notes [pp. 555-558] that the fact that a new set of laws had been enacted relatively recently may partly explain the absence of further new regulations during the period of Savonarola's crusading influence, in spite of his complaints about women's dress, etc., and his recruitment of an "army" of boys who burned cards, games, wigs, garments, and women's ornaments in the central piazza, in the famous "bonfire of the vanities." That social pressure may also have provided a sufficient deterrent to negate the need for supplemental regulations.) The 1472 laws were amended, however, in several later provvisioni, in 1497, 1504, 1511 (two sets of laws, one for women under thirty and one for men under thirty), and October 1516. All of these regulations contained more rules directed at younger women and men, and imposed more serious penalties for infractions of the rules than had previous statutes (Rainey, 561). Those of 23 October 1516 (dated 16 October in the archival register), contained in the present broadside, represented an attempt to reestablish order: "the lawmakers took the opportunity to put some order into the muddled corpus of existing sumptuary legislation by repealing all earlier legislation concerning ornaments and apparel and issuing a new set of dress regulations" (op. cit., p. 565). Printed in small type, the broadside contains 42 rubrics, of which 25 regulate dress and adornment, each itemizing several rules or restrictions. The opening statement declares that the following laws apply to all male and female inhabitants of Florence under 30 years of age, not only in Florence itself, but in any other [Florentine] jurisdiction. To these adults it is forbidden to wear any gold, silver or crimson ornaments, except for crimson taffeta or as insets in belts, or any jewels, pearls, marten furs, ermine, velvet capes or clothes with fur, gold or silver that is "counterfeit and not good [genuine]." Jewels and pearls were forbidden, except for no more than three rings decorated with precious stones or pearls. Seventeen paragraphs relate to women only, and contain specific restrictions on particular items of clothing, including caps, sleeves, and cotte (dresses). Women are allowed to wear a gold necklace, as long as it is pure and without enamel, and weighs no more than six ounces, because "such an ornament is honorable and suitable" for them. They may also carry a penknife (coltellino), hair-parter (dirizzatoio), and are permitted embroidered motifs, buttons, and hair ribbons (below a certain value), in silver, gold, or gilded material. Several rubrucs contain specific restrictions of excessive use of fabric, specifying exactly how many lengths (braccia) of textile can be used for dresses, overgowns (robe di sopra), detachable sleeves, facings, and for ribbons and trimmings. Finally, a short paragraph specifies that the above laws do not apply to the wives of "Lords, Knights, doctors, soldiers, or foreigners, or to any women over the age of 30. Follows a single paragraph describing the garments that infants may wear at their christenings: no pearls, gold, silver, furs, velvet-lined jackets, etc. The five following paragraphs are devoted to the clothes allowed to men (under 30). Just as for the women, the upper classes are exempted from these laws. The remaining rubrics outline fines and punishments, enforcement, and record-keeping. The penultimate paragraph states that none of the listed rules should be interpreted as repealing the 1472 "Ordini et Statuti et Leggi de Vestimenti et Ornamenti degli Huomini et Donne della città... di Firenze." It is noteworthy that the broadside does not contain either the preamble or long closing statement included in the archival record of these new regulations (transcribed and published by Rainey), both of which are largely in Latin. Instead it dispenses with the legal niceties and commences with the rules themselves, all in Italian, showing that the broadside was indeed intended to be posted in a public place. The mark of the Giunta family of printers, even those working in Venice, was the Florentine lily. Filippo Giunta I was active in Florence from 1503 until his death in 1517. EDIT-16 does not reproduce the woodcut device used here, either in association with Giunta or with any other printer. Ronald E Rainey, Sumptuary Legislation in Renaissance Florence (doctoral thesis, Columbia University, 1985), esp. pp. 564-567 and 789-98; Catherine Kovesi Killerby, Sumptuary Law in Italy: 1200-1500 (Oxford 2002); Curzio Mazzi, "Due Provvisioni Suntuarie Fiorentine," Rivista delle biblioteche e degli archivi XIX (1908), pp. 42-52.

      [Bookseller: Musinsky Rare Books]
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        De Partibus Aedium. Addita modo verborum explicatione... - (Colophon:)

      Parma, Salado e Ugoleto, 1516. In-4 piccolo (20 x 14,8 cm.). Piena pergamena molle antica, recentemente ricucita. Bel ritratto sul frontesp. e moltissimi capilettera su fondo nero inc. in legno. (20), 256 ff.; poche trascurabili imperfezioni, ma esemplare marginoso e molto ben conservato. In questa notevole opera che spazia dall'architettura alla meccanica, dalla medicina all'economia domestica, dalla botanica alla zoologia, Grapaldo, stimato umanista parmense, descrive la costruzione di una villa di campagna e la gestione di ogni sua parte (la cucina, i bagni, la biblioteca, l'infermeria, il giardino, l'orto, le stalle); informa sugli arredi, gli orologi, la produzione del formaggio, la rilegatura dei libri, la fabbricazione della carta; consiglia come trarre beneficio dalle erbe, come disporre le stanze rispetto al sole, ecc. L'opera ebbe molto successo e fu ristampata più volte; fra le varie edizioni (la prima è del 1494), questa è la più apprezzata perché contiene per la prima volta il bel ritratto e il dizionario dei termini tecnici, il più antico nel suo genere. DBI 58, 562. Sander 3254. Mortimer, Harvard, 220. Wellcome I, 2905. Simon, Bacchica 317, & Gastonomica 789. Fowler 145. Comolli, Architettura, I, 81: «Ecco il più antico, e più erudito dizionario architettonico. Fra le tante edizioni, questa del 1516 è la più accresciuta e la più completa di tutte...». The best edition of this detailed description of a Renaissance "villa": cellars, kitchen, bedrooms, bath, infirmary, library, gardens, stables, vineyard, etc. This edition is the first with the fine portrait and the dictionary of architectural terms, the earliest of its kind. Light stain on one leaf, but generally a good large copy in old limp vellum (recased).

      [Bookseller: Libreria Antiquaria Rappaport]
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        A compilation of six related Bavarian law and legal code works, published in German 1516-1545, preserved, as bound, in the ca. 1545, earliest, white tawed pigskin and beech wood binding, folio sewn and richly decorated

      OFFERING: A compilation of six related Bavarian law and legal code works, published in German 1516-1545, preserved, as bound, in the ca. 1545, earliest, white tawed pigskin and beech wood binding, folio sewn and richly decorated. RARITY: Early editions are rare: three works are first editions. BACKGROUND: Published at the Duke of Bavaria's behest and incorporating solicited suggestions from the propertied classes, (including nobles, merchants and farmers), the works establish the revision and standardization of the laws of Bavaria, the first comprehensive reform since 1346. Wilhelm IV is widely regarded by historians as a Catholic ruler of note during the Reformation, banning in 1522 the works of Martin Luther and striking at Church corruption through a 1524 treaty with Pope Clement VII, granting him regulatory rights over Church hierarchy and monasteries in his domain. During his long reign, he was also an important patron of the arts. Known as "der Standhaft" (the Steadfast), he lived from 1493 to 1550 and was Duke of Bavaria from 1508 until his death. From 1516-1545 he shared rule with his younger brother, Ludwig X. LEAVES AND WOODCUT ILLUSTRATIONS: Leaves retain their original wide margins. Title leaves are engraved and decorated with woodcuts, Work III with a superb, large title leaf woodcut signed with the artist's mark in the plate and Work IV, a 1516 first edition with the title leaf woodcut hand painted, as commissioned by the publisher. The text of Work VI is illustrated with a folding leaf engraving of an affinity tree. PRINTING: The fine printing is in the Bavarian style, texts without foot or headpieces, profusely decorated with script initials, some engraved, parts set off with use of bolding and type sizes, parts of some text leaves rubricated (printed in red and black). SIZE: 12.48 x 8.66 x 3.5 inches (317 x 220 x 89 mm) THE BINDING: Sides are richly decorated with an identical panel stamped design, a frame with larger seated figures at the four corners (as at a legal tribunal) and rows of emblem designs and a set off center panel with two outer columns decorated with florals, radiants, and bounty emblems and three center columns decorated with seated figures and a variety of emblems. The sides retain their brass anchor plates with beveled crowns on the upper side and plain catch plates on the lower side. The rolled decorated spine has five compartments identically decorated with three medallions. The rear endpaper retains its reinforcement of a neatly slit portion of a folio size vellum leaf handwritten in the Carolingian style, capitals in red. CORRECTIONS: As customary, the compilation was actively used and amended and emended by hand, as necessary. One leaf has an extensive, early annotation done in a fine hand with an elaborate decorated initial. Other leaves have an emendation or amendation in a margin. Some leaves have cross-outs of words, a few with corrected replacements. A few leaves have a word or words underscored, several with corrected replacements. Modern corrections include a leaf with a neatly cut-out word from another source work in the gutter and a leaf with an incorrectly printed script initial replaced by the correct script initial printed in the identical font, size and script style, attached via a modern taped hinge. OWNER MARKINGS: The letter R on endpapers, otherwise, as noted in the preceding section. There are no ex-libris, library, or other institution markings and no owner signatures or bookplates. PAGINATION: Confirmed complete for five works, the sixth and last work in the compilation, a working copy, with all law and legal code texts and its folding leaf engraving, but lacking the first six preliminary leaves. (Pagination and publishing information is detailed for each work below.) The compilation of six works totals 378 leaves (756 pages), with non-continuous pagination, even within subsections, each work with its own detailed register (contents), works organized by titles, each title with its own division sheet, often with text, its subdivisions with headings, titles generally organized into books, and books into articles. Each of the five complete works has its own engraved title page decorated with a woodcut. Four of the title leaves are printed in red. Three title leaf decorations show variations of the polygonal template of the arms of the House of Wittelsbach, the hereditary rulers of the Duchy of Bavaria from 1180. The shield decoration, wreathed with fruits representing the bounty of the land, is identical for Works IV and V, but the decoration for Work IV is hand painted, as commissioned by the publisher. The two other title leaf decorations were engraved from cited designs by Casper Clofigl, a Munich artist who served as court-painter to Duke William IV ca. 1516-1529. They include portraits of the Co-Dukes of Bavaria. PRICE NOTE: As customary for my offerings, regardless of rarity or importance, condition is accounted for and price is greatly reduced. WORK I: Title: Ain laijsche anzaigung, So allen Landsässen, vnd denen, die ördenlich, oder beuolhen, oberkhait haben, als Hofmarch, vnd gerichtsherren. Publishing: Munich, Andreas Schobser, 1531, first edition. Pagination: 17 leaves + blank leaf, title leaf decorated with woodcut of the geometric polygonal template of the arms of the House of Wittelsbach surmounted by crowns and other regalia; Leaf 1, p. 2 with handwritten heading, Leaf 2 with the first decorated woodcut scripted initial, Leaf 17 with colophon regarding publishing. Full Title: Ain laijsche anzaigung, So allen Landsässen, vnd denen, die ördenlich, oder beuolhen, oberkhait haben, als Hofmarch, vnd gerichtsherren, Pflegern, Richtern, Gerichtschreibern, auch der Stött, vnd schrannenrednern, (wölhe sünst, der lateinischen, gerichtsübung, oder gebreüch, gütlicher, außrichtung, vnnd verwaltung, nit merers wissenshaben) auch in gemain, allen jnwonern, des loblichen hauss, vnd Fürstenthumbs Bairn, zu dienst, vnd guetem, in druckh geben worden. WORK II: Title: Das büech der gemeinen Landpot : Landsordnüng : Satzüng unnd Gebreüch des Fürstenthumbs in Obern vnnd Nidern Bairn. Jm fünftzehenhündert vnnd Sechtzehendem Jar aufgericht. Publishing: Munich, Andreas Schobser, 1545, fifth edition. Pagination: [12] leaves + 69 leaves + blank leaf, title leaf printed in red on six lines and decorated with a celebrated woodcut, cited in the book illustration literature, based on a design by Casper Clofigl, showing a landscape with castle in the background; in the foreground, the two co-ruling Dukes of Bavaria, Wilhelm IV and Ludwig X in costly armor, helmets surmounted by large wing-beating eagles, presenting the coat of arms of the Kingdom of Bavaria, the tableau set within a Renaissance loggia with balustrade divided rear windows, hanging tabulas attached to the architrave moldings with the Dukes' initials, HW and HL (Herzog Wilhelm and Herzog Ludwig). Several distinct variations of this woodcut were produced for different titles: this design with the Dukes' expressions and placement of the figures and feet and the finishing touches to the armor dates from 1535. As it remains unclear whether Clofigl prepared variations of the original design, it can't be authoritatively stated this variation of the design is by him. Regardless, in my opinion, it is the most pleasing and interesting of the variants.WORK III: Title: Gerichtzordnüng Im fürstnthumb Obern vnd Nidern Bayrn Anno 1520 aufgericht. Publishing: Munich, Andreas Schobser, 1535, second edition. Enacted in 1518, the Bavarian Reformacion revised the Bavarian law code of 1346. This is the second edition of the procedural supplement and it remained valid into the 17th century. Pagination: 15 leaves + 1 blank leaf + 87 leaves + blank, title page in red, title page verso in black-first line-"Dise Gerichtzordnung ist", text in red and black. The large superb woodcut decorating the engraved title page is by Caspar Clofigl and shows the ruling brother Dukes of Bavaria, Wilhelm IV and Ludwig X at a tribunal attended by representatives of the various propertied classes, the table bearing the arms of Bavaria. At the back are architectural scrolls decorating the supporting columns of the structure with the initials of the Dukes, HW and HL (Herzog Wilhelm and Herzog Ludwig). The woodcut is discretely signed CC in the plate at the very center of the edge of the wood platform adjacent to the tribunal table that provides a step down to the wood floor. WORK IV: Title: Dy new erclerung der landszfreyheit des loblichen haus und Furstenthumbs obern und nidern Bairn. Publishing: Landshut (Landsad in German, capital of Lower Bavaria), Johan Weißenburger, 1516, first edition. Pagination: 18 leaves, title leaf printed in red letters, decorated with the hand painted heraldic woodcut commissioned by the publisher, Leaf 2 with title printed in red letters with six letters in small case printed on the title leaf in large case, first line of text with a superb, engraved script initial in red, subsequent text in black. Full Title: Dy new erclerung der landszfreyhait des loblichen haus und Furstenthumbs obern und Nidern Bairn. Anno funffzehenhundert und im Sechzehenden auf den achtundz weintzigsten tag des monats Marcy zu Ingelstat aufgericht. WORK V: Title: Die Ordnung über gemainer Lanndtschafft in Bairn aufgerichte Hanndtuesst. Tausennt Fünffhundert vnnd im Sechzehennden Jar zu Jngoldtstat beschlossen. Publishing: Munich, Andreas Schobser, ca. 1535, first edition, printed with catchwords. Pagination: 6 leaves, title leaf printed in red letters and decorated with a woodcut, a variation of the geometric polygonal template of the arms of the House of Wittelsbach. WORK VI: Title: Reformacion der baÿrischen Lanndrecht. Publishing: Munich, Andreas Schobser, ca. 1535, second edition. Pagination: 30 leaves + blank leaf + 119 leaves + blank leaf. A working copy, lacking the first six leaves, the engraved title leaf and the first five leaves of the register with contents for Titles 1-7. Thereafter, it is complete with the register for Titles 8-53 + all law and legal code texts for Titles 1-53 with 119 Books. Title 48 / Book 103 has the folding woodcut leaf affinity tree (tree of consanguinity) with 40 divisions and central heart. The engraved woodcut decorating the lacking Reformacion title leaf is identical to the woodcut engraving decorating the title page for Work II in the compilation, Das büech der gemeinen Landpot. Title 47 / Book 98, prior to article 1 has an early 16 lines annotation under the title, with 2 heading lines and 2 decorated initials, the second finely executed and elaborate. Article 1 of Title 47 / Book 99 has a 14 lines annotation by the same hand in the fore-edge margin. Article 6 / Book 95 / Title 45 has a corrected initial attached via a modern taped hinge. Dating: A precise publishing date never seems to have been established, but on behalf of Duke William IV, Andreas Schobser had to reprint a whole series of decrees around the year 1535 and so the publishing date for the second edition is customarily given ca. 1535. Andreas Schobser was active as a publisher in Munich from 1530-64, scion of the prominent Munich publisher, Hans (Johann) Schobser. Both issued many published works for the Dukes of Bavaria. Full Title: Reformacion der baÿrischen Lanndrecht nach Cristj vnsers Hailmachers geburde Jm Funftzehenhundert vnnd Achtzehendm Jar Aufgericht. CONDITION DETAIL: Leaves with bumped tips, light fore-edge toning and slight cockling, many with light-slight foxing, some with soiling, chiefly slight, many in Works III-VI with a bottom margin stain, additionally Work VI with a top margin stain, some leaves with worm trail in the gutter, chiefly small, a few with a larger worm trail at the foot; endpapers soiled with wear. / Pigskin: yellowed from natural aging and soiled, turn-ins loosened, corner and edge wear, spine wear including joint tear at crown; all over rubs and abrasions, heavy for lower side and three spine compartments, including crown and foot, with decorations largely rubbed off. / Boards: leather strap remnant, no clasps. Lower side: bottom edge chips, lacks a bottom corner. / Binding: sewn cords excellent, joints and hinges solid and reliable. REFERENCE: A primary online reference for examining various editions of these titles is the Munich DigitiZation Center (MDZ), associated with the Bavarian State Library (Bayerische Staatsbibliothek München) and other contributing German institutions. Catalogs for institution holdings in the World Catalog were also consulted. ADDITIONAL REFERENCES: F. W. Hollstein and Karel G. Boon for information on Clofigl in German Engravings, Etchings, and Woodcuts, ca. 1400-1700, Vol. V, Brucker-Coriolanus, p. 195 and Davies, Murray German 51 and Dodgson II, pp. 266-267. A leading source for information on the editions of Hans and Andreas Schobser's publications is Schottenloher; Schobser 171 and Plate XXI and Der Münchner Buchdrucker Hans Schobser, 1925, p. 81. ADDITIONAL IMAGES: by request.

