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Displayed below are some selected recent viaLibri matches for books published in 1517

        Morale reductorium super tota Bibliam fratris Petri Berthorii Pictaviensis, ordinis divi Benedicti

      Basel, Koberger, 1517 - 12 nnum. Bl., 195 röm. num Bl., rubriziert, Titel mit Holzschnitt-Bordüre von Urs Graf VD 16 P 1819. Hauptwerkes des französischen Benedictiners Petrus Berthorius (+ 1362), eine Beschreibung der gesamten sichtbaren und unsichtbaren Welt mit moralisierender Deutung. - Einband restauriert (Rücken erneuert, das alte Pergament auf neue Holzdeckel aufgezogen), erneuerte Spiegel und Vorsätze, erste 10 Blatt gespalten und neu aufgezogen, teils mit Braunflecken, gut erhaltenes Exemplar la Gewicht in Gramm: 550 restaurierter Ganzpergament der Zeit, Fol.

      [Bookseller: Antiquariat Werner Steinbeiß]
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        De viris illustribus ordinis praedicatorum libri sex in unum congesti autore Leandro Alberto bononiensis viro clarissimo.

      Bologna, in aedibus Hieronymi Platonis ciuis Bononiensis : expensis Io. Baptistae Lapi, 1517, in-folio (cm. 29,5 x 22,5) legatura in piena pergamena moderna con unghie, cinque snodi e titolo manoscritto, pp. n folio, 268 carte numerate solo al recto (per 476 pagine), sei frontespizi xilografici in cornice con inseriti elementi floreali, mitologici e angeli, e altre cinque cornici xilografiche che contengono unÕimmagine di insigni Domenicani e raffigurazione di San Domenico incisa al verso della carta 6. Frontespizio leggermente rifilato e lieve mancanza. Le carte 3, 17, 26, 50, 57, 71 sono state rifilate del margine destro senza perdita di testo. Antica riparazione al margine inferiore delle cc. 175 e 176. Bianca la carta K6. Marca tipografica nel colophon: Cerchio, croce tripla, mano benedicente e iniziali Hie. B. Exlibris Giuseppe Maria Malvezzi. Restauro al primo frontespizio.

      [Bookseller: Libreria Piani già' Naturalistica snc]
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        Incolarum Alterius Mundi Phaenomena Historica, Das ist: Der Innwohneren der andern Welt sichtbarliche Erscheinungen. Dillingen, Bencard, 1682. 2 Bll., 232 Seiten, 7 Bll. (Register). Pergament d. Zt. (fleckig, Innengelenk angebrochen). Erste Ausgabe des seltenen Werkes über Geistererscheinungen. - VD1712:191406L. Gebräunt, Schnitt mit kleinem Grünfleck, letztes Bll. des Registers mit größerem Ausriß. Beigebunden: Johannes Bissel: Mortes Patheticae oder Anmuetige Todt-Faehl. Dillingen, Bencard, 1682. 180 Seiten, 9 Bll. (Register).

      - Erste Ausgabe. - VD17 12:191417Z. - Vgl. de Backer/S. I, 1517 und ADB III, 682. Zwei sehr seltene Schriften des Jesuiten Johannes Bissel, nicht im Handel. B6-9 Versand Dienstags und Freitags Sprache: Deutsch Gewicht in Gramm: 2000 [Attributes: First Edition]

      [Bookseller: Treptower Bücherkabinett]
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        Tragoediae.

      In Aedibus Aldi et Andreae Soceri, 1517. Cm. 16, cc. (4) 207 (5). Ancora aldina impressa al frontespizio e ripetuta al verso dell'ultima carta. Solida ed elegante legatura ottocentesca in piena pelle, dorso a nervi con titoli e fregi in oro, piatti inquadrati da ricche decorazioni con ancora aldina centrale. Tagli in oro, sguardie marmorizzate e dentelles interne. Esemplare in perfetto stato di conservazione. Prima edizione presso Aldo di questa celebre edizione delle tragedie di Seneca curate da Girolamo Avanzi.

      [Bookseller: Studio Bibliografico Benacense]
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        De Officiis: de amicitia: de senectute nec non Paradoxa eiusdem: opus Benedicti Brugnoli studio emaculatum additis graecis quae deerant cum Interpraetatione super officiis Petri Marsi Francisci Marturantii: nec non Jodoci badii Ascenscii. Cum gratia et privilegio.

      J. de Tridino alias Taccuini, Venezia 1517 - Colophon: (Impressum Venetiis : sumptu miraque diligentia Ioannis de Tridino alias Tacuini, 1517 die XXX Ianuarii). In-folio (305x210 mm.), cc. [10], 253, (1 p.). Titolo in rosso e nero inquadrato da cornice in stile neo-rinascimentale xilografica (con segno manoscritto di possesso al margine alto). 46 belle vignette in legno. Molti capolettera a fondo nero. Legatura in mezza pergamena del XIX secolo. Sottolineature e postille di mano cinquecentesca, lievi segni d'uso ma bell'esemplare. Sostanziale ristampa dell'edizione fatta nel 1506 dello stesso stampatore trinese, arricchita dalle belle xilografie allegoriche. [Attributes: Hard Cover]

      [Bookseller: AU SOLEIL D'OR Studio Bibliografico]
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        Elementarius Dialectice. Recognouit & auxit. Augsburg, Johann Miller 1518. 4°. 26 nn.Bll., mit gr. Wappenholzschnitt am Titel u. (ganzs.) Holzschn.-Wappen am letzten Bl., mod. flex. Prgt. unter Verwendung einer alten liturg. Handschrift.

      - VD16 E 328 - vgl. Adams E 40 u. Proctor 10838.- Zweite Ausgabe (erstmals 1517, ohne Wappenholzschnitte, erschienen).- Titel (auch Wappen) in Rot und Schwarz.- Sehr seltener Kommentar zur Dialektik des Aristoteles von Johannes Eck (1486-1543). Das Werk erschien innerhalb eines kleineren Zyklus von Schriften und Kommentaren zu Texten von Petrus Hispanus und Aristoteles, mit denen Eck die scholastische Behandlung der Philosophie zu bekämpfen suchte.- Der gr. Wappenholzschnitt am Titel von Hans Burgkmair (1473-1531) mit Doppeladler und den Wappen der Universitätsstädte Ingolstadt, Freiburg und Tübingen (Bartsch 32). Am letzten Blatt das Wappen des Verfassers.- Wenige kl. Wurmgänge, nur wenig fleckig, 1 Bl. mit kl. beriebener Stelle. insges. schönes Exemplar.# Imperial Double Eagle with the Coat of Arms of Ingolstadt, Freiburg Tübingen Hans Burgkmair (German, Augsburg 1473?1531 Augsburg) . with three coat of arms below for the university-towns of Ingolstadt, Feiburg, and Tübingen.- A few small wormholes, little spotty, otherwise fine copy.

      [Bookseller: Antiquariat Johannes Müller]
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        Ars magna generalis et ultima quaruncunque artium et scientiarum assecutrix et clauigera et ad eas aditum faciliorem praebens antehac nusquam arti impressorie emunctius commendata. [Edited by Bernard de la Vinheta.]

      Lyons: Jacob Marechal for Simon Vincent, 5 May 1517. Third edition, the first edited by the Lullist Bernard de Lavinheta (d. ca. 1530), of the Ars Magna, his greatest work, now recognised as perhaps the first work in computer science. "Lull invented an 'art of finding truth' which inspired Leibniz's dream of a universal algebra four centuries later ... The most distinctive characteristic of [his] Art is clearly its combinatory nature, which led to both the use of complex semi-mechanical techniques that sometimes required figures with separately revolving concentric wheels - 'volvelles', in bibliographical parlance - and to the symbolic notation of its alphabet. These features justify its classification among the forerunners of both modern symbolic logic and computer science, with its systematically exhaustive consideration of all possible combinations of the material under examination, reduced to a symbolic coding ... The Art's function as a means of unifying all knowledge into a single system remained viable throughout the Renaissance and well into the seventeenth century. As a system of logical inquiry, its method of proceeding from basic sets of pre-established concepts by the systematic exploration of their combinations - in connection with any question on any conceivable subject - can be succinctly stated in terms taken from the Dissertatio de arte combinatoria (1666) of Leibniz, which was inspired by the Lullian Art: 'A proposition is made up of subject and predicate; hence all propositions are combinations. Hence the logic of inventing [discovering] propositions involves solving this problem: 1. Given a subject, [finding] the predicates; 2. Given a predicate, finding the subjects [to which it may] apply, whether by way of affirmation or negation'" (DSB). "From today's point of view Llull made contributions to the following areas: 1. The idea of a formal language, 2. The idea of a logical rule, 3. The computation of combinations, 4. The use of binary and ternary relations, 5. The use of symbols for variables, 6. The idea of substitution for a variable, 7. The use of a machine for logic. He also pioneered the integration of ontology with logic. Leibniz (1646-1716) mentions Llull by name several times and explicitly uses his ideas in [Ars combinatoria]. Leibniz learnt of Llull's ideas through Kircher [Ars magna sciendi, 1669]. This work led directly into the development of computing machines. So Llull contributed ideas that are fundamental to the modern disciplines of computer science and computer engineering" (Crossley, p. 40). All early editions of this work are of the greatest rarity. ABPC/RBH list, in the last 35 years, no complete copy of the first edition (Venice, 1480), only the Honeyman copy of the second (Barcelona, 1501) (Sotheby's, May 13, 1980, lot 2063, £1,900 = $4,378, "modern vellum, marginally repaired, wormed"), and none of the third. Running throughout Lull's immense oeuvre "is a leitmotif that enables one to arrive at an overall, if not unitary, view, that leitmotif being the Ars lulliana or Lullian Art: a philosophico-theological system that makes use of common basic concepts from the three monotheistic religions of its day, subjecting them to discussion with a view to convincing Muslims (and Jews) via rational argument of the truth of the Christian mysteries of faith. By revising his Art and extending it to all fields of human knowledge, Ramon Llull succeeded in creating a universal science, based on the algebraic notation of its basic concepts and their combination by means of mechanical figures ... "From a more abstract point of view, Llull's combinatorial Art can be described as a process of elementary analysis and of reconstruction. On the one hand, it resolves the historical religions into their most primitive elements; on the other, it represents these elements by letters (from B to K), in order to recombine these letters and the elements of the different religions that they designate until, through these combinations, a vision of the world is reached that is as consistent as possible: this will correspond to truth. Undoubtedly, this process which Llull applied to all kinds of question - not just religious controversies - is a key ingredient of modern thought. One only has to think of Gottfried Wilhelm Leibniz's characteristica universalis: thus, in his Dissertatio de arte combinatoria, in 1666, the young Leibniz, clearly inspired by Llull, had already outlined the project of a reconstruction of the whole of reality based on a definite number of basic notions. Leibniz criticizes the basic notions of the Lullian "alphabet" as too limited and proposes another alternative and broader alphabet. In contradistinction to Llull, Leibniz does not represent these basic notions with letters but rather uses numbers. Thus, the basic notion of "space" is represented by the number 2, the basic notion of "between" by the number 3, and the basic notion of "the whole" by the number 10. Consequently, according to Leibniz, a complex concept such as, for instance, "interval" can be formulated as 2.3.10, that is, "space between the whole". Leibniz was convinced that in this way all questions could be reduced to mathematical problems and that, in order to solve any problem, we only have to set about calculating. This is the meaning of Leibniz's famous "Calculemus!" "It is through Leibniz that Llull's influence also became decisive for more recent developments such as formal logic, as developed by Gottlob Frege in the late 19th century. According to Frege, Leibniz's characteristica, in its later evolution, limited itself to different fields, such as arithmetic, geometry, chemistry and so on, but did not become universal as Leibniz, in fact, had wished. This is why Frege, in his famous Begriffsschrift from 1879, intended to create an elementary language that would unify the different formal languages which, after Leibniz, had been established in the different natural sciences. This language developed into the formal logic that until now has dominated the philosophical discourse and which was an important step in the journey towards the creation of computing languages. What characterizes this kind of logic is its formal notation, using variables and symbols to represent the different logical propositions and operations. Based on this notation, Frege developed the so-called logical calculus. Although the language reached by this formal logic differs from that of the Art, Llull can be considered as the forerunner of this project, insofar as in his thought one can already find the idea of an elementary language that follows logical rules and uses variables while operating with the principle of substitution of these variables" (Fidora & Sierra, pp. 1-2). Lull's work begins "with an 'Alphabet' giving the meaning of nine letters, in which he says, 'B signifies goodness, difference, whether?, God, justice, and avarice. C signifies ...', and so on, all of which can best be set out in a table. He then sets out the components of the first column in his First Figure, or Figure A (f. iv). Notice first of all, as always with Llull, the letters don't represent variables, but constants. Here they're connected by lines to show that in the Divinity these attributes are mutually convertible. That is to say that God's goodness is great, God's greatness is good, etc. This, in turn was one of Llull's definitions of God, because in the created world, as we all know too well, people's goodness is not always great, nor their greatness particularly good, etc. Now such a system of vertices connected by lines is what, as mathematicians, you will of course recognize as a graph. This might seem to be of purely anecdotal interest, but as we shall see in a moment, the relational nature of Llull's system is fundamental to his idea of an Ars combinatoria. The components of the second column are set out in a Second Figure, or Figure T (f. iiv). Here we have a series of relational principles related among themselves in three groups of three, hence the triangular graphs. The first triangle has difference, concordance, and contrariety; the second beginning, middle, and end; and the third majority, equality, and minority. The concentric circles between the triangles and the outer letters show the areas in which these relations can be applied ... "The Third Figure (f. iiiir) combines the first two: Here Llull explains that B C, for instance, implies four concepts: goodness and greatness (from Figure A), and difference and concordance (from Figure T), permitting us to analyze a phrase such as 'Goodness has great difference and concordance' in terms of its applicability in the areas of sensual/sensual, sensual/intellectual, and intellectual/intellectual. It furthermore, as he points out, permits us to do this systematically throughout the entire alphabet. This is important, because one of the ways in which Llull conceived his Art as 'general' was precisely in its capacity to explore all the possible combinations of its components. Now as mathematicians, you will recognize this figure as a half matrix, and you will also see that, in relation to the graph of the First Figure, it is an adjacency matrix. Because such a matrix is symmetrical (in Llull's case this means he makes no distinction between B-C and C-B), he saw no reason to reproduce the other half; and because his graph admits no loops (that is, omits relations such as B-B), he could also omit the principal diagonal. "If the Third Figure explores all possible binary combinations, the Fourth Figure (f. iiiiv) does the same for ternary combinations. In medieval manuscripts, the outside circle is normally drawn on the page, and the two inner ones are separate pieces of parchment or paper held in place on top of it by a little piece of string, permitting them to rotate in relation to each other and to the larger circle" (Bonner, pp. 9-14). In the present printed version of the work, the parts of the volvelle illustrating the ternary combinations were printed on a separate sheet and intended to be cut out and mounted on the Fourth Figure. In this copy the volvelle has never been assembled; the sheet on which the parts of the volvelle are printed is bound at the end of the book. "Binary relations are worked out more extensively in a section he calls 'The Evacuation of the Third Figure'. For the 'compartment', as he calls it, of B C, he not only uses 'goodness' and 'greatness' from the First Figure, and 'difference' and 'concordance' from the Second Figure, but also the first two questions of the third column of the alphabet, those also corresponding to the letters B C, which are 'whether?' and 'what?'. This means that for the combination of 'goodness' and 'greatness' one has three possibilities, a statement and two questions: Goodness is great. Whether goodness is great? What is great goodness? and so on for 'goodness' and 'difference', 'goodness' and 'concordance', for a total of 12 propositions and 24 questions. "Ternary relations are worked out in a Table based on the Fourth Figure ... the full form of the Ars generalis ultima has 84 [columns]!" (Bonner, p. 14). These ternary relations are listed in a twelve-page table (ff. viiiv - xiiir), and then a short interpretation is given for each entry. Llull's ideas would be developed further by Giovanni de la Fontana (1395-1455) and Nicholas of Cusa (1401-64) in the 15th century (in his work De conjecturis Nicholas developed his method ars generalis conjecturandi, in which he describes a way of making conjectures, illustrated by wheel charts and symbols that much resemble those of Llull), and Giordano Bruno (1548-1600) in the 16th century (Bruno used the rotating figures of the Lullist system as instruments of a system of artificial memory, and attempted to apply Lullian mnemotechnics to different modes of rhetorical discourse). Ramon Llull (1232/3-1315/6) "was born on Majorca around 1232, only two or three years after the King of Aragon and Catalonia had recovered the island from the Muslims. This meant that Llull grew up in an island that was still strongly multicultural. Muslims continued to represent perhaps a third of the population, and Jews, although a much smaller minority, were an important economic and cultural force on the island. So when at the age of thirty he was converted from a profligate youth and he decided to devote his life to the service of the Church, it seemed only logical to do so by trying to convert these 'infidels', as they were then called. And he decided to do this in three ways: (1) to develop a system that his adversaries would find difficult to refute (which is what we'll see in a moment), and to try to persuade them of the truth of Christianity instead of just trying to refute their own doctrines, as his predecessors had done; (2) to be willing to risk his life in proselytizing among Muslims and Jews (he in fact made three trips to North Africa); and (3) to try to persuade Kings and Popes of the need for setting up language schools for missionaries, for which purpose he travelled many times throughout France and Italy. He lived to 83 or 84, an incredible age when the average life-span was around 40, dying in 1316" (Bonner, p. 5). The editor of this edition, the Franciscan Bernard de Lavinheta (d. c. 1530), was the greatest Lullist of the early 16th century. "Almost nothing is known of [his] background, nor even whether he was Spanish or French. We only know that before coming to Paris he taught at Salamanca. The brand of Lullism he brought there was that of the Lullist school of Barcelona and its interest in the Art. He was the first, as a trained theologian, to teach the Art at the University of Paris, thereby giving it the official sanction it had lacked for a century and a half. His publication of Lullian works at Lyon, Paris and Cologne in 1514-18 was very influential throughout Europe" (Bonner, Selected Works of Ramon Llull, vol. 1, p. 80). Palau 143693; Rogent & Duran 65; Tomash L142. Alexander Fidora & Carles Sierra (eds.), Ramon Llull: From the Ars Magna to Artificial Intelligence, 2011 (http://www.iiia.csic.es/library). Anthony Bonner, 'What was Llull up to?', pp. 5-24 in Fidora & Sierra (ibid.). John N. Crossley, 'Ramon Llull's contribution to computer science,' pp. 39-60 in ibid. Small 4to, ff. [4], 124; gothic letter; title and last preliminary leaf printed in red and black, title with large woodcut printer's device and strip ornament on two sides, 5 large woodcut diagrams, one with volvelles printed on a separate sheet intended to be cut out and mounted, smaller printer's device at end. 18th century German boards.