      [Bookseller: Steven Waldman]
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        Gregorii Nazanzeni theologi Orationes lectissimae XVI.

      [colophon: Venetiis: In aedibus Aldi, et Andreae soceri, 1516]. 8vo (16.5 cm, 6.5"). [8], 311, [1] ff. Editio princeps of this 4th-century saint's sermons in the original Greek. He is commonly known as Gregory the Theologian and is also remembered as the "Trinitarian Theologian" for his significant role in shaping Trinitarian theology among Greek- as well as Latin-speaking theologians. He is a saint in the Eastern Orthodox and Roman Catholic churches; among Roman Catholics he is a Doctor of the Church and among the Eastern Orthodox he is one of the Three Holy Hierarchs, along with Basil the Great and John Chrysostom.    Markos Mousouros (1470–1518), Archbishop of Malvasia, edited the work and penned the dedication (in Latin) that appears on *2v–*7r. => Folio [1]r is printed in black and red Greek type. This copy retains the true blank leaf [8] of the first quire and both printer's devices (i.e., on the title-page and the verso of the final leaf, which is blank on the recto).    Binding: 19th-century full tan calf => signed (on spine) Vogel. Boards with a simple gilt double fillet border with corner rondels; flat spine with raised bands accented above and below each band by gilt rule, a wide fillet in black, and another gilt rule, with gilt tooling on each band and gilt center devices in four compartments. Board edges with a gilt rope design and turn-ins with gilt roll. Marbled endpapers. All edges gilt.    Provenance: From the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.         Adams G1157; Renouard 75:1; Edit16 CNCE 21740; Kallendorf & Wells, Aldine Press Books, 128; UCLA, Aldine Press: Catalogue of the Ahmanson-Murphy Collection (2001), 144; Legrand, Bibliographie hellénique, I, 50; Panzer, VIII, 432, 788. Binding as above; front joint (outside) with excellent repair, each board with one small scuff, back lower outer corner with small leather loss, spine leather showing a few very fine cracks. Old cataloguing slip laid in. => A very good copy.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        In calumniatorem Platonis. correctio librorum Platonis de legibus Georgio Trapezuntio interprete. de natura & arte adversus eundem Trapezuntium tractatus. Methaphysicorum Aristoteles XIIII librorum tralatio. Theophrasti Methaphysicorum lib. I.

      Venedig, Werkstatt des Aldus & Andrea Torresani, 1516. - Folio, circa 32 x 21,8 cm. 8 Bll., 116, 55 (rec 53) SS., 1 Bl., mit 3 Druckermarken Marmoriertes Leder des 18. Jh., mit Rückenvergoldung und marmorierten Vorsätzen Adams B834; Renouard, Alde, 77, 6; EDIT 16 CNCE 5645. Erste erweiterte Ausgabe der bedeutenden Verteidigung Platons und des (Neo-)Platonismus durch den Kardinal Bessarion (1408-1472) in zwei Teilen, deren erster 1503 erschienen war, während der zweite hier erstmals abgeduckt ist. Ziel der Kritik ist Georg von Trapezunt (1395-1484), der in einem Vergleich der beiden grossen griechischen Philosophen Platon hinter Aristoteles gestellt hatte. Bessarion verzichtet auf eine Schmälerung der Verdienste des Aristoteles und betont stattdessen die Gemeinsamkeiten der beiden philosophischen Systeme. Die Autorität des Georg von Trapezunt schwächt er allein schon dadurch, dass er einen langen Katalog all dr Fehler aufzählt, die ihm bei der Edition und Kommentierung von Platons Nomoi unterlaufen waren (dieser Ausgabe hatte er mit seine Platonkritik beigegeben). Bemerkenswert ist auch der Raum, den Bessarion Platons Verdiensten um die Mathematik gibt. - Der zweite Teil enthält dann im Erstdruck die Übersetzungen der Metaphysik durch Bessarion aus dem Griechischen. - Sehr eleganter Druck aus dem Haus des 1515 verstorbenen Aldus Manutius, das von seinem Schwiegervater Andrea Torresano (1451-1528) weitergeführt wurde. - Die ersten und letzten Blätter im Innenbug unten mit kleinem braunem Fleck, im grössten Teil dazwischen kaum oder nicht sichtbar, am Ende auch kleiner Feuchtfleck in der äusseren Ecke - alles jedoch immer weit vom Text in den breiten weissen Rändern, sonst innen sauber. Der hübsche Einband wenig berieben. - Second edition, first with the second part, complete with three large printer s devices (festina lente). In lower inner margin at beginning and end small brown stain, for the most part invisible, at the end also small stain in outer margin, but all of this only in the very outer white margins, far from the text. 18th century Italian marbled full calf, slightly rubbed. "- Die ersten und letzten Blätter im Innenbug unten mit kleinem braunem Fleck, im grössten Teil dazwischen kaum oder nicht sichtbar, am Ende auch kleiner Feuchtfleck in der äusseren Ecke - alles jedoch immer weit vom Text in den breiten weissen Rändern, so. [Attributes: First Edition; Hard Cover]

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        1516 1ed Saint John Cassian Cenobitic Monasticism Monks in Egypt Desert Fathers

      Lugd., per Simonem Beuelaqua, 1516. First edition - 1516 1ed Saint John Cassian Cenobitic Monasticism Monks in Egypt Desert Fathers Saint John Cassian was a 4th-century Ascetic monk who was notable for his writings of mysticism and early monasticism. One of his most important works is “De Institutis Coenobiorum.” In this work, Cassian describes early Christian hermits and monks who wandered the Egyptian desert in the 3rd-century. He focused on the community and organizational properties of these monks – or Cenobitic monasticism. He also describes their clothing, prayers, rules to live by, how to deal with temptation, and solutions to cure the eight most common vices. Ultimately, Cassian presses the need for community amongst monastic living. A rare first edition printed in 1516. Item number: #2058 Price: $2950 CASSIAN, Johan Opus Johanis eremite: de Institutis cenobio : origine: causis & remedijs vitio : collationibusq patru:incipit Lugd., per Simonem Beuelaqua, 1516. First edition. Details: • Collation complete with all pages: 179 unnumbered leaves o Signatures: AA-BB, a-z, A-K8 (BB8 blank) • References: not in Adams; • Language: Latin • Binding: Decorative leather; tight & secure • Size: ~6in X 4in (15cm x 10cm) • Exceedingly rare with no other example for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 2058 Photos available upon request [Attributes: First Edition; Hard Cover]

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        Gregorii Nazanzeni theologi Orationes lectissimae XVI.

      In aedibus Aldi, et Andreae soceri, 1516. Editio princeps of this 4th-century saint's sermons in the original Greek. He is commonly known as Gregory the Theologian and is also remembered as the "Trinitarian Theologian" for his significant role in shaping Trinitarian theology among Greek- as well as Latin-speaking theologians. He is a saint in the Eastern Orthodox and Roman Catholic churches; among Roman Catholics he is a Doctor of the Church and among the Eastern Orthodox he is one of the Three Holy Hierarchs, along with Basil the Great and John Chrysostom. Markos Mousouros (1470-1518), Archbishop of Malvasia, edited the work and penned the dedication (in Latin) that appears on *2v-*7r. => Folio [1]r is printed in black and red Greek type. This copy retains the true blank leaf [8] of the first quire and both printer's devices (i.e., on the title-page and the verso of the final leaf, which is blank on the recto). Binding: 19th-century full tan calf => signed (on spine) Vogel. Boards with a simple gilt double fillet border with corner rondels; flat spine with raised bands accented above and below each band by gilt rule, a wide fillet in black, and another gilt rule, with gilt tooling on each band and gilt center devices in four compartments. Board edges with a gilt rope design and turn-ins with gilt roll. Marbled endpapers. All edges gilt. Provenance: From the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        A manuscript collection of 32 rare documents relating to the reigns of Charles I (1516-1556), Philip II (1556-1598), Philip III (1598-1621) and Philip IV (1621-1665) of Spain

      A manuscript collection of 32 miscellaneous documents relating to the Spanish Crown and its European foreign policy at the height of its power in the sixteenth and seventeenth centuries. The documents cover a period beginning with the reign of Emperor Charles V (1516-56) and ending in the 1630s with that of Philip IV (1621-65). It includes known, important documents such as Charles V's letters of advice to his son, the 'Raggionamento di Carlo Quinto imperatore al Re Filippo ...' and 'Acuerdos del emperador Carlo V para su hijo' (18 January 1548); the letter from the Marqués de Pescara reporting to Charles V on the Battle of Pavia fought on 24 February 1525 and in which the French king, Francis I, was captured by Imperial-Spanish forces; and, the account arrest, imprisonment and death in 1559 of the Archbishop of Toledo, Fray Bartolomé de Miranda y Carranza. The majority of the documents, however, are less well-known though equally valuable for the history of the period. Among the lengthiest (ff. [50]) is the 'Discurso sobre la constitucion en que se hallan las cosas del Mundo este año de 1630 á 20 de Junio' which after commenting on the chaotic state of European affairs contains sections on Germany, France, Britain, Poland, Denmark, Sweden, Transylvania, the Netherlands, Italy, the Papacy, Venice, Genoa, Florence, Mantua and Monferrato, Parma, Modena, Urbino, Naples and Spain. Most of these documents relate to the Spanish Crown's relations with Portugal following Philip II's accession to the Portuguese Crown in 1580, the Papacy and the Italian Wars of the seventeenth century (such as a petition for assistance from the Spanish Crown made by the Republic of Genoa), and the Dutch Revolt, including Philip IV's detailed instructions to his brother, the Cardinal-Infante Ferdinand of Austria (1610-41), for governing the Spanish Netherlands. Intriguingly, this collection also includes a letter, dated 1618, from Philip III to Cardinal Borgia asking for assistance in making Ferdinand a cardinal, an enterprise in which Philip succeeded as Ferdinand, still under the age of ten, was made the Cardinal-Infante the following year. Though it is not possible to find a clear rationale as to why these transcriptions were made and bound together in the second half of the seventeenth century or early eighteenth century, they are all important for an understanding of Spanish foreign policy, its history and how the Spanish Monarchy functioned. At the time it was made, the documents were not easily accessible and only available in manuscript which, for the majority of those here, still remains the case today. This volume, therefore, is valuable as a collection of very rare documents but also as an object in itself. List of items in this volume: 'Raggionamento di Carlo Quinto imperatore al Re Filippo suo figliolo nella consignattione del Governo de suoi stati e regni: Dove si contiene como si debba governare in temp della pace e dela guerra'. ff. [74], [2, blanks]. 'Acuerdos del emperador Carlo V para su hijo hechas en Augusta a los 18 de Henero del año de 1548'. ff. [31], [1, blank]. 'Testamento del Rey Don Phelipe'. ff. [38]. 'Advertimiento particular de Antonio Perez sobre el hecho de su causa para informacion de los Sres. Jueces dividido en tres partes', [1590]. ff. [24]. 'Cartel de desafio del Rey de Francia al Emperador Carlos Quinto', [1528]. ff. [4]. 'Carta de Don Pedro Faxardo al Rey D. Enrico tercio de Castilla sobre algunas cosas que se acomulavan'. ff. [4]. 'Estilo del Rey de Spaña conque trata a los Principes y otros estrangeros'. ff. [3], [1, blank]. 'Discurso. Habla el Duque de Ossuna Don Rodrigo de Giron en nombre de Su Magestad a los citados de Portugal y les promete los capitolos siguientes'. ff. [5]. 'Advertimientos de las cosas del Reyno de Napoles por el Conde de Miranda Virrei que fue a otro Virrey. Por la visita de los Virrey'. ff. [3], [1, blank]. 'Carta del Marques de Piscara que escrivio al Emperador Carlos V della vatalla sobre Pavia y della prision del Rey Francisco'. ff. [4]. 'Gastos ordinarios del Rey Cattlco.'. ff. [8]. 'Memorial de la Republica de Génova a Su Magestad para que conserve en su livertad y le guarde de sus contrarios'. ff. [2]. 'Origen de los empegnos de la Corona de España'. ff. [5], [1, blank]. 'Copia de una carta que Su Mag. escrivio al Cardenal Borja instandole en ella a que acude con su SM para que aga Cardinal a su hijo el Infante D. Ferdinando su tenor es como sige, Madrid, 17 de ... 1618'. ff. [7], [1, blank]. 'Discurso del Marques de Monteclaros sobre la concession de los Millones que hizo al Cavildo de Sevilla'. ff. [4]. 'Cartel y desafio che Don Juuan Pardo de Figueroa fixo en este corte y otras partes firmado de su nombre desafiando a Don Garzia de Avila Hermano del Marques de las Navas por unos palos que dio a su padre del diezo D. Juuan y la respuesta de Don Garzia', Madrid, April 1631. ff. [3], [1, blank]. 'Carta del Rey Phelipe segundo a los de Portugal', 13 March 1588. ff. [6], [1, blank]. 'Relacion de todos los titulos de estos Reynos de Castilla y León por su Antiguedad'. ff. [5], [1, blank]. 'Relacion de la prision del Arzobispo de Toledo don Fray Bartolome de Miranda, y Carranza Frayle Dominico por la Santa Inquisicion en 22. de Agosto de 1559 y de como fue llevado á Roma con mucha guarda y custodia y de todo el suceso de su sentencia y muerte'. ff. [11], [1, blank]. 'Carta del Rey Maluco á Don Sevastian de Portugal'. ff. [2]. 'Carta del Duque de Alba al Papa'. ff. [3], [1, blank]. On poor condition of troops in siege of Vartolina in the Netherlands. 'Discurso sobre la constitucion en que se hallan las cosas del Mundo este año de 1630 á 20 de Junio'. ff. [50]. 'Razonamiento di Clemente Ottavo á los Jesuytas', Rome, 1594. ff. [25], [1, blank]. 'Carta que se envió al Senado y Regimiento de la Ciudad de Lisvoa en vida del Rey Don Enrique qe Dios biene sobre la sucesion del Reyno de Portugal', 6 July 1579. ff. [17], [1, blank]. 'Consulta de los Consejos de Estado, y Guerra sobre que se havian de levantar 90 compañias en estos Reynos de españa', Madrid, 18 August 1631. ff. [8]. 'Instruccion por la jornada del Sermo. Cardl. Infante en Flandes', [circa 1630-1634]. ff. [27]. 'Cartas del Emperador a los Reyes de Spaña y Francia por la liga contra los Reveldes', Vienna, 15 April 1624 and Vienna, 1 May 1624. ff. [5]. 'Copia de la proposicion del Emvajador del Rey Xtianisimo. y traducido de la lengua Francessa en Castellano'. ff. [2], [1, blank]. 'Carta che el Duque de Alcalá escrivio el Conde Duque dando satisfazion a dos cargos que se le hazia de parte de Su Mag.', Valencia, 25 June 1631. ff. [8]. 'Memorial de Auctor Incierto que se dio à Su Magestad contra el Conde Duque con la respuesta del Conde de la Rosa, Don Juan de Vera. La calumnia ocupa poco papel. La satisfazion requiere mas'. ff. [22]. 'Copia de la Carta que la Condessa de Uceda Marquesa de Loriana escrivio al Rey Nro Señor á 2 de julio 1629 contra el Marqués de Bacares', Madrid, 20 July 1629. ff. [3], [1, blank]. 'Sentimientos y quexas del Rey de España en la correspondençia del Papa Urbano VIII y justificaçion de su sanctidad con el estado de las cosas de Roma', año 1632. ff. [8]. Phillipps 12325.

      [Bookseller: HS Rare Books]
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        Il Decamerone.

      (Al verso del f. CCCLII:) Impresso in Vinegia per Gregorio de Gregori il mese di Maggio dell'anno MDXVI (Venezia, Gregorio de Gregori, 1516). in-4 (mm 186x120), ff. (2), CCCLII, (10, ultimo bianco), raffinata legatura di fine XVIII secolo in marocchino granata a grana larga, filetto oro ai piatti, dorso liscio con filetti e titolo in oro. Precede il testo dedica del Dofino "Alle gentil et valorose donne"; in fine Errata e Tavola dell'opera. Prima edizione in formato in-4 e prima a cura del Dolfino, che ebbe il merito di riordinare e presentare l'opera boccaccesca nella sua integrità: "Niccolò Dolfino, cui deesi questa rara e bella edizione, ebbe veramente il merito di fare i primi passi per ridonare al Decamerone la sua integrità; per lo che questa ed. salì in molta fama" (Gamba 169). Edizione assai stimata dal punto di vista filologico, è ricercata anche per la sua rarità (censita in sole 8 Biblioteche pubbliche italiane); "...oggi di una sicura rarità. E' la prima edizione che uscisse nel formato di quarto, e la prima in cui si cercasse di ridurre il Decameron alla sua integrità", Bacchi della Lega, 34). Ottimo esemplare, a grandi margini, di illustre provenienza: nota di possesso ms. sul primo e ultimo foglio di Sir. Christopher Hutton; nota sulla sguardia anteriore: "a copy of this edition of the Decamerone sold at Col. Stanley's Sale of Books in may 1813 for £ 63.0.0" (tracce di polvere al titolo; lievi aloni d'umido nel margine superiore degli ultimi ff.). Edizione preziosa.. Borromeo p. 7 e V: ''...primo comparve alla luce il più corretto degli altri''. Zambrini 37. Mostre Certaldo n. 48. Olschki n. 3 (questo esemplare).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Le Jardin de contemplation