      [Bookseller: SOPHIA RARE BOOKS]
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        L'Histoire de la nature des oyseaux, avec leurs descriptions, & naïfs portaicts retirez du naturel: escrite en sept livres, ...Paris, Gilles Corrozet (colophon: printed by Benoit Prévost), 1555. 7 parts in 1 volume. Folio. With woodcut portrait (apparently of the dedicatee King Henri II), large woodcuts of the skeletons of a man and a bird on pp. 40-41, and 158 woodcuts (157 birds, 1 bat). All coloured by a contemporary hand. Late 19th-century gold-tooled parchment, each board with the coat of arms of Count of Goblet d'Alviella, probably the Belgian lawyer, senator and professor at the University of Brussels, Eugène Félicien Albert, Count Goblet d'Alviella (1846-1925), in a frame of fillets, spine with gold fillets, gilt edges.

      Anker 9; Brunet I, 762; Nissen, IVB 86; Ronsil 189; Zimmer, p. 52; for the coat of arms on the binding: de Jonghe d'Ardoye (a.o.), Armorial Belge du bibliophile, p. 734. First edition of an extremely important ornithological work in which Belon attempted to match birds named by Aristotle and Pliny with those then current in France. It is one of the first ornithological compendiums to be based, at least in part, on field observations, and "one of the earliest books dealing entirely with birds" (Zimmer). The work is divided into 7 parts, each with its own title-page: the first on the anatomy and physiology of birds; the second on birds of prey; the third on swimming birds; the fourth on shore birds; the fifth on galliformes (fowl); the sixth on crows and similar species; and the seventh on songbirds. The second part also includes an chapter on falconry. Pierre Belon du Mans (1517?-1564) studied medicine in Paris, where he took the degree of doctor before becoming a pupil of the brilliant botanist Valerius Cordus at Wittenberg, with whom he travelled throughout Germany. Cordus died of malaria in Italy in 1544, and Belon, on his return to France, came under the patronage of François, Cardinal de Tournon. De Tournon provided him with the means to undertake, in 1546, a wide ranging journey, apparently of scientific intent. He travelled through Greece, Asia Minor, Egypt, Arabia and Palestine, returning to Paris in 1549, where a full account of the journey was published in 1553. Besides the narrative of his travels he wrote several scientific works of considerable value. Belon was highly favoured both by King Henry II and Charles IX.With an owner's name dated 1582 on the title-page. With some marginal waterstains and occasional marginal foxing, and the colouring of the portrait shows through on the title-page. The old flyleaves were reattached, probably when the book was rebound, but one has since detached. An extraordinary ornithological work with woodcuts coloured by a contemporary hand.

      [Bookseller: Antiquariaat FORUM BV]
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        In hoc volumine haec continentur. Herodiani historiae Libri VIII. Sexti Aurelij Victoris à D. Caesare Augusto usq. ad Theodosium excerpta. Eutropij historiae Libri X. Pauli Diaconi. Ad Eutropij historiam additi Libri VIII

      Philippi Iuntae (Giunti), 1517. 2 parti autonomamente numerate in un vol. in-8° piccolo (157x95mm), ff. (4), 90, 127, (1), legatura coeva in piena pergamena con titolo manoscritto verticalmente in antico al dorso. Nota di possesso latina in data 1631 al risguardo anteriore del patrizio veneziano Michele Querini, della stessa casata cui appartenne Pietro Querini, il celebre navigatore e mercante quattrocentesco. Altra firma dello stesso Querini al margine superiore del titolo. Dedica a stampa a Leone X.Spazi guida per i capilettera. Registro al colophon. Impresa giuntina al verso dell'ultima carta. Carattere italico. Qualche traccia marginale di umidità, ma ottimo esemplare. Prima edizione giuntina di questa versione latina di Erodiano dovuta al Poliziano (occupa i primi 90 ff.), seguita da testi storici di Sesto Aurelio Vittore, Eutropio e Paolo Diacono. L'edizione è curata dall'umanista toscano Antonio Francini (cfr. Pettas, The Giunti of Florence, p. 52), che, nel 1522, si fece a sua volta traduttore di Erodiano per Bernardo Giunta, questa volta in volgare. La narrazione storica di Erodiano (170-250), nell'originale "Tes metà Markon Basileias Historia", corre dal180, anno della morte di Marco Aurelio, al 238, anno dell'avvento di Gordiano III. L'opera, scritta in una lingua piana e limpida, fondata nella documentazione su Cassio Dione e su altre fonti minori, venne tradotta in latino dal Poliziano nel 1493. Renouard, p. XVI, n. 93. STC, p. 326. Adams, H-376. Bandini, II, pp. 116-117. Decia, 98. EDIT16 CNCE 22648. Latino