      (colophon:) Paris: Jean Petit, 1516. 8vo (134 x 90 mm). Collation: a-z8 et8 A-D8. [224] leaves, including final blank. Batarde types, 27 lines. Publisher's woodcut device on title (not in Renouard), 8- and 4-line metalcut initials. Colophon printed in a cruciform X-shape. Title and last leaf stained, occasional small stains elsewhere, minor worming in lower margins, not affecting text. 18th-century mottled calf, smooth spine gold-tooled with allover floral decor, edges stained red (joints split, quite worn). Provenance: flourished contemporary signature at end (De cannes?); traces of deleted annotations in lower margins of first quire and on final blank leaf; 12 [symbol for livres tournois], 3940, early purchase note in red ink on verso of front free endpaper; Louis-César de la Baume de Blanc, Duc de La Vallière: 18th-century pencil number "759" on front flyleaf = Guillaume François de Bure, Catalogue des livres provenans de la bibliotheque de M.L.D.D.L.V. [Monsieur le Duc de La Vallière], Paris 1767, lot 759; Lambert, former Lieutenant-Colonel des Dragons, sale Paris: De Bure, 14 February 1780, lot 136. *** only edition of an allegorical tale for nuns. According to the publisher's brief introduction (a2r), and to a preliminary letter from the Mother Superior herself, the work was composed at the request of the Abbess of the convent of the Clarisses (Poor Clares) of Aigueperse (founded in 1422, and until the Revolution one of the largest convents in Auvergne). Speaking for all the sisters, the Abbess begs Henry to fulfill his "large promesse" of books of religious instruction for the convent. Jean or Jehan Henry (whose name is given in the incipit) was the author of a handful of devotional works, all published posthumously, mainly by the printer-publisher Jean Petit in or around 1516. From a family of Norman petits nobles, Henry became royal councillor in 1463 and served as President of the Chambre des enquetes (Chamber of Inquiries) of Parliament. From 1468 he also served as canon and cantor of Notre-Dame in Paris. Henry wrote all of his works for a feminine audience, mainly for female religious communities (cf. Berriot-Salvadore), and most were cast as allegorical meditations, as here (cf. Boulton and Hasenohr). His books were acts of piety and apparently self-financed. The four-part treatise, whose principal theme is the definition of the contemplative life, and its possible reconciliation with the vie active, is couched as an allegorical vision experienced by the author after receiving the Abbess's pleas. The dream / allegory features a mystical garden of contemplation, with at center the Tree of the Cross. The author's initial vision appears in the form of a female figure "of very small stature and simple bearing, whose gaze was directed heavenwards, who wore a robe of little color and of poor material, and a black veil and light shawl like a shroud"; he realizes that she is not his usual dreamtime companion, Dame Sollicitude (Lady Worldly Care), who is "of tall stature, light bearing, vague regard, [and] pompous attire of many colors" (ff. b1v-b2r), and he later learns that the mysterious lady is Humility. She narrates Part I, in which humility is presented as the necessary foundation for Faith. Part II is introduced by Faith herself, who explains to the author the meaning of the Tree of the Cross. She is soon joined by a host of other allegorical personnages: Prudence, Office [worldly duties], Contemplation, Charity, Pity, Peace, and so on, each arguing her own point of view; the contemplative life is concluded to be superior to the active life. Along the way are imparted histories of the first anachorites and of the origins of convent life, and it is explained that the Minorite female communities sought to emulate those first hermits and monks. In a chapter on Elizabeth of Hungary (gg8v-h2r), the establishment of hospitals is presented as a paradigm of charity, embodying Henry's values. In Part III the author, and by extension the reader, by means of her devotional practices, are guided into the garden. The allegorical thread is sustained throughout this exposition of the path to divine understanding, attainable through contemplation of the mysteries of the Passion and of the Seven Words of Christ. In the brief fourth part author and reader attain the top of the Tree of the Cross. Significantly, the work concludes with the recognition, by Prudence, that the contemplative life and an active life in the world are not mutually exclusive. The Jardin de Contemplation, of which at least one manuscript is known (BnF Département des manuscrits, Fr. 997, digitized on Gallica), has been viewed as the first of a series of fictions incorporating gardens as the structuring principle (Huë); as part of a surge, in the late fifteenth century, of devotional works written for cloistered women (Boulton and Hasenohr, p. 34); and as representative of the late fifteenth- and early sixteenth-century vogue for spiritual allegory, linking this type of treatise to morality plays (Hasonohr, p. 44: in Henry's works, "all the instruction is set forth `by personnages [characters]', and the author, who presents himself as the `pilgrim' or the `actor' [as here] directs the action" [trans.]). The printer / bookseller Jean I Petit was active from ca. 1492 to ca. 1540. The woodcut device used on the title resembles Renouard 883 and features the same whimsical lion and a leopard-like creature holding aloft a shield with the IP monogram, in front of trees with birds and flanking putti, but is printed from a different block, unknown (unusually) to Renouard. Other printing oddities of the book are the calligrammatic colophon, and an upper-case A that is printed before the signature in the signature line of the first recto of each quire. This recalls the abbreviations of usage in the signature lines of French printed books of hours, and may have been a way of distinguishing this edition from the four other tracts by Henry published by Jean Petit at about the same time (3 are undated but attributed to 1516, cf. Moreau II 1374-1377); this would imply that the five editions were printed concurrently. Like all of Henry's books, this one is rare: OCLC, USTC and the sources cited below locate four copies in French libraries, of which two are imperfect. The present humble copy belonged to one of the greatest French book collectors, and among the greatest anywhere, "the paragon of the French bibliophile" (Coq), the Duc de La Vallière (1708-1780). The Duke bought and sold constantly, improving his collections; many of his books were sold as duplicates during his lifetime, usually through his bookseller de choix, Guillaume de Bure. The first of his large dispersals at auction was the 1767 sale by De Bure. In two volumes, it included many rarities, not least a copy (on paper) of the 1462 Fust and Schoeffer Bible (GW 4204), which brought the highest price in the sale. It should be noted that "in contrast to so many other bibliophiles, La Vallière only rarely marked his books with signs of personal possession ... It was as if he was content to have these books as part of his collection, even if it was only a matter of momentary possession" (Coq, p. 323, trans). Thus the faint pencil inscription of a lot number is in many cases the sole internal piece of evidence that a book passed through his hands. (The present binding, although already on the book at the time of the 1767 sale, was not the work of one of La Vallière's customary binders.) References: Moreau II:1373; Bechtel, Gothiques H-19 (incorrect collation); Higman, Piety and the People, H3; Brunet III:102. Cf. Dictionnaire de Spiritualité vol. 7 (1968), 259-263; Maureen Barry McCann Boulton, Sacred Fictions of Medieval France: Narrative Theology in the Lives of Christ and the Virgin, 1150-1500 (2015), p. 182; Denis Huë, "Reliure, clôture, culture : le contenu des jardins," Vergers et jardins dans l'univers médiéval, Aix-en-Provence, 1990, note 19; Geneviève Hasenohr, "Aspects de la Littérature de Spiritualité en Langue Française," Revue d'histoire de l'Église de France, vol. 77, no. 198, 1991, pp. 29-45; Evelyne Berriot-Salvadore, Les femmes dans la société française de la Renaissance (1990), pp. 289-90; Thomas Frank, Heilsame Wortgefechte: Reformen europäischer Hospitaler vom 14. bis 16. Jahrhundert (2014), chapter III.2, "Das Hotel-Dieu und andere Pariser Hospitäler im 15. Jahrhundert," pp. 157-158; Dominique Coq, "Le duc de la Vallière et sa collection," Histoire des bibliothèques françaises: les bibliothèques sous l'Ancien Régime 1530-1789, Paris: Promodis, 1968, pp. 316-331; Richard C. Christie, "The Catalogues of the Library of the Duc de la Valliere," The Library Chronicle, vol. II, London 1885, pp. 153-159.

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        Q.Horatii Flacci Opera cum Commentariis Ode Quidem

      Badium Ascensium, Parisiis 1516 - 1 vol cm 27.5 –cc.4n.n.,cc.CXXX(130) + LXXXIII(83) , mezza pergamena sec XVII, bel frontis architettonico figurato, caratteri romani e gotici, vari capilettera piccoli e grandi a "fondo crible", lievi aloni inizio e fine, foro di tarlo alla cerniera ma esemplare bello e marginoso, terza e più corretta edizione, foglio 76 sostituito con elegante copia manoscritta coeva. 1 volume 27.5 cm, cc.4n.n., cc. CXXX (130) + LXXXIII (83), half parchment binding XVII century, nice figurative frontispiece, roman and gothic types, various small and large initial letters, light halos at beginning and end, wormhole to the joint but nice copy with wide margins, third more correct edition, sheet 76 replaced with elegant handwritten copy. [Attributes: Hard Cover]

      [Bookseller: Redaelli Alberto]
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        Silve celebratissimam Francisci magni Valesii in Helvetios Victoriam cantatissima Caroli octavi et lodovici duodecimi prelia (quibus bellacissimus Iacobus chabannus eques auratus Franciae Marescalus fortiter ac triumphantissime interfuerit) necnon strenuissimi equitis aurati comensis prefecti et religiosissimi aniciensis ecclesiae antistitis preconia complexae.

      In Parrhisiorum Lutetia, apud Egidium Gormontium, 1516. - Petit in-8. 124ff. non chiffrés. Plein veau, dos lisse orné (reliure postérieure restaurée). Edition Originale. Rarissime recueil de poésies néo-latines célébrant les victoires de François Ier en Italie. "Ces poésies ne sont pas sans mérite, et elles ont même un certain intérêt historique. Outre les pièces indiquées sur le titre, le volume en contient d'autres, soit de Hugues d'Ambert, soit de quelques poètes contemporains. Parmi les pièces préliminaires est une lettre de Jean de Ville à Jacques de Chabannes, datée de Paris, 5° Idus Octobres, 1516, dans laquelle il a fait un grand éloge de ce général" (Brunet). François Ier possédait un exemplaire de cet ouvrage, relié à ses armes. Petit travail de ver marginal à quelques feuillets, sans atteinte au texte. Très bon exemplaire. Graesse, III, p. 386. Brunet, III, p. 366. Pas dans Adams. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librería Comellas]
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        Beatiss. Patris Nili, episcopi et martyris theologi antiquiss, sente[n]tiae morales e graeco in latinu[m] versae.

      Nurembergae: Fridericus Peypus, [1516]. 4to (20.3 cm; 8"). [10] ff. First edition of Saint Nilus of Sinai's Sententiae morales as translated by Willibald Pirckheimer from the Greek to Latin. Both talented men were great supporters of others in their lifetimes, Nilus being "a leading ascetical writer of the 5th century" while defending St. John Chrysostom, and German humanist Pirckheimer (1470–1530) befriending both the illustrator Albrecht Durer and the theologian Erasmus (Holweck, Biographical Dictionary of the Saints, p. 745). At the end here, on the final two leaves, is a sermon of St. John of Damascus, "Ex Sanctiss, Patriss [sic] Ioannis Damasceni sermonibvs."    A woodcut border cut in reverse (i.e., the background is black and the figures are white) with Pirckheimer's coat of arms and Grecian decoration, originally attributed to Durer but now attributed to Durer's pupil Hans Springinklee (ca. 1490/ 1495 – ca. 1540), adorns the title-page; the border was first used in Plutarchi Chaeronei de his qui tarde a numine corripintur libellus (1513).    Evidence of Readership: Words and phrases of text have been underlined in early ink, with one word added marginally.    Provenance: Illustrated bookplate of 20th-century German book collector Ida Schoeller on front pastedown; later in the library of American collector Albert A. Howard, small booklabel ("AHA") at rear. A pre-WWII German bookseller's description has been pasted on the rear pastedown.         VD16 N1760. On the title-page, see: Dodgson, German and Flemish Woodcuts, I, p. 379. Modern boards covered in an incunable leaf, light glue action to endpapers; small interior tear (or short slim wormtrack) to title-page and its top edge closely trimmed affecting edge of woodcut border. Readership/provenance markings as above, moderate age-toning and foxing with a few marginal spots/stains. => A good copy of an apparently unusual little work.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Heures a lusaige de Rome tout au long sans riens requerir nouvellement imprimees a Paris pour Germain Hardouyn demourant entre les deux portes du palays a lenseigne Saincte Marguerite

      Paris: Germain Hardouyin, 1516 16mo (107x68 mm); handsome early 18th-century French brown morocco à la dentelle, spine with four small raised bands, compartments richly gilt-tooled, marbled endpapers in comb pattern, housed in modern black morocco case; (96) leaves. Collation: A-M8. Gothic type, text in Latin, title and colophon in French (Les presentes heures a lusaige de Rome tout au long sans riens requerir ont este nouvellement imprimees a Paris pour Germain Hardouyn libraire demourant audit lieu entre les deux portes du Palays a lenseigne saincte Marguerite). With 15 large hand-painted woodcuts (ll. A1r, B2r, B5r, C7v, d5r, E3r, E4r, E5r, E8r, F3r, F6r, G1r, G5v, i1r, K2v), three-line initials in gold, on grounds of blue and dark pink, numerous one and two-line initials in gold on alternating dark pink and blue ground, rubricated in dark pink and blue. Overall an excellent copy, browned and stained in places, quire 'd' slightly loose, some illuminated initials slightly discolored.AN EXCESSIVELY RARE EARLY FRENCH EDITION of the book of hours, printed on vellum and datable, from the almanac printed at the beginning, to 1516. The volume was issued from the press of the leading Parisian publisher and illuminator Germain Hardouyn, active from ca. 1500/1505 to 1539/1541.Between the end of the fifteenth century and the early sixteenth century Paris was the principal center of production and trade for printed Books of Hours, which from a textual point of view followed the manuscript examples. Germain Hardouyn, together with his brother Gilles, printed almost exclusively Books of Hours, producing at least two or three editions per year (J. Guignard, Livres d'Heures de Germain Hardouyn à la Bibliothèque Nationale, Les trésors des bibliothèques de France, VII, 1942, pp. 30-42).For special clients Hardouyn produced handsome presentation copies of the Heures, printed on vellum and decorated with illuminations, like the copy offered here. It closely resembles an illuminated manuscript: it is printed on vellum in gothic type, with colophon but no title-page, illustrated with illuminated woodcuts, and decorated with numerous hand painted initials and line endings. He continued to produce illuminated copies of Hours even after other Parisian publishers had abandoned this production.In the present copy the first miniature shows St. Cecilia playing a lute, a feature which suggests that this precious copy on vellum was not a standardized one, but rather individually designed. Patrons could in fact request the inclusion of favorite or local saints, and this was particularly the case in books commissioned by distinguished women.Text: The edition includes all standard textual elements of Hours. It opens with the almanac, for the years 1516-1537; the other sections follow: extracts from the gospels, the Passion according to John, office of the virgin, Seven Penitential Psalms, Litanies, offices of the Dead, supplemented with short offices and Suffrages.Illumination: The text is accompanied by fifteen handsome illuminated woodcuts at the beginning of sections, and mostly depicting scenes from the life of the virgin Mary, derived in all likelihood from images previously used in other manuscripts or printed Books of Hours. The illumination was probably executed in Hardouyn's workshop. The leaves containing illuminated woodcuts are framed in gold-painted architectonic borders 'à l'antique', sketched in red on a gold yellow ground, and decorated with Hardouyn's characteristic dangling cords and tassels. The woodcuts are colored in the new quicker style with the lines of the cut largely obscured by paint, and only in a few areas do the underlying designs show through.fol. A1r: St. Ceciliafol. B2r: John the evangelist writingfol. B5r: Christ carrying the crossfol. c7v: Annunciationfol. D5r: visitationfol. e3r: Christ carrying the cross (in a different version)fol. e4r: Marriage of the virgine5r: Nativitye8r: Annunciation to the ShepherdsF3r: Adoration of the MagiF6r: Presentation in the Templeg1r: Flight into Egyptg5v: coronation of the virginI1r: King DavidK2v: Job on the DungheapH. Bohatta, Bibliographie der Livres d'heures des XV. und XVI. Jahrhunderts, Vienna, 1909, p. 34, no. 912.

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        Vita philosophorum et poetarum; cum auctoritatibus et sententiis aureis eorundem annexis.

      Strassburg, Johann Knobloch d. Ä., 1516. - 4°, circa 20,2 x 14,4 cm. 8 ff., LII pp. 17th century decorated red leather with richly gilded covers (restored, rebacked) "VD16 B 9848; Schmidt, Rep. VII, 115. Rare Strasbourg edition, introduced by a "Carmen tumultuarium" on the title. The "De vita ac moribus philosophorum" is considered to be the "first attempt in modern times at writing a history of ancient philosophy" (Sandys). It starts with Thales and characterizes many ancient philosophers up to the times of Seneca. Walter Burley (1275-1345?) was teaching at Paris and Oxford and opposed the views of his contemporary William of Ockham. For the present work his sources were Diogenes Laertius, Vincent of Beauvais and others. Its elegant style and entertaining way of presenting the personal lives of eminent philosophers and their theories made it a favorite book in the later Middle Ages up to the Renaissance. This edition starts with twelve pages of index listing first the names of the philosophers and then enumerating sentences and authorities. - Minor browning, little spotting, mostly fine. Few old annotations ("barba decet virum", "homines bestias vocavit" etc.). The pretty binding is rebacked, the laces are gone, edges restored, endpapers well renewed, still quite pretty. " [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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        The New Review. Consecutive run of 19 semi-monthly issues, Vol. III no 5 to Vol. IV no 2 (May 1 1915 to Jan 15, 1916)

      New York: The New Review, 1915-16. First Edition. A substantial, consecutive run of issues, covering most of the year 1915. An independent radical bi-monthly, The New Review claimed a distinguished board of editors, including most of the writers who would go on to found The Masses in 1916. Indeed, Goldwater says of The New Review: "...it was considered to have been absorbed into the Masses ... whose masthead for August to November, 1916, included its name." Unlike the Masses, however, New Review was primarily a news magazine devoted to developments in the growing international Socialist movement; it included no illustrations and comparatively little literary work. Contributors to the this run of issues include Louis Fraina, Elsie Clews Parsons, John Spargo, Floyd Dell, Ernest Boyd, Mary White Ovington, William English Walling, Harry Laidler, and a host of others. Not entirely uncommon, but seldom encountered in cohesive runs and rarely found in nice condition. GOLDWATER 185. Nineteen consecutive quarto issues in original wrappers. Staple-bound self-wraps; 24pp per issue. Mild toning and soil to outer pages on some issues; occasional mild creasing, but no serious wear - generally Very Good or better overall.

      [Bookseller: Lorne Bair Rare Books ]
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        Opera omnia quae reperiri potuerunt: ex antiquis exemplaribus diligentia & labore Mariani Victorii Reatini, emendata, atque argumentis & scholiis illustrata. Quibus supra ceteras editiones adiecimus Theophili Alexandrini Epistolas tres, quae vulgo Paschales appelantur, ab eodem Hieronymo in lat. sermonem conversas [...]. Adiecta est [...] vita D. Hieronymi [...] quam idem Marianus [...] collectam primus editit. Indices locupletißimi [...]. 9 in 5 Bänden.

      Fol. (39 x 27 cm). Mit 9 (wiederh.) Holzschn.-Druckermarken a. d. Titeln u. zahlr. Holzschn.-Vignetten u. -Initialen im Text. Ldr.-Bde. d. Zt. a. 6 Bünden m. goldgepr. Deckelfileten, Rückenverg. u. goldgepr. Rückentiteln. Nachdruck der im selben Jahr bei Plantin in Antwerpen erschienenen Ausgabe. Die Werke des Kirchenvaters wurden erstmals 1516 von Erasmus gesammelt und herausgegeben. Eine katholische Redaktion des Textes erstellte dann M. Victorius 1565-1572. Dieser Ausgabe folgt die vorliegende: Cette édition a été faite sur plus vingt mss. et proprement alle est opposée à celle d'Erasme qui est accusé d'avoir corrompu ou non compris quinze cent passages (Graesse). - Der Kirchenvater Hieronymus (347-420) gehört in der katholischen Kirche zusammen mit Ambrosius von Mailand, Augustinus und Papst Gregor I. zu den vier spätantiken Kirchenlehrern des Abendlandes. Hieronymus ist der Verfasser der Vulgata, der lange Zeit maßgeblichen Bibelübersetzung der katholischen Kirche. Er übersetzte in ein Latein, das er behutsam dem Sprechlatein seiner Zeit annäherte. Für das Neue Testament überarbeitete er die ältere Übersetzung Vetus Latina (früher auch Itala genannt). - Die dekorativen Einbände beschabt u. an den Rücken u. Kanten fachm. restauriert. Schwach gebräunt bzw. stockfleckig. Ein Band im Kopfsteg schwach wasserrandig. Wenige Bll. mit Knickspuren. - Insgesamt dekoratives, sauberes Exemplar. - Vgl. Brunet III, 156 Graesse III, 273 u. BM STC, French Books 240 nicht bei Adams.

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        Gedrucktes Mandat mit Vollziehungsstempel und eigenh. Vollziehungsstrich ("se"): Verbot, in französische Kriegsdienste zu treten.

      Augsburg, 16. I. 1516. - Einblattdruck. 1 S. Qu.-Folio (560 x 400 mm). Mit papiergedecktem Siegel über rotem Wachs (weitgehend verloren). Gefaltet. Mandat, "das nyemannd aus dem hailigen Reich unnd sonnderlich Teutscher nacion weder zu Ross noch fuess, dem künig von Franckreich als unnserm und des Reichs offenbaren veinde zu diennst zuziehen" erlaubt sein solle, "sonnder wo dieselben so also des willenns weren, erfarn, angegriffen, und an irem leib gestrafft, auch der die darüber bey Franckreich beleiben, hab und gueter, als verwürckt und haimgefallen, eingezogen werden sollen [.]". - Kaiser Maximilians geschickte Heiratspolitik hatte das Haus Habsburg mit Spanien alliiert; aus der daraus entstehenden Einklammerung Frankreichs erwuchs der zweieinhalb Jahrhunderte währende sog. habsburgisch-französische Gegensatz, der erst mit Kaunitz' "Renversement des Alliances" ausklingen sollte. Das vorliegende Mandat geht dem Tod Ferdinands II. von Aragón und dem darauf folgenden Thronantritt von Maximilians Sohn Karl (als Carlos I., später Kaiser Karl V.) um eben eine Woche voraus. - Mit gedr. Handzeichen des Kaisers und einer gedr. Gegenzeichnung von Kanzler Cyprian von Serenthein. Kl. Fraßspur (etwas Papierverlust im Text). Verso von zeitgenöss. Hand bezeichnet: "Mandata das niemant in Franckreich zu roß oder fuß ziehenn soll".

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Historia naturale di Caio Plinio Secondo di lingua latina in fiorentina tradocta per il doctissimo homo miser Christophero Landino fiorentino novamente correcta: da infiniti errori purgada: Aggionte etiam di novo le figure a tutti li libri convenient

      Marchio Sessa e Piero di Ravani Bersano, Venetia 1516 - In Folio (mm 320x215); carte non num. 14, carte num. 259. Testo su due colonne completo, tre errori di numerazione delle carte, (carta XCIV malnumerata XCV, carta XCVII malnumerata XCXVII, cartaCXCVI malnumerata CXCVIII). Frontespizio in rosso e nero, testo su due colonne, marca editoriale di Sessa in silogr. raffigurante la celebre gatta col topo in bocca, altra marca incisa in legno con il mondo e croce entro riquadro in nero alla fine del "Repertorio" alla bb7 verso. 38 illustrazioni silografiche (alla bb8 recto inscrizione della tomba dei familiari di Plinio) e 37 grandi e raffinate iniziali ornate con motivi fitomorfi, racemi, animali e putti, poste all'inizio dei libri, oltre a centinaia di piccole iniziali. Piena pergamena settecentesca con titolo manoscritto a inchiostro bruno al dorso, tagli marezzati.Prima edizione italiana illustrata della pi? antica opera enciclopedico-scientifica pervenutaci dall'antichit?, che influenzÚ la conoscenza dell'umanit? fino al medioevo ed una delle pi? importanti produzioni uscite dai torchi dello stampatore veneziano. L'opera Ë una vera enciclopedia della conoscenza si occupa infatti di matematica, fisica, cosmografia, zoologia, agricoltura, botanica, mineralogia, metallurgia, geografia, antropologia, fisiologia, storia dell'arte, antropologia. Uno dei primi testi della scolastica in lingua volgare curato da Cristoforo Landino (prima editata nel 1476).Le raffinate incisioni (commissionate dai Sessa) appositamente realizzate per l'edizione latina del 1513, la prima figurata, impressa dai medesimi stampatori, qui sono riutilizzate, a parte una incisione all'inizio del libro IX, degli animali acquatici; il resto dell'apparato iconografico rappresenta: due piccole carte geografiche di Europa ed Africa, l'universo tolemaico, scene di cannibalismo, scene di agricoltura (viticoltura fra le altre), pazienti curati con le erbe, speziali mentre preparano medicine, apicoltori medievali al lavoro, bagni minerali, artisti all'opera, animali (elefanti, giraffe, mostri marini) ecc. Bell'esemplare con chiose al margine di alcune carte, macchie brune alla carta LXXXI, CLXXIX, CLXXX; piccoli fori di tarlo persistenti nel volume dalla carta LXXXVIII alla fine.Ex libris manoscritto cassato al frontespizio, qualche lieve alone nella parte superiore, minime saltuarie macchie e aloni marginali. Manca la carta bianca finale. Essling, I/1, S. 31, N. 5. British Library HMNTS 729. K. 34; Mortimer 38 scienze, storia naturale, medicina.