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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        Die cronycke van Hollant, Zeelant ende Vrieslant. Dordrecht, Peeter Verhaghen, 1591, 1591, 1590. 3 volumes bound as 1. Small folio (30.5 x 20.5 cm). With 3 title-pages, each with a different woodcut full-length portrait (the first count of Holland Dirck I, the Holy Roman Emperor Charles V and King Philip II of Spain), 1 double-page engraved map of Holland in part 2 (in its first state), and 36 woodcut portraits in text. Blind-tooled vellum (ca. 1740?).

      Moes & Burger III, pp. 243-247; K. Tilmans, Historiography and humanism in Holland in the age of Erasmus: Aurelius and the Divisiekroniek of 1517 (1992); Typ. Batava 2994 & 2436; for the map: Blonk, Hollandia Comitatus 20 (2 copies). One of the four issues (differing only in the imprint) of the third major revision and extension of the famous Dutch national chronicle, known as the "Divisiekroniek", the first edition to include the important continuations by Ellert de Veer (to the year 1591), along with the double-page engraved map of Holland, drawn and engraved for the present edition (so here in its first state) by Jan Pieterszoon Saenredam, but often lacking. The work is beautifully illustrated with 36 woodcut full-length portraits in the text, depicting the counts of Holland and their coats of arms. The Christian humanist scholar and Augustinian monk Cornelius Aurelius lived with Erasmus in Paris in 1497-1498, working in his shadow. His chronicle serves as a foundation for the historiography of the Northern Netherlands and he imbued it with an unequivocal patriotism. His new division of Holland's history into the early "Batavian" period, the medieval history of the county of Holland, and contemporary Burgundian-Habsburg history (to 1517), and his critical research into the sources, gave the inhabitants of the Northern Netherlands a new collective historical identity, providing the beginnings of a national consciousness. His work marks the start of the Renaissance historiography of the Northern Netherlands.With owner's inscriptions. With a small tear in leaf 230 of vol. 2 and leaf 56 of vol. 3, and margins of the first leaves and the map a bit frayed (not affecting the text or map image), but still in good condition. The front hinge has been repaired and the back hinge is cracked, but the binding is otherwise good. A foundational work for Dutch historiography.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        L'Histoire de la nature des oyseaux, avec leurs descriptions, & naïfs portaicts retirez du naturel: escrite en sept livres, ...Paris, Gilles Corrozet (colophon: printed by Benoit Prévost), 1555. 7 parts in 1 volume. Folio. With woodcut portrait (apparently of the dedicatee King Henri II), large woodcuts of the skeletons of a man and a bird on pp. 40-41, and 158 woodcuts (157 birds, 1 bat). All coloured by a contemporary hand. Late 19th-century gold-tooled parchment, each board with the coat of arms of Count of Goblet d'Alviella, probably the Belgian lawyer, senator and professor at the University of Brussels, Eugène Félicien Albert, Count Goblet d'Alviella (1846-1925), in a frame of fillets, spine with gold fillets, gilt edges.

      Anker 9; Brunet I, 762; Nissen, IVB 86; Ronsil 189; Zimmer, p. 52; for the coat of arms on the binding: de Jonghe d'Ardoye (a.o.), Armorial Belge du bibliophile, p. 734. First edition of an extremely important ornithological work in which Belon attempted to match birds named by Aristotle and Pliny with those then current in France. It is one of the first ornithological compendiums to be based, at least in part, on field observations, and "one of the earliest books dealing entirely with birds" (Zimmer). The work is divided into 7 parts, each with its own title-page: the first on the anatomy and physiology of birds; the second on birds of prey; the third on swimming birds; the fourth on shore birds; the fifth on galliformes (fowl); the sixth on crows and similar species; and the seventh on songbirds. The second part also includes an chapter on falconry. Pierre Belon du Mans (1517?-1564) studied medicine in Paris, where he took the degree of doctor before becoming a pupil of the brilliant botanist Valerius Cordus at Wittenberg, with whom he travelled throughout Germany. Cordus died of malaria in Italy in 1544, and Belon, on his return to France, came under the patronage of François, Cardinal de Tournon. De Tournon provided him with the means to undertake, in 1546, a wide ranging journey, apparently of scientific intent. He travelled through Greece, Asia Minor, Egypt, Arabia and Palestine, returning to Paris in 1549, where a full account of the journey was published in 1553. Besides the narrative of his travels he wrote several scientific works of considerable value. Belon was highly favoured both by King Henry II and Charles IX.With an owner's name dated 1582 on the title-page. With some marginal waterstains and occasional marginal foxing, and the colouring of the portrait shows through on the title-page. The old flyleaves were reattached, probably when the book was rebound, but one has since detached. An extraordinary ornithological work with woodcuts coloured by a contemporary hand.

      [Bookseller: Antiquariaat FORUM BV]
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        Antique Print-ALLEGORY-PUTTI-CLOUDS-Van Leyden-1517

      - Antique print, untitled. Two putti seated on clouds in circles with grotesque tendrils. Engraving on laid paper paper. Description: Source unknown, to be determined. State: Third state of 3. Ref: New Hollstein 171/Bartsch 171. Good slightly later impression; ca. 1640.Artists and Engravers: Made by 'Lucas van Leyden' after own design. Lucas van Leyden (1494 - 1533), also named either Lucas Hugensz or Lucas Jacobsz, a Dutch engraver and painter, born and mainly active in Leiden. Lucas van Leyden was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. Condition: Good, given age. Cut to the plateline. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: Q2-201 LA The overall size is ca. 4.6 x 3 inch. The image size is ca. 4.6 x 3 inch. The overall size is ca. 11.7 x 7.5 cm. The image size is ca. 11.7 x 7.5 cm.

      [Bookseller: ThePrintsCollector]
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        Fiammetta del Boccaccio /together with / Ameto del Boccacio.

      Florence. Philippo di Giunta. 1517& 1521.. Hardcover. 12mo. 15cm, 1st issue of the 5th edition, foliated pagination(110/94pp.), head & tail decoration in volume two, in lather full browncalf, real raised bands, faded gilt spine decorations in the panels,hinges expertly restored, without title page as issued with imprints onthe final leaf, a fine copy. (cgc) Adams B-2125. Gamba 100. Each volumeis complete including the two original uncorrected leaves in "Ameto". Thefirst issue has Boccacio for Boccaccio on title of volume two and thevariant reading on f.2, line 21. The gilt decorations date the bindingsto 18th or 19th centuries. .

      [Bookseller: Patrick McGahern Books, Inc. (ABAC)]
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        Kirchengeschichte von Westphalen und angränzenden Oertern, zweyter Theil. + Tagebuch von Gebhard Truchses, Kölnischem Erzbischofe oder Der Kirchengeschichte DritterTeil.

      Inhalt: 6. Buch (von den Zeiten Lotharii Saxonis, und der nachfolgenden Kaiser bis an das große Lateranensische Concilium, welches im Jahre 1215 gehalten ward) 7. Buch (Von der Zeit des großen Lateranensischen Conciliums bis an das Jahr 1314, worinn etliche Kuhrfürsten Ludovicum Herzogen in Bayern, andere hingegen Fridericum Herzogen aus Oesterreich zum Römischen Könige erwählet haben) 8. Buch (Von der zwiespaltigen Wahl Ludovici des Pfalzgrafen bey Rhein, Herzogs in Bayern, und Friderici Herzogs aus Oesterreich, nämlich vom Jahre 1314 an bis an die des abtrinnigen Augustiner-Mönchs Martin Luthers in Religions-Sachen angefangene Neuerung und Aufrichtung einer neuen Kirche, folglich bis an das Jahr 1517) 9. Buch: Von des Augustinermönchs Martin Lusters in Religionssachen eingeführter Neuerung bis an die Zeit des Entsetzung des Erzbischofes zu Köln Gebhard Truches, und der darauf erfolgten Neuerung und Landverderblichen Beschwerung Kleinsorgen aus Bielefeld (1530-1591) war kurfürstlich kölnischer gelehrter Rat für das Herzogtum Westfalen und Historiker Gebhard Truchsess von Waldburg-Trauchburg (1547-1601) war von 1577-1588 in Köln.

      [Bookseller: Wissenschaftliches Antiquariat Köln]
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        BRITANNIAE UTRIUSQUE REGUM ET PRINCIPUM ORIGO. (KING ARTHUR).

      Paris J. Badius Ascenius, 1517. SECOND EDITION 1517, edited by Ivo Cavellatus. Latin text, small 4to, approximately 190 x 135 mm, 7½ x 5¼ inches, leaves: [8], 1-101, numbered on rectos only. Woodcut printer's device on title-page: vignette of printing shop, depicting the operation of a hand-press by three printers. The block has a double-line border. On the press itself is the imprint 'Prelu[m] Asce[n]sianu[m]', and below the press are the initials and printer's mark of J. Badius. Name of printer from title statement; date of publication from colophon, Io. Badius Ascensius lectori sa. ... Ex aedibus nostris iteru[m] ad Idus Septe[m]b. anni. MDXVII. Signatures: AA8, A-M8, N6 [N6 blank]. Woodcut coat of arms held by angel on signature AA8v. Woodcut floral and foliate crible initials, side-notes, index at the front. Old calf, red title label with gilt lettering and gilt decoration to spine between raised bands, new endpapers. Binding rubbed and scuffed, hinges just beginning to crack at head and tail of spine, head of spine scuffed with slight loss of surface leather, title page has ink stamped intials AR in 2 places plus neat old ink notes, small repairs to top and bottom corner tips, fore-edge of title page has old repairs to verso, following page has a pale ink stamp of a coat of arms in the outer margin, occasional neat old ink marginal notes and underlining, some pale staining to some pages, Folio xvii which is slightly trimmed at outer edges and is affected by pale staining to top margin. Last 13 leaves have a small brown stain to tips of top and lower corners, also slightly affecting fore-edge of last 6 leaves, occasional brown spot or mark, last free endpaper is dusty and has 2 small neat repairs, otherwise a very good copy. Geoffrey of Monmouth (c. 1100 - c. 1155) was a cleric and one of the major figures in the development of British historiography and the popularity of tales of King Arthur. He is best known for his chronicle Historia Regum Britanniae ("History of the Kings of Britain"), which was widely popular in its day and well into the 16th century. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        Musaei opusculum de Herone & Leandro. Orphei argonautica. Eiusdem hymni. Orpheus de lapidibus

      in aedibus Aldi et Andreae soceri, 1517. 8vo (cm. 15,5), 80 cc. Ancora aldina al frontespizios e al colophon. Testi in greco (traduzione latina solo per l’Opusculum). Due grandi ill.ni xilografiche: una raffigura Leandro che attraversa l’Ellesponto per trascorrere la notte con Erone, l’altra Erone che si getta dalla torre quando vede il suo amante morto sulla spiaggia). Legatura ‘800 in marocchino rosso scuro con ricchi fregi e titolo oro al ds. Cornici ai piatti, labbri e dentelle in oro (lievi tracce d’usura, soprattutto agli angoli). Carte di guardia marmorizzate (sulle anteriori, due diversi ex libris cartacei da collezioni inglesi). Tagli dorati. Interni eccellenti, di assoluta freschezza. Il nostro esemplare contiene anche 20 carte bianche, di cui 12 inserite dal legatore all’inizio e 8 alla fine del volume, con note di possesso e bibliografiche manoscritte sulle prime due. Dopo la prefazione di Aldo in lingua greca, l’opera di Museo presenta le due grandi xilografie (riprese da quelle della ‘editio princeps’ apparsa senza data - ma 1494 - in 4to, che costituiscono le prime illustrazioni uscite dai torchi di Aldo). Tra gli scritti di Orfeo, il ‘De lapidibus’ è in edizione originale, gli altri due ‘Argonautica’ ed ‘Hymni’ riproducono il testo della rarissima edizione giuntina del 1500. Renouard, 81.8; Adams, M1-991.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Inamoramento de Rinaldo de monte Albano et diverse ferocissime battaglie leq[ua]le fece lardito et francho Paladino et come occise Ma[m]brino di Levante et moltissimi forti pagani et Quanti paesi diversi conquisto et dele sue Venture et fortune tratando et come piu fiate Combate co[n] Orlando et Carlo et li altri paladini per linga[n]ni de Gaino come hebbe Guidon salvagio et co[m]e nacque et co[m]e trovo Baiardo et poi ultimame[n]te morto et li Miracoli che fece et fa el suo Santo corpo in la Cita de Colognia De Alemania

      4to (214x158 mm). (180) leaves. Collation: a-y8 z4. Z4 is a blank. On the title-page large round woodcut portrait of Rinaldo on horseback. With also numerous woodcut vignettes in the text, some on black ground. Text printed in two columns. Nineteenth-century red morocco gilt, spine with five raised bands and gilt title, gilt inside dentelles, gilt edges, marbled endpapers (Trautz-Bauzonnet). Provenance: Charles Farfaix Murray, Giuseppe Martini, Leo Olschki (Rome, 15 April 1927), S.F. Brunschwig (Cat. Genève, 28-30 March 1955, no. 259), and Pierre Berès. Title-page and a few leaves only slightly browned, loss of paper in the lower blank margin of l. N4 not affecting the text, otherwise a nice, well-margined copy.VERY RARE EDITION of the Italian rhymed version, attributed to Girolamo Forti, of the Saint Reinoldus legend, part of the Quatre fils Aymon.The story of Renaud de Montauban was first written in Alexandrine verse in the thirteenth century. From that many versions were then developed. In Italy the story of Rinaldo first appeared in the fourteenth century, both in prose and in verse. It was printed many times: Naples, c. 1475; Venice, 1494; Milan, 1501; Turin, 1503; Milan, 1510; Venice, M. Sessa, 1515. All these editions are of great rarity and mostly known in only one copy.The present edition is based on that of Sessa, from which also derives the woodcut on the title-page and those in text (with some additions). We were able to trace only one other copy of this edition, at Yale, missing two leaves. The Yale copy comes from the Essling and Bonfiglioli collections. The copy quoted by Melzi & Tosi (see below), bound with Pietro Durante's Leandra (Venice, Bindoni, 1517) and offered in Catalogue 19 (no. 2532, fr. 300) of the Paris bookseller Tross, has since then disappeared.The story of Rinaldo can be also found in Pulci's Morgante, in the poems by Boiardo and Ariosto, in Forteguerri's Ricciardetto, and in Tasso's Rinaldo. It narrates the deeds of the four children of Aimon of Dordogne. These were knighted by Charlemagne, but after that Rinaldo killed in a duel the grandson of Charlemagne, Bertolai, they were forced to flee in order to escape the emperor's vengeance. After various episodes of wars and reconciliations with Charlemagne, Rinaldo continued, with the help of his wondrous horse Bayard and of the magician Malagigi, his adventures in the Holy Land, dying finally in Cologne. Rinaldo was not just a knight, but also a saint, and his legend pleased the public of the squares as well as that of the courts (cf. M. Praloran, Cantari di Rinaldo, in: "Il poema in ottava. Storia linguistica italiana", Rome, 2003, pp. 33-45).OCLC, 80153062; M. Sander, Le livre à figures italien, Milan, 1942, III, no. 6496; G. Melzi & P.A. Tosi, Bibliografia dei romanzi di cavalleria in versi e in prosa italiani, Milan, 1865, p. 256; Prince d'Essling, Les livres à figure vénitiens, Florence-Paris, 1908, no. 1859.