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        Martyrilogium viola sanctorumandnbsp

      

      [Bookseller: Maggs Bros. Ltd.]
 21.   Check availability:     Direct From Seller     Link/Print  


        Historia naturale di Caio Plinio Secondo di lingua latina in fiorentina tradocta per il doctissimo homo miser Christophero Landino fiorentino novamente correcta: da infiniti errori purgada: Aggionte etiam di novo le figure a tutti li libri convenient

      Marchio Sessa e Piero di Ravani Bersano, 1516. In Folio (mm 320x215); carte non num. 14, carte num. 259. Testo su due colonne completo, tre errori di numerazione delle carte, (carta XCIV malnumerata XCV, carta XCVII malnumerata XCXVII, cartaCXCVI malnumerata CXCVIII). Frontespizio in rosso e nero, testo su due colonne, marca editoriale di Sessa in silogr. raffigurante la celebre gatta col topo in bocca, altra marca incisa in legno con il mondo e croce entro riquadro in nero alla fine del "Repertorio" alla bb7 verso. 38 illustrazioni silografiche (alla bb8 recto inscrizione della tomba dei familiari di Plinio) e 37 grandi e raffinate iniziali ornate con motivi fitomorfi, racemi, animali e putti, poste all'inizio dei libri, oltre a centinaia di piccole iniziali. Piena pergamena settecentesca con titolo manoscritto a inchiostro bruno al dorso, tagli marezzati.Prima edizione italiana illustrata della più antica opera enciclopedico-scientifica pervenutaci dall'antichità, che influenzò la conoscenza dell'umanità fino al medioevo ed una delle più importanti produzioni uscite dai torchi dello stampatore veneziano. L'opera è una vera enciclopedia della conoscenza si occupa infatti di matematica, fisica, cosmografia, zoologia, agricoltura, botanica, mineralogia, metallurgia, geografia, antropologia, fisiologia, storia dell'arte, antropologia. Uno dei primi testi della scolastica in lingua volgare curato da Cristoforo Landino (prima editata nel 1476).Le raffinate incisioni (commissionate dai Sessa) appositamente realizzate per l'edizione latina del 1513, la prima figurata, impressa dai medesimi stampatori, qui sono riutilizzate, a parte una incisione all'inizio del libro IX, degli animali acquatici; il resto dell'apparato iconografico rappresenta: due piccole carte geografiche di Europa ed Africa, l'universo tolemaico, scene di cannibalismo, scene di agricoltura (viticoltura fra le altre), pazienti curati con le erbe, speziali mentre preparano medicine, apicoltori medievali al lavoro, bagni minerali, artisti all'opera, animali (elefanti, giraffe, mostri marini) ecc. Bell'esemplare con chiose al margine di alcune carte, macchie brune alla carta LXXXI, CLXXIX, CLXXX; piccoli fori di tarlo persistenti nel volume dalla carta LXXXVIII alla fine.Ex libris manoscritto cassato al frontespizio, qualche lieve alone nella parte superiore, minime saltuarie macchie e aloni marginali. Manca la carta bianca finale. Essling, I/1, S. 31, N. 5. British Library HMNTS 729. K. 34; Mortimer 38

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Die Ritterlich und lobwürdig reiß [.] Sagend von den landen, Egypto, Syria, von beiden Arabia Persia, India und Ethiopia, von den gestalten, sitten, und dero menschen leben und glauben.

      Strasbourg, Johann Knobloch, 1516. - 4to. 226 pp., final blank f. With title woodcut and 47 woodcuts in the text (including 1 full-page illustration). Blindstamped dark blue morocco by Riviere & Son with giltstamped spine title. All edges gilt. Marbled endpapers. The first illustrated edition (in its second issue) of one of the most famous early travel reports and the first western encounter with the Arab world. Of the utmost rarity; not a single copy could be traced on the market for the past sixty years; not a single copy in the USA (cf. OCLC). Lodovico de Varthema’s "Itinerario" describes the first recorded eyewitness account by a westerner of the holy cities of Mecca and Medina. All early editions of Varthema’s "Itinerario" are exceedingly rare (even the 2013 Hajj exhibition at the MIA, Doha, only featured the 1654 reprint; cf. below). This - the first illustrated one - is certainly the rarest of them all: international auction records list not a single copy. The 1510 editio princeps was offered for US$ 1 million at the New York Antiquarian Book Fair in April 2011. - Varthema, a gentleman adventurer and soldier from Bologna, left Venice at the end of 1502. In 1503 he reached Alexandria and ascended the Nile to Cairo, continuing to Beirut, Tripoli, Aleppo and Damascus, where, adopting Islam and taking the name of Yunas, he joined a Mameluke escort of a Hajj caravan and began the pilgrimage to Mecca. Varthema was amazed by what he observed: "Truly I never saw so many people collected in one spot as during the twenty days I remained there", he begins, and arriving at the Great Mosque, continues, "it would not be possible to describe the sweetness and the fragrances which are smelt within this temple." Thanks to his knowledge of Arabic and Islam, Varthema was able to appreciate the local culture of the places he visited. Impressed and fascinated, he describes not only rites and rituals, but also social, geographical, and day-to-day details. "I determined, personally, and with my own eyes", he declares in the prefatory dedication, "to ascertain the situation of places, the qualities of peoples [.] of Egypt, Syria, Arabia Deserta and Felix, Persia, India, and Ethiopia, remembering well that the testimony of one eye-witness is worth more than ten hear-says." His good fortune did not continue unabated, however: after embarking at Jeddah and sailing to Aden, he was denounced as a Christian spy and imprisoned. He secured his release and proceeded on an extensive tour of southwest Arabia. Stopping in Sanaa and Zebid as well as a number of smaller cities, he describes the people, the markets and trade, the kind of fruits and animals that are plentiful in the vicinity, and any historical or cultural information deemed noteworthy. Returning to Aden, and after a brief stop in Ethiopia, he set sail for India. In addition to visiting Persia, Varthema explored the coasts of Malabar and Coromandel, including a very documented stay at Calicut at the beginning of 1505. He also purports to have made extensive travels around the Malay peninsula and the Moluccas. Returning to Calicut in August 1505, he took employment with the Portuguese at Cochin and, in 1508, made his way back to Europe via the Cape of Good Hope. - First published in 1510, Varthema's account became an immediate bestseller. In addition to his fascinating account of Egypt, Syria, the Arabian Peninsula, and the holy Muslim cities, "Varthema brought into European literature an appreciation of the areas east of India [.] which it had previously not received from the sea-travelers and which confirmed by firsthand observations many of the statements made earlier by Marco Polo and the writers of antiquity" (Lach, I. i. 166). "Varthema was a real traveller. His reports on the social and political conditions of the various lands he visited are reliable as being gathered from personal contact with places and peoples. His account of the overland trade is of great value in that we are made to see it before it had begun to give [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Psalterium Hebreum, Grecu[m], Arabicu[m], & Chaldaicu[m], cu[m] tribus latinis i[n]terp[re]tat[ion]ibus & glossis.

      Genoa, Pietro Paulo Porro, 1516. - Folio (binding 250 x 335 mm, inner book 236 x 327 mm). 200 leaves, complete. Title printed in red and black within woodcut arabesque border, printer's device on final leaf. With parallel text in Hebrew, Latin, Greek, Arabic and Chaldaean (in their respective types), 4 columns to a page, 41 lines. 13 woodcut floriated initials (5 Latin, 4 Hebrew, 2 Greek and 2 Arabic). Rebound in near contemporary brown calf, carefully restored, edges and corners repaired, spine fully rebacked in seven compartments with modern gilt title and date. First edition. - The first polyglot edition of any part of the Bible, and also the first polyglot work ever published. It is of the utmost importance in several further respects, constituting the second book printed in Arabic from movable type (following Gregorio de Gregorii's "Kitab salat as-sawa'i", a Horologion for the Lebanese Melchites, printed in 1514), as well as the earliest Arabic printing of any portion of the Bible. It also contains the first edition of the Aramaic text of the Psalter and offers for the first time Kabbalistic texts from the Zohar. Furthermore, Giustiniani’s commentary provides the first substantial biographical reference to Columbus, and is thus noted as an Americanum. - The learned Dominican Agostino Giustiniani (1470-1536) was Bishop of Nebbio in Corsica from 1514 and later became the first Professor of Arabic and Hebrew at Paris. On his death he bequeathed his extensive library to the state of Genoa. He edited, supervised and financed the present edition and also wrote the commentary. - His book is the first multilingual edition of any part of the Bible. Aldus Manutius had planned a Psalter in three languages as early as the late 15th century, but his project was not realised. Printed in eight parallel columns on double pages, Giustiniani’s work comprises the text in Hebrew, a literal Latin translation thereof, the Latin Vulgate, the Greek Septuagint, Arabic, Aramaic (Chaldee), a literal Latin translation from the Aramaic, and scholia in the same languages. While Giustiniani aimed to edit the entire Bibel in this form, no further sections were published. He described his difficulties in selling the edition in his History of Genoa (1537), recording an edition size of 2,000 paper copies and 50 copies on vellum. - Giustiniani’s extensive commentary includes a long note to Ps. 19:4 ("et in fines orbis omnia verba eorum"; C7r-D1r), about the Genoese Christopher Columbus, who had died in 1506, containing previously unpublished information on his second voyage: "In this interesting sketch of the life and voyages of his fellow-townsman, Bishop Giustiniani gives an interesting account of the discovery of the new world, and states some facts not mentioned elsewhere" (Sabin). - This edition is also the only book printed at Genoa in the 16th century. The Milanese printer Pietro Paulo Porro maintained a press at Turin with his brother Galeazzo. Giustiniani summoned Porro to Genoa especially for the production of this edition, and had set up a press in the house of his brother Nicolo Giustiniani Paulo. The types were designed and cut for this edition under Porro’s direction. - Mild browning throughout, with some occasional waterstaining (more pronounced near beginning). Adams B 1370. Darlow/Moule 1411, 1634 & 2401. Smitskamp, PO, 236. Alden-Landis 516/4. Harrisse, BAV no. 88 (pp. 154-158). Sabin 66468. Sander 5957. G. Roper, Early Arabic Printing in Europe, in: Middle Eastern Languages and the Print Revolution. A Cross-Cultural Encounter (Westhofen 2002), pp. 129-150, at p. 132, with colour ill. IV. StCB 25. Vinograd Genoa 1. [Attributes: First Edition; Hard Cover]

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        Abramo ripudia Agar

      1516 - Bulino, 1516, datato e monogrammato in lastra in basso al centro. Esemplare nella prima variante di tre. Bellissima prova, impressa su carta vergata coeva priva di filigrana, irregolarmente rifilata alla linea marginale, in buono stato di conservazione. La scena rappresenta l’episodio biblico, raccontato nella Genesi, di Agar ripudiata e abbandonata nel deserto insieme al figlioletto Ismaele. Poiché Sara, moglie legittima di Abramo non riesce ad avere figli, offre al marito la schiava Agar, da cui nascerà Ismaele. Quando però Sara dà alla luce Isacco, impone ad Abramo di allontanare la donna e anche il piccolo Ismaele. Abramo così li mandò via, lasciando alla donna del pane e dell’acqua. La donna si smarrì col piccolo nel deserto e quando l’acqua finì Dio intervenne in soccorso, mostrando alla donna un pozzo d’acqua. Il soggetto incontrerà grande fortuna anche nella pittura, basti pensare - solo per citarne alcune tra le più famose - alle tele del Guercino, di Van Dick e di Malatesta, con variazioni che riguardano l’ambientazione, il numero di figure – spesso sono rappresentati anche Sara e Isacco, l’espressione di Abramo più o meno commossa. Qui è rappresentato il momento del congedo di Abramo dalla donna e Ismaele, appena fuori dalla città. Sul viso di Agar si coglie sofferenza mentre il bimbo osserva innocente e timoroso Abramo, nascondendosi dietro la madre. L’espressione di Abramo è un misto tra fermezza e dolore, il gesto della mano sinistra che tocca il braccio della donna lascia intuire che il distacco è duro anche lui, benché ineluttabile. Engraving, 1516m signed and dated on plate. Example of the first state of three. A very good impression, printed on laid paper, irregularly trimmed at the platemark, good conditions. The scene represents the Biblical story, as told in Genesis, Hagar repudiated and abandoned in the desert along with her son Ishmael. As Sarah, Abraham's legitimate wife is unable to have children , it gives the husband the slave Hagar, Ishmael, from whom will be born. But when Sarah gave birth to Isaac, requires Abraham to remove the woman and also the little Ishmael. Abraham so he sent them away, leaving the woman of bread and water. The woman was lost in the desert with little water and when finished God intervened in the rescue, showing the woman a well of water. The subject will meet with great success in painting , just think - just to name some of the most famous - the paintings by Guercino , Van Dick and Malatesta, with variations that affect the environment , the number of figures - often are also represented Sarah and Isaac, Abraham 's expression more or less moved. Here is accounted for by the time the leave of Abraham and Ishmael woman , just outside the city. On the face of suffering Agar is gathered while the child looks innocent and timid Abraham, hiding behind her mother. The expression of Abraham is a mixture of firmness and pain, the gesture of the left hand touching the woman's arm suggests that the gap is too hard, though inevitable. The New Hollstein, p. 47, 18 a/c; Filedt Kok (1978) 18 a/b; Bartsch 18; Salamon, Lucas van Leyden, n. 69. Dimensioni 125 1mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Omnia que gesta sunt in Orie[n]te inter Sophi & Maximum Turcarum & Suldanum, & que[m]admodum dux Turcaru[m] caepit Alepum & Damascum & Hierusalem cum om[n]ibus circumiace[n]tibus oppidis, & quo[rum] maximus Turcaru[m] voluit audire una[m] missam apud sanctu[m] sepulchru[m] Iesu Christi.[Basel, Pamphilus Gengenbach, 1518]. 4to. With woodcut illustration on title-page. 19th-century pink wrappers.