      [Bookseller: Govi Rare Books LLC]
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        IOHANNEZ ZURENUS (portrait of Jan van Zuren)

      Outstanding portrait of the Haarlem burgomaster Jan van Zuren (1517-1591) who was also a publisher. Half-length portrait with opened booklet in his hands, quite aged, looking into the eyes of the observer. Titled above: 'IOHANNES ZVRENVS. A. AETAT. 71 Domini, 88.' signed on the right bottom: 'HG fecit' and lettered below in Latin: 'Corporis effigiem expressit... ruga senilis arat'. Engraving on paper; trimmed within plate mark; total: 160 x 103 mm; state II/3 before coat of arms; in good conditions, except for some dirt; New Hollstein 263

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        OPERA VERGILIANA DOCTE & FAMILIARITER EXPOSITA: docte quide[m] Bucolica & Georgica a Servio Donato Mancinello & Probo nuper addito: cum adnotationib[us].

      Lyon, printed by J. Sacon (Sachon), 1517.. Beroaldinis Aeneis vero ab ijsde[m] praeter Mancinellum & Probu[m] & ab Augustino Datho in eius principio: opusculoru[m] praeterea q[uae]da[m] ab Domitio Calderino… Date and imprint from colophon of Part I, 1517. Latin text, folio in eights, approximately 315 x 215 mm, 12½ x 8½ inches, 2 parts in 1, LACKING PORTRAIT and TITLE PAGE TO PART I, facsimile title page inserted, abbreviated manuscript title page in red and black, title to Part II is present printed red and black with 4 part architectural border. "Aeneis Vergiliana", 199 of 207 large woodcuts of various sizes, from 120 x 165 mm to 215 x 170 mm (4¾" x 6¼" to 8½" x 6¼"), woodcut initials, text in roman, leaves: (8 of 10), CCV; (8), CCCXXIIII of CCCXXXIIII, collation: †10 (-†1 & 2), a-z, aa-bb8, cc6 (-cc6); ††8, A-Z, AA-QQ8, RR-SS6, TT10 (-TT1-10), in Part I leaf †2 was the portrait, cc6 a blank, SIGNATURE TT LACKING after the end of the Aeneid (see below), LEAF TT10 had the 2nd colophon: "excussit Iacobus Sacon, impensas Ciriacus Hochperg, 1517". In full modern calf, blind decoration to covers, maroon gilt lettered label, new endpapers. 2 armorial bookplates on original endpaper, that of Henry Mere Ormerod (19th cent.) on second original endpaper with a gift inscription to his son in 1868, this is followed by 2 inserted sheets, 1 with notes on the book by George Ormerod, the other with the manuscript title and imprint, an inscription on dedication page (†3), slightly ragged at lower corner plus small chip to the inner margin, 2 corrections to index of Part I, final prelim (†10) has repaired margins and is reinserted on a tab, no loss of printed area, some thumbing to corners, occasional damp staining, light soiling, 2 pages have large pale ink smudges, all easily legible, 2 small ink blots on 1 page with loss of a few letters, small pink stain to 1 page with loss of a few words, a few brief early ink notes, a little pale underlining, a couple of woodcuts have a name or word written on background, small drawing in blank area of the Aeneid title page, crossed out, small hole in 1 leaf with loss of about 4 words, small closed tear to 4 margins, 1 just in text, no loss, 120 mm (4¾") closed tear to text on 1 leaf, expertly repaired, no loss, 1 leaf torn across lower corner 60 mm (2½") from tip affecting woodcut on recto with old paper repair to margin and archival tape repair on verso, no loss, 1 tiny graze to image, final page reinserted on a tab, slight loss to inner edge of ruled frame to image, page slightly creased and lightly browned, some scribble on blank verso. Binding tight and firm. A good sturdy copy, (lacking first title page, portrait and 10 leaves at the end as noted). The 10 final leaves are a continuation of Virgil's story in Latin verse (13th book) by Maffeo Vegio an Italian poet. His poem, (1498), about Aeneas's marriage to Lavinia and his deification had 8 further woodcuts by the same artist. The illustrations were designed for the Strasburg printer Johann Gruninger for his edition of Vergil in 1502 edited by Sebastian Brant. The woodcuts depict 15th century life: rural and pastoral, magical voyages and adventures, monsters, mermaids, battles, ships, hunting, feasts, music, many have medieval town backdrops with houses and castles. They were used in a 1515 Strasburg printing of a German translation and then passed to Saccon in Lyon. Some blocks in our edition are slightly worn and a few had split and been rejoined, most are undamaged. This is the first Lyons edition of Virgil edited by Josse Badius (1462-1535) humanist scholar, his commentary first published in Paris in 1500-1501. See Harvard, French 16th Century Books, Vol. II, No. 537; Wellcome Catalogue of Printed Books Vol. 1 page 347 No.6552; Adams, Books Printed in Europe 1501-1600, Vol. II, No. V468. Adams cites a copy in the Fitzwilliam Museum Cambridge also lacking the last 10 leaves. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Deutsche Uniformen. Zigaretten-Sammelbilderalben. Sechs Bände. Album 1: Das Zeitalter Friedrichs des Großen Album 2: Zeitalter Deutsche Freiheitskriege 1813 - 1815 Album 3: Das Zeitalter der Deutschen Einigung 1864-1914 Band 1: Die Kriege von 1864 und 1866 Album 4: Das Zeitalter der Deutschen Einigung 1864 - 1914 Band 2: Die Zeit von1870 bis 1888. Text und Erläuterungen von Dr. Martin Lezius, Bilder von Herbert Knötel d. J. Album 5: SA / SS / HJ. Textbearbeitung: Oberführer von Carslhausen Bilder: Militärmaler Herbert Knötel d. J Text-Zeichnungen: Kunstmaler Martin Claus Album 6 (Abschluß-Album: Volk an Gewehr. Bilder von Herbert Knötel d. J.