      Göllner 115; USTC 679549; VD 16, O 738. Rare 16th-century news pamphlet on the Ottoman-Mamluk War (1516-1517). The booklet relates the events from June 1516 to July 1517, followed by an account of Sultan Selim's visit to Jerusalem. During the Ottoma-Mamluk war the Ottoman Sultan Selim I, known as "the Grim", conquered Syria and defeated the Mamluk Sultan in the Battle of Ridaniya. He subsequently captured and sacked Cairo, thereby placing the holy cities Mecca and Medina under Ottoman rule, which marked the beginning of Ottoman power in Arabia.With two bookplates, some browning, otherwise in very good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Biblia cum concordantiis veteris et novi testamentis

      Lyon, 1516. Condition: 7,5 . With 2 full page woodcuts and circa 130 woodcuts in the text. Rubricated Copy. Edition of one of the Sacon-Koberger Bibles printed between 1512 and 1522 by Sacon from Lyon for Anton Koberger. Binding: Contemporary Half Leather Folio

      [Bookseller: Antiquariaat Meuzelaar]
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        Figurarum biblie opus conducibile & putile Quam in eo omnes materie contente: per clarissimum virum Anthonium de Rampegolis: ordinis sancti Augustini in Bibliam studiose applicantur.

      Joannem Knoblouch, [1516]., Argentine [i.e. Strasbourg]: - Small 8vo. Collation: AA12, BB8, A-Z8, Aa-Jj8. Foliation: [20], cclvi ff. Title printed in red and black, large woodcut title vignette of the virgin Mary holding the baby Jesus at her breast surrounded by four angels, 3 small woodcuts, woodcut initial letter. Original full blind-stamped calf, raised bands, two later black leather gilt-stamped labels; rebacked mounting earlier labels, seemingly preserving originally used manuscript [ca. 15th century or earlier] sheets used as pastedowns, manuscript title[?] applied to bottom edge [near spine]. Bound very tightly. Manuscript inscriptions on title obscured with ink. Fine. Early sixteenth century edition of this text from the theologian Antonio Rampegollo printed in Strasbourg by Johannes Knobloch I (d.1528). Knobloch started printing as early as 1497 and was responsible for much of the printing and publishing in this town for the rest of his life, then his son Johannes Knobloch II, continued the business. The text for this edition was previously printed in Cologne by Cornelius von Zierickzee [1505 and 1511]. Perhaps it is significant to point out that the German Reformation, initiated by Martin Luther, began with his Ninety-five Theses issued in 1517, just after this work being printed. "De Diablo": The extensive section [ff.69-78] on the devil discusses his place in the Bible, exorcism, and witchcraft. Thus the title suggests "Figures of the Bible" it really means Biblical theology or themes. The book contents (as taken from the "index") includes: Abstinentia [abstinence], Accidia [apathy], De Adulatione [flattery], Amicitia [friendship], the Apostles, Ascencio [Ascension], Avaricia [greed], De Beacitudine [Blessed, happiness], De Charitate [charity], Confessio [confessions], Conscientia [awareness/conscience], Compunctio [compunction], Detractio [Detraction], Diabolous [diabolical], Divitie, Ecclesia [Church], Elemosyna, Fides Christinana [Christian faith], Bratia, Bula, De Humana conditione [human condition], Humilitate [humility], Infernus [Inferno/Grave], Justicia, Lachryma [crying], Luxuria [self-indulgence – desire – lust], Maria virgo [Virgin Mary], Misericordia [compassion], Mundus [world], Oratio, Passio Christi [Passion of Christ], Patientia [patience], De Parentibus [parents], de Paupertate [of poverty], Penitetia [patience], Perseveratia, Predicatio, Recidivum, Religio, Resurrectio [resurrection], Sacerdos [priest], Scriptura sacra [Sacraments], Superbia [pride], Temptatio [Temptations], etc. Antonio Rampegollo (Antonius de Rampegolis, Antonius Rampegola) (sec. 14.-15.), Augustinian theologian and Genoese orator, intervened at the Council of Constance in 1414. Full title: Figurarum biblie opus conducibile & putile Quam in eo omnes materie contente: per clarissimum virum Anthonium de Rampegolis: ordinis sancti Augustini in Bibliam studiose applicantur. [title: Figurar?[m] biblie opus c?[n]ducibile & putile Q[ua]m in eo om[n]es materie c[on]tente: p[er] clarissimu[m] vi[ru]m Anthoniu[m] de Ra[m]pegolis: ordinis sancti Augustini in Bibliam studiose applica[n]tur. Regina celi / Sue sanctissuna / Maria mater Dei / Porta paradise.] [Attributes: Hard Cover]

      [Bookseller: Jeff Weber Rare Books, ABAA]
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        Institutio principis christiani

      Basel: Johann Froben, May, 1516. saluberrimis refererta praeceptis, per Erasmum Roterodamum, cum alijs nonnullis eodem pertinentibus, quorum catalogum in proxima reperies pagella [bound with 2 other works – see below.] Quarto (209 x 153 mm). Institutio: collates a–p4 q6 A–Z4 AA–BB4: 166 leaves, complete. Contemporary blind-stamped pigskin backing beech boards, clasps and catches, title in contemporary manuscript to fore edge, spine lettered and dated in ink at a much later date. Title pages within woodcut borders, woodcut initials. Early Greek quotation from Hesiod to front free endpaper; contemporary inscription "Isatt"[?] at head of first title and misdated 1516 below the place of publication, struck through and corrected in a later hand; early marginalia and underlining in at least two distinct hands. Backstrip very slightly soiled, but an excellent copy in an unrestored contemporary binding. First edition of Erasmus's famous treatise Institutio principis christiani, published at about the same time as Machiavelli's Il Principe. Written as advice for Prince Charles of Spain (later the Holy Roman Emperor Charles V), Erasmus's work goes far beyond the education of the Prince, and is in fact, like Machiavelli's, a general treatise on the state, its structure, the art of government and the conduct of the Prince; Erasmus, however, aims at harmony and peace, recognizing the rights and duties both of the Prince and the people. Other pieces treating the same subject were added, a list of which is given on verso of the title. Of these Erasmus's translation of a letter by Isocrates to King Nicocles on the importance of education for a king is published here for the first time. Further added are his Panegyricus to Philip the Fair, composed at the occasion of his return to Brussels in 1504 and already containing the same ideas as postulated in the Institutio, together with his letters in defence of this work to Paludanus and Nicolas Ruter. At the end of this part an extra printer's colophon is present, dated April 1516. The dedication, according to Allen, must date from March 1516 and the whole work at the end is dated May 1516. The second part then contains Erasmus' translations of Plutarch's treatises on true friendship, on the use to be made of enemies, on government by the Prince's personal qualities rather than by fear, and on the value of philosopher-friends to the Prince. The first two are respectively dedicated to Henry VIII, king of England, and to Cardinal Thomas Wolsey. The Institutio principis christiani is bound first in the volume with two other works. At the end of the volume is the second edition of a collection of Erasmian texts headed by Enchiridion militis christiani (Handbook of a Christian Knight), Strasbourg: Matthias Schürer, September 1515. In the same month Enchiridion militis Christiani was published as a separate work at Leipzig by Valentin Schumann, at Hieronymus Emser's urging, as it was then in short supply in Saxony. A similar collection was first published at Antwerp, Th. Martens, November 1509. Bound between the two is an incomplete copy of Erasmus's translations from Plutarch (Basel: J. Froben, August 1514), lacking the title leaf.

      [Bookseller: Peter Harrington]
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        La Temperanza

      1516 - Bulino, 1516-1518 circa, monogrammata in basso a destra MAF, e numerata "5", in basso a sinistra. Da un disegno perduto già attribuito a Raffaello. Bella prova, impressa su carta vergata coeva, priva di filigrana, rifilata alla linea marginale, in ottimo stato di conservazione. L’incisione è la numero 5 della serie le Sette Virtù, che rappresenta le tre virtù teologali e le quattro cardinali collocate all’interno di nicchie. La figura della Temperanza è ritratta con una leggera ed elegante torsione del corpo verso sinistra, mettendo in mostra le redini appoggiate sul braccio, con un capo stretto nella mano. 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 c., signed with monogram 'MAF' lower centre, numbered lower left: '5'. 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 engraving is the plate 5 from The Seven Virtues, series of seven prints representing the three theological and the four cardinal virtues placed in niches. The figure of Temperance is turned slightly to the left, holding a bridle. The preparatory design, now lost, of the series was assigned to Raphael by Bartsch and Passavant, by following 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, XIV, p. 295 n. 390; Passavant, VI, p. 34 n. 205-211; A. Gnann, Roma e lo stile classico di Raffaello, pp. 122-127 Dimensioni 110 224mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Gesù Cristo

      1516 - Bulino, 1516 circa, monogrammato in lastra in basso a sinistra. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L’incisione appartiene alla serie Gesù Cristo e gli Apostoli. I disegni preparatori del ciclo – oggi conservati a Chatsworth - sono tradizionalmente attribuiti a Raffaello, mentre è ormai abbandonata l’attribuzione a Giulio Romano, che pure era stata avanzata. Passavant, a torto, ha ritenuto i disegni copie degli apostoli della sala dei Chiaroscuri in Vaticano. È più verosimile che l’Urbinate abbia creato la serie proprio come modello per essere trasposti incisioni. Oltre a Marco Dente, i disegni furono utilizzati anche dal Raimondi. Una parte dei critici ritiene che la serie del Dente sia stata realizzata prima, in ordine di tempo, e provenga direttamente dagli originali di Raffaello, rispetto ai quali risultano in controparte; al contrario, il ciclo del Raimondi sarebbe derivato proprio da queste incisioni, e nello stesso senso dei disegni. Proprio come nei disegni di Chatworth, le aureole di Dente hanno una forma a raggiera, mentre in Marcantonio costituiscono cerchi chiusi. Con ogni probabilità, le incisioni furono realizzate nella stessa epoca dei disegni originali; la tecnica è, infatti, riferibile alle opere giovanili del Dente: le lunghe linee parallele a creare contrasti forti tra chiaro e scuro; la linea di contorno delle figure è la medesima che ricorre nella Venere Anadiomene, del 1516. La serie del Raimondi appare invece più tarda, e incisa all’epoca della morte di Raffaello, o subito dopo. Engraving, about 1516, monogrammed in the plate in the bottom left corner. Magnificent proof, rich tones, printed on contemporary laid paper, trimmed to copperplate, in perfect condition. The incision belongs to the series Jesus Christ and the Apostles. The preparatory drawings of the cycle - now preserved at Chatsworth - are traditionally attributed to Raphael, but is now abandoned the attribution to Giulio Romano, who also had been made. Passavant, wrongly, considered the drawings copies of the apostles of the room Chiaroscuri in the Vatican. It is more likely that the Urbinate has created the series just like the model to be transposed incisions. In addition to Marco Dente, the drawings were also used by Raimondi. One of the critics believed that the series of the tooth has been done before, in chronological order, and comes directly from the original by Raphael, in respect of which result in the counterparty; on the contrary, the cycle of Raimondi would be derived from these incisions, and in the same sense of the drawings. Just as in the drawings of Chatsworth, the halos of tooth have a form in a radial pattern, while Marcantonio are closed circles. In all likelihood, the incisions were made in the same period of the original drawings; the technique is, in fact, referring to the early works of the Tooth: long parallel lines to create strong contrasts between light and dark; the outline of the figures is the same as that used in the Venus Anadiomene, 1516. The series appears instead of Raimondi later, and engraved at the time of Raphael's death, or shortly thereafter. Bartsch, XIV, n. 74; Delaborde, p. 283; Le Blanc, III, p. 275; Oberhuber, pp. 79 - 81. Dimensioni 134 205mm [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        Institutio principis christiani saluberrimis refererta praeceptis, per Erasmum Roterodamum, cum alijs nonnullis eodem pertinentibus, quorum catalogum in proxima reperies pagella [bound with 2 other works – see below.]