      Alben I bis IV: Je 6 Blatt Text und 40 Karton-Seiten mit 240 montierten farbigen Bildern mit darunterstehenden Legenden (Album II nur 237 Bilder !!) Album V: 1 Füher-Portrait,1 Blatt mit Hitler-Zitat und allgemeinen Bemerkungen, 12 Seiten Text, 40 Karton-Seiten mit 240 montierten farbigen Bildern mit darunterstehenden Legenden Album VI: 79 (1) Seiten mit 320 montierten farbigen Bildern, 6 Bildtafeln in Schwarzweiß. Querformat: 24,5 x 28,5 cm, illustrierte Original-Pappbände mit Rücken und Deckeltiteln. Köberich 21981 - 1 bis 6. * * * Im Album 2 fehlen drei Bilder: Bild 1 : Besondere Generalsuniform Bild 2: Silberne Stickerei an blauem Offiziersrock . . . Bild 3: Koporalstock. Einbände nur gering berieben und fleckig, sonst ziemlich sehr gut erhaltene, mit sechs Alben selten vollständige Reihe der 'Deutschen Uniformen' mit 1517 montierten (von 1520) Bildern. * * * *Achtung ! ! ! Wichtiger Hinweis * * * * Derzeit eingehende Anfragen und Bestellungen können wohl erst ab Montag, dem 14. August 2017, bearbeitet werden. * * *

      [Bookseller: Matthias Severin Antiquariat Am Bayerisc]
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        IOHANNEZ ZURENUS (portrait of Jan van Zuren)

      - Outstanding portrait of the Haarlem burgomaster Jan van Zuren (1517-1591) who was also a publisher. Half-length portrait with opened booklet in his hands, quite aged, looking into the eyes of the observer. Titled above: 'IOHANNES ZVRENVS. A. AETAT. 71 Domini, 88.' signed on the bottom right: 'HG fecit' and lettered below in Latin: 'Corporis effigiem expressit. ruga senilis arat'. Engraving on paper; trimmed to plate mark; margins reinforced; pasted to small paper frame; total: 181 x 131 mm; watermark in the centre; state III/3 with coat of arms added to the right; in very good conditions, except a small dirt stain in the region of the text, towards the left; New Hollstein 263

      [Bookseller: Antiquariaat A.G. van der Steur]
 21.   Check availability:     ZVAB     Link/Print  


        Praxis medica.Amsterdam, Hendrick Laurensz. [printed by Jasper Tournay in Gouda], 1616. With: (2) DODOENS (DODONAEUS), Rembert. Medicinalium observationum exempla rara. ....Harderwijk, widow of Thomas Henricksz.; Amsterdam, Hendrik Laurensz., "M.D.XXI" [with a C added in manuscript to correct it to 1621]. 8vo. 2 editions in 1 volume. Contemporary vellum.

      Ad 1: Krivatsy 3300; STCN (5 copies); ad 2: Krivatsy 3299; STCN (5 copies). Ad 1: Posthumously published first edition of Rembert Dodoens's 127 Latin lectures on medicine, edited and extensively annotated by Sebastian Egbertsz. de Vrij. Dodoens (1517-1585), the greatest botanist of his age, was appointed professor of medicine at Leiden University in 1582 and delivered the present lectures in 1583 and 1584. He never published them, but they were prepared for publication by his student Sebastian Egbertsz. de Vrij. Much of the material is, of course, of botanical and pharmacological as well as medical interest.Ad 2: Dodoens's description of 54 remarkable medical case studies from his forty years' experience as a physician, first published together with Dodoens's Historia vitis vinique in 1580 and issued separately in 1581. It originally contained 53 case studies, but Dodoens added one on palpitations in Plantin's 1585 edition.With contemporary and later inscriptions. Some quires in the appendices to the Medicinalium observationum are slightly browned, and a hole at the foot of its last leaf affects a few words in the index. Otherwise in good condition and only slightly trimmed.

      [Bookseller: Antiquariaat FORUM BV]
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        Regimen sanitatis Magnini Mediolanensis ... Insuper opusculu[m] De flebothomia editum ... Reginaldo de Villa Nova. Additur quoq[ue] Astronomia Hippocratis ... de variis egritudinibus et morbis. Item Secreta Hippogratis. Item Averrois De venenis. Ite[m] Quid pro quo apothecariorum ... Nicolaum ... Cum no[n]nullis insuper Avicenne: ...[Lyon, Barthélemy Trot] (colophon: Lyon, printed by Jacques Myt, 6 February 1517). Small 4to (19 x 14 cm). With title-page in red and black with Trot's woodcut publisher's device, 12 decorated woodcut initials plus 3 repeats. 17th-century(?) calf, gold-tooled spine; rebacked with the original backstrip laid down.

      Baudrier VIII, p. 431; Durling 3044; USTC 144805 (8 copies); Vicaire, cols. 549-550. Rare fourth(?) edition of a collection of ten Mediaeval works by seven authors concerning medicine, health, food and wine, including notes taken from Ibn Sina (Avicenna). They include Maynus de Maynis (ca. 1295?- 1368?), Regimen sanitatis, on health; a work on phlebotomy attributed to Arnaldus de Villanova (ca. 1295?- 1368?); Astronomia, on astrological influences on health, attributed to Hippocrates (460-377 BC); Johannes de Zantvliete (active 1343-1350), De dieta, on food; Nicolaus Salernitanus (12th century), Quid pro quo, a list of medicines for numerous ailments; Averroès (1126-1311) on poisons and on theriac, a poisonous concoction used as an antidote to other poisons, especially poisoned wounds; Secreta, a short piece attributed to Hippocrates; Villanova, Tractatus de vinis, an extensive and important work on wine; and Roger Bacon (ca. 1220-ca. 1292), De regimine senum et seniorum, a treatise on geriatrics, here erroneously attributed to Villanova. With occasional underlining and marginal marks by an early hand. With leaves 4 and 5 mounted on stubs: otherwise in very good condition, with only very slight browning. Rebacked as noted, and with the surface of the leather refurbished, but now structurally sound. One of the rare earliest editions of several Mediaeval treatises on health, medicine, food and wine.

      [Bookseller: Antiquariaat FORUM BV]
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        Praxis medica.Amsterdam, Hendrick Laurensz. [printed by Jasper Tournay in Gouda], 1616.With: (2) DODOENS (DODONAEUS), Rembert. Medicinalium observationum exempla rara. .Harderwijk, widow of Thomas Henricksz.; Amsterdam, Hendrik Laurensz., "M.D.XXI" [with a C added in manuscript to correct it to 1621]. 8vo. 2 editions in 1 volume. Contemporary vellum.

      - Ad 1: Krivatsy 3300; STCN (5 copies); ad 2: Krivatsy 3299; STCN (5 copies). Ad 1: Posthumously published first edition of Rembert Dodoens's 127 Latin lectures on medicine, edited and extensively annotated by Sebastian Egbertsz. de Vrij. Dodoens (1517-1585), the greatest botanist of his age, was appointed professor of medicine at Leiden University in 1582 and delivered the present lectures in 1583 and 1584. He never published them, but they were prepared for publication by his student Sebastian Egbertsz. de Vrij. Much of the material is, of course, of botanical and pharmacological as well as medical interest.Ad 2: Dodoens's description of 54 remarkable medical case studies from his forty years' experience as a physician, first published together with Dodoens's Historia vitis vinique in 1580 and issued separately in 1581. It originally contained 53 case studies, but Dodoens added one on palpitations in Plantin's 1585 edition.With contemporary and later inscriptions. Some quires in the appendices to the Medicinalium observationum are slightly browned, and a hole at the foot of its last leaf affects a few words in the index. Otherwise in good condition and only slightly trimmed. [Attributes: First Edition]

      [Bookseller: Antiquariaat FORUM BV]
 24.   Check availability:     ZVAB     Link/Print  


        Elucidatorium ecclesiasticum, ad officium ecclesiae pertinentia planius exponens, et quatuor libros complectens.