      Basel: Johann Froben, May 1516 - Quarto (209 x 153 mm). Institutio: collates a–p4 q6 A–Z4 AA–BB4: 166 leaves, complete. Contemporary blind-stamped pigskin backing beech boards, clasps and catches, title in contemporary manuscript to fore edge, spine lettered and dated in ink at a much later date. Early Greek quotation from Hesiod to front free endpaper; contemporary inscription "Isatt"[?] at head of first title and misdated 1516 below the place of publication, struck through and corrected in a later hand; early marginalia and underlining in at least two distinct hands. Backstrip very slightly soiled, but an excellent copy in an unrestored contemporary binding. Title pages within woodcut borders, woodcut initials. First edition of Erasmus's famous treatise Institutio principis christiani, published at about the same time as Machiavelli's Il Principe. Written as advice for Prince Charles of Spain (later the Holy Roman Emperor Charles V), Erasmus's work goes far beyond the education of the Prince, and is in fact, like Machiavelli's, a general treatise on the state, its structure, the art of government and the conduct of the Prince; Erasmus, however, aims at harmony and peace, recognizing the rights and duties both of the Prince and the people. Other pieces treating the same subject were added, a list of which is given on verso of the title. Of these Erasmus's translation of a letter by Isocrates to King Nicocles on the importance of education for a king is published here for the first time. Further added are his Panegyricus to Philip the Fair, composed at the occasion of his return to Brussels in 1504 and already containing the same ideas as postulated in the Institutio, together with his letters in defence of this work to Paludanus and Nicolas Ruter. At the end of this part an extra printer's colophon is present, dated April 1516. The dedication, according to Allen, must date from March 1516 and the whole work at the end is dated May 1516. The second part then contains Erasmus' translations of Plutarch's treatises on true friendship, on the use to be made of enemies, on government by the Prince's personal qualities rather than by fear, and on the value of philosopher-friends to the Prince. The first two are respectively dedicated to Henry VIII, king of England, and to Cardinal Thomas Wolsey. The Institutio principis christiani is bound first in the volume with two other works. At the end of the volume is the second edition of a collection of Erasmian texts headed by Enchiridion militis christiani (Handbook of a Christian Knight), Strasbourg: Matthias Schürer, September 1515. In the same month Enchiridion militis Christiani was published as a separate work at Leipzig by Valentin Schumann, at Hieronymus Emser's urging, as it was then in short supply in Saxony. A similar collection was first published at Antwerp, Th. Martens, November 1509. Bound between the two is an incomplete copy of Erasmus's translations from Plutarch (Basel: J. Froben, August 1514), lacking the title leaf. Institutio: VD 16, E 3133; IA 161.467; Adams E 380; Bezzel 1245. Enchiridion: II. VD 16, E 2745; IA 161.462; Adams E 689; Bezzel 846.

      [Bookseller: Peter Harrington. ABA member]
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        AD MORTALIUM OBLECTATIONEM . . . ULTIMA PARS OPERIS

      Lugduni: Bernard Lescuyer, 1516. This is an excellent example of a Parisian trade binding of the early 16th century, a category of volumes that Goldschmidt points out have sometimes unjustifiably been "called 'specimens from the Library of Louis XII of France' merely on account of the[ir] very frequent [use of the] . . . roll of bees," a motif that sometimes adorned his bindings. (In any case, the present volume would not have been bound for that monarch, who died the year before the date of publication.) These trade bindings were rarely signed, so we can only say that the present binding was crafted by a Parisian atelier according to the prevailing fashion of the day. The contents here represent several minor works by Baptista Mantuanus (1447-1516), one of the most prolific poets of the Renaissance and someone whose verse became enormously popular and influential in the early modern period, particularly after his eclogues were translated into English. Shakespeare adopted some of his poetry, and both Milton and Spenser also found inspiration in his work. There has been considerable confusion over the collation of this book, based primarily on the lack of page numbers, the presence of more than one colophon, and errors by both Panzer and Brunet. Baudrier gives the most in-depth study of this work, listing two separate volumes and proposing an order of the minor works therein; but he also notes that they are so often jumbled that one can only have a "moderate confidence in the the order they represent." This copy is no exception, and it is likely that the missing signatures were relegated to the second volume (not present here). Several copies on OCLC have similarly discordant foliation. On the other hand, ours does include a brief work by the 4th century Christian poetess Proba which is not present in some other copies. The distinguished previous owner of this volume, George Dunn (1865-1912), was a keen collector of early manuscripts, printed books, and bindings, as well as English law books. His impressive library was sold by Sotheby's in 1913, following his untimely death.. 170 x 100 mm. (6 5/8 x 4"). [248] leaves lacking the "Agelariorum Libri Sex" often found in this volumeVolume I of II FINE CONTEMPORARY ELABORATELY BLIND-STAMPED CALF over pasteboards, covers with frame of rosettes in a curling vine enclosing a central panel with three vertical rolls of bees; raised bands, front joint and spine ends very expertly renewed (corners also probably with some tiny restoration). Front pastedown with book label of George Dunn of Woolley Hall near Maidenhead. Baudrier II, 7-10. For the binding: Goldschmidt 48. Short crack to leather on lower board, other minor wear to binding, title page a bit soiled and a little frayed at edges, other occasional insignificant stains or short tears from paper flaws, but an excellent copy, generally extremely clean and fresh internally, and the binding sound and with well-preserved decoration.This is an excellent example of a Parisian trade binding of the early 16th century, a category of volumes that Goldschmidt points out have sometimes unjustifiably been "called 'specimens from the Library of Louis XII of France' merely on account of the[ir] very frequent [use of the] . . . roll of bees," a motif that sometimes adorned his bindings. (In any case, the present volume would not have been bound for that monarch, who died the year before the date of publication.) These trade bindings were rarely signed, so we can only say that the present binding was crafted by a Parisian atelier according to the prevailing fashion of the day. The contents here represent several minor works by Baptista Mantuanus (1447-1516), one of the most prolific poets of the Renaissance and someone whose verse became enormously popular and influential in the early modern period, particularly after his eclogues were translated into English. Shakespeare adopted some of his poetry, and both Milton and Spenser also found inspiration in his work. There has been considerable confusion over the collation of this book, based primarily on the lack of page numbers, the presence of more than one colophon, and errors by both Panzer and Brunet. Baudrier gives the most in-depth study of this work, listing two separate volumes and proposing an order of the minor works therein; but he also notes that they are so often jumbled that one can only have a "moderate confidence in the the order they represent." This copy is no exception, and it is likely that the missing signatures were relegated to the second volume (not present here). Several copies on OCLC have similarly discordant foliation. On the other hand, ours does include a brief work by the 4th century Christian poetess Proba which is not present in some other copies. The distinguished previous owner of this volume, George Dunn (1865-1912), was a keen collector of early manuscripts, printed books, and bindings, as well as English law books. His impressive library was sold by Sotheby's in 1913, following his untimely death.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        T. Livii Patavini historici clarissimi quae extant Decades ad decem diversa exempla acri iudicio repositae. Cum L. Flori in omneis libros Epitome recognita. Cum annotationibus M. Antonii Sabellici diligenter recognitis.

      Paris, Jodocus Badius Ascensius. 1516 - Folio. 32 n.n. Bl., 280 num. Bl. (8, bb8-dd8, a8-z8, A8-M8 Mit einem Holzschnitt-Titelvignette mit der Druckermarke und schöner Holzschnittbordüre und vielen, zum Teil grossen Initialen in Metallschnitt (?). Titel in Schwarz- und Rotdruck. Schweinslederband der Zeit mit Rollstempelverzierung und 2 intakten Metallschliessen. Moreau II Nr. 1420. - Graesse 4, 226. - 2. Druck der schön gedruckten Ausgabe mit einem schönen Titelblatt und Initialen. - Es fehlt der Bogen aa8 mit einem Teil des Index. - Mit handschriftlichem Besitzvermerk "Joannes Faber Herbstadianj" auf dem Innendeckel und dem Titelblatt sowie vielen handschriftlichen Annotation, Unterstreichungen und Kommentaren von 2 verschiedenen Händen. Johannes Faber (Bamberg 1574 - Rom 1629) war Mediziner, Botaniker, Kunstsammler und eines der ersten Mitglieder der Accademia dei Lincei, Arzt des Papstes und Leiter des Botanischen Gartens des Vatikans. Er schuf den Begriff des Mikroskopes als Gegenteil des Teleskopes. ohannes Fabers Bedeutung wurde erst in den letzten Jahren mit der Aufarbeitung der Geschichte der Accademia dei Lincei erkannt. - Papier stellenweise gebräunt und gewellt. Meist jedoch sauber. Breitrandig, in gutem, wohlerhaltenem Einband.

      [Bookseller: Daniel Thierstein]
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        Sefer T[e]hillim [Hebrew]. Hebraicum Psalterium. Edited by Conradus Pellicanus (1478-1556), with additional corrections by Sebastian Muenster (1488-1552). [Part 2:] WOLFGANG FABER CAPITO (1478-1541). Institutiuncula in Hebraeam linguam

      Basel: Johann Froben, 1516. 16mo (105 x 72 mm). Collation: a-z8 A-B8 C4 (without C4 blank): [203] leaves, imposed in the Hebrew manner; aa-bb8: [16] leaves, imposed in the Roman manner. Hebrew, Roman and Greek types. Froben's woodcut caduceus device on title, one metalcut initial, full-page table of the alphabet in the Institutiuncula. A few small smudges, some very faint marginal discoloration, lower edge of p5 slightly trimmed. Contemporary blind-tooled pigskin, both covers with outer lozenge and floral roll-tool and central panel with a repeated parallel roll-tool forming an allover foliate decor, two brass clasps and catches, plain edges, no free endpapers (one clasp with old string repair, rubbed, spine darkened, some worming to pastedowns); modern calf-backed folding case. Provenance: Philip Jakob Spimberg (?), 17th- or 18th-century signature on front pastedown; with H. P. Kraus, Inc., August, 2002, collation note on lower pastedown. *** first edition of the first pocket edition of any part of the hebrew bible, the first independent hebrew book edited and printed by christian scholars and printers, and the first hebrew text to be printed in basel. This small volume, in its original binding and in exceptional condition, is a great rarity. I locate a single copy in an American library (Mt. Holyoke). No other copies appear to have surfaced in the book trade for at least the past half-century. The present edition was the first of a series of Hebrew editions published by Johann Froben, who was to make of Basel a center of Hebrew printing, at least for Christian Hebraists (Jews were not allowed to reside there other than temporarily). Its production was a collaboration of three humanists associated with the scholarly press. The text was edited by Conrad Pellicanus (Konrad Kürschner), an Alsatian Franciscan who later embraced the Reform, who had published a Hebrew grammar in 1504 (De modo legendi et intelligendi Hebraeum, Strassburg, 1504). Pellicanus' pupil Sebastian Muenster corrected the text and provided the 12-page errata printed at the end of the psalter (B6r-C3v). Cosmographer, mathematician, and "one of the greatest Christian Hebraists of the sixteenth century" (Valmadonna catalogue), Muenster went on to publish many Hebrew works, mostly in Basel, including, 20 years later, the complete Hebrew Bible (also published by Froben). The short Hebrew grammar accompanying the Hebrew text is by another Alsatian humanist, Wolfgang Köpfel or Capito (or Volphangus Faber or Fabritius). At the time professor of theology at Basel, he would later support the Reform, and was an associate and editor of Erasmus. This was the first sextodecimo book printed in Hebrew. Froben's newly designed "slanting Germanic (Ashkenazic) types, similar to those used elsewhere in the German lands, were also employed a few years later by the humanist printer Sébastien Gryphius at Lyons" (Valmadonna catalogue). Froben went on to publish six more editions of the Psalms "in usum itineris" (as described in Capito's preface); the handy format would be copied by printers of Hebrew books throughout Europe. VD16 B 3102; Darlow & Moule 5081; Steinschneider 23; Prijs, Die Basler hebräischen Drucke 1492-1866, no. 6; Hebraica from the Valmadonna Trust (1989 Morgan Library exhibit), no. 19.

      [Bookseller: Musinsky Rare Books, Inc.]
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        DE TOTA GRAECIA LIBRI DECEM quibus non solum urbium situs, locorumq(ue) intervalla accurate est complexus, sed Regum etiam familias, bellorum causas & eventus, sacrorum ritus, Rerumpub. status copiose descripsit hactenus a nemine in linguam latinam conversi, nuncque prim in lucem editi: Abrahamo Loeschero interprete. ANGEBUNDEN / BOUND WITH: Gerbelius, Nicolaus.

      Folio. 5 nn. leaves, 438 pp, 23 nn. leaves Index. Contemporary pigskin binding, the front fly is missing, the rear is partly splayed. Zeitgen

      [Bookseller: J.J. Heckenhauer e.K.]
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