      Basel, Johann Froben, 1517. - Folio, circa 31,3 x 22,5 cm. 6, 229 num., 1 Bl., mit vierteiliger Titelbordüre von Urs Graf, vielen figürlichen Initialen und Druckermarke Blindgeprägtes Schweinsleder wohl des 17. Jh. VD 16, C 4194; Adams C 2201; Heckethorn 99, 68; Panzer Vi, 201, 190. Elegante zweite Ausgabe dieses erstmals 1516 erschienenen Traktats des belgischen Theologen Josse van Clichtove (1472-1543). Enthält in Buch 1: Hymni de tempore. - Buch 2: Cantica ecclesiastica. - Buch 3: Quae ad missae pertinent officium. - Buch 4: Quae in sacrificio ante evangelium dicuntur. - Ränder stellenweise gering fleckig, meist jedoch sauber. Vereinzelt alte Marginalien. Rücken rotbraun getüncht, oberes Kapital etwas abgerieben. Dennoch gut erhalten, dekorativer Prägeband. Vorsatz vorne mit schönem grossem farbig gemaltem Exlibris mit Krone und Prälatenhut.

      [Bookseller: Antiquariat Thomas Rezek]
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        Triumphus crucis, de fidei veritate. {i.e. "Triumph of the Cross"].

      Venice, Luca Olchiense, 1517 8vo. In contemporary full vellum. Title-page with woodcut vignette, rapaired at bottom, not affecting text or vignette. Three small holes to title-page and round stamp to lower part of title-page and last leaf, not affecting text or vignette. Small repair to lower part of M1, not affecting text. 112 ff. Rare second latin edition of Savonarola's perhaps most famous and influential work, his spiritual masterpiece, essentially a celebration of the victory of the Cross over sin and death and an exploration of what it means to be a Christian. On 12 May 1497, Pope Alexander VI excommunicated Savonarola and threatened the Florentines with an interdict if they persisted in harbouring him. On 18 March 1498, after much debate and steady pressure from the government, he withdrew from public preaching. Under the stress of excommunication, Savonarola composed the present work. "In his religious treatise, The Triumph of the Cross, Savonarola draws on classical triumphal imagery and the tradition of Florentine pageantry, as he allegorically depicts the triumph of Christianity in the form of a triumphal procession. Since it is difficult for the human mind to imagine the supernatural and invisible works of Christ, the friar argues, they need to be presented and visualized in metaphorical form. The image of the triumphal chariot serves this purpose well." (Uppsala Universitet, Renässansen - mellan medeltid och modernitet).Luca Olchiense was active as printer for a very short period of time (1517-18), and the present work is one of the few he managed to complete. Adams S520

      [Bookseller: Lynge & Søn A/S]
 26.   Check availability:     Antikvariat     Link/Print  


        Richardi Pacei invictissimi regis Angliae primarii secretarii eiusque apud Elvetios oratoris, De fructu qui ex doctrina percipitur liber

      - Apud Io. Frobenium, Basilea 1517, petit in-4 (15,5x21cm), 114pp. (2). Sig. a-n4, o6., relié. - Edizione condotto da Paolo Bombace. Marchio dalla stampante fino all'ultimo verso foglia. Frontespizio inciso in una cornice rinascimentale. Citato in: "VD16 52. P - 1 P Adams Salta pagina 78-81 senza perdere. a4 è segnato ingiustamente A3, a seguito di a3. - [FRENCH VERSION FOLLOWS] Édition princeps réalisée par Paolo Bombace. Marque de l'imprimeur au verso du dernier feuillet. Page de titre dans un encadrement gravé Renaissance. Cité dans Adams (p. 1). Reliure en plein veau du XVIIIème. Le feuillet a4 est marqué fautivement en a3, à la suite de a3. Traces de mouillures jaunes du feuillet 87 au feuillet 95 allant s'accentuant, puis disparaissant. Restauration en marge interne au feuillet 33 (bande de papier ancien). Bon exemplaire.

      [Bookseller: Librairie Le Feu Follet]
 27.   Check availability:     maremagnum.com     Link/Print  


        Commentarii tradotti in volgare per Agostino Ortica della Porta genovese

      per Iacopo Penzio da Lecho, 1517. In-8° (155x103mm), ff. (8), 295, (1), legatura settecentesca p. pergamena rigida con titolo calligrafato al dorso. 4 vignette xilografiche f.t. su due fogli (cc. 7v e 8r), raffiguranti macchine belliche delle campagne di Cesare. Qualche alone e arrossatura lieve. Ottimo esemplare. Prima edizione, rara, del classico volgarizzamento del letterato genovese Ortica delle opere di Giulio Cesare. Comprende gli otto libri del De Bello Gallico, i tre del De Bello Civili, il libro della Guerra Alessandrina e quello della Guerra d'Africa di Aulo Hirtio, il Libro della Guerra di Spagna contro i figli di Pompeo. Un anno dopo vide la luce la versione del fiorentino Dante Popoleschi, che ebbe però molta meno fortuna per gli inferiori pregi stilistici. Olschki, Choix, 4242. Essling, 1730. Sander, 1507. Graesse, II, p. 9. . Benini, Dal Lario alla laguna. Stampatori di Lecco, n. 165. Argelati, I, 207. EDIT16 CNCE 8151. Italiano

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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        Epigrammata. In amphitheatrvm Caesaris.

      Second edition thus. 8vo., ff. 190, [ii]. Woodcut printer's anchor device on leaves A1 recto and [et]8 verso, a few errors in foliation as usual. Some marginal annotations in sepia ink, most now sadly faded to illegibility. SOme occasional light foxing, including a little to title-page. Early 19th-century antique-style vellum binding, raised bands, remains of spine label, board edges turned a little inward, edges coloured green, narrow green silk ribbon bookmark bound in. Vellum darkened, slightly grubby, top edge dusty. A very good copy in a sympathetic later binding.The second Aldine edition, a reprint of the 1501 edition (the editio princeps was published in 1471 in Ferrara). A lovely example of the beauty and convenience of Aldine's unelaborated octavo volumes of popular Classical authors, highlighted with some early annotations: 'By pruning away one element - the commentaries - and combining two others - the smaller format and the most acceptable titles - Aldus was freeing literature from the study and the lecture-room.' (Lowry, 143)

      [Bookseller: Unsworth's Antiquarian Booksellers]
 29.   Check availability:     PBFA     Link/Print  


        Commentarii tradotti in volgare per Agostino Ortica della Porta genovese

      per Iacopo Penzio da Lecho 1517 adi IIII de Fevraro, in Venetia - In-8° (155x103mm), ff. (8), 295, (1), legatura settecentesca p. pergamena rigida con titolo calligrafato al dorso. 4 vignette xilografiche f.t. su due fogli (cc. 7v e 8r), raffiguranti macchine belliche delle campagne di Cesare. Qualche alone e arrossatura lieve. Ottimo esemplare. Prima edizione, rara, del classico volgarizzamento del letterato genovese Ortica delle opere di Giulio Cesare. Comprende gli otto libri del De Bello Gallico, i tre del De Bello Civili, il libro della Guerra Alessandrina e quello della Guerra d'Africa di Aulo Hirtio, il Libro della Guerra di Spagna contro i figli di Pompeo. Un anno dopo vide la luce la versione del fiorentino Dante Popoleschi, che ebbe però molta meno fortuna per gli inferiori pregi stilistici. Olschki, Choix, 4242. Essling, 1730. Sander, 1507. Graesse, II, p. 9. . Benini, Dal Lario alla laguna. Stampatori di Lecco, n. 165. Argelati, I, 207. EDIT16 CNCE 8151. Italiano

      [Bookseller: Gilibert Libreria Antiquaria (ILAB-LILA)]
 30.   Check availability:     IberLibro     Link/Print  


        Richardi Pacei invictissimi regis Angliae primarii secretarii eiusque apud Elvetios oratoris, De fructu qui ex doctrina percipitur liber

      Edition conducted by Paolo Bombace. Brand from the printer to the last leaf verso. Title page engraved in a Renaissance frame. Quoted in: "VD16 52. P - 1 P AdamsJump page 78-81 without missing. a4 is marked wrongfully a3, following a3. Apud Io. Frobenium Basilea 1517 petit in-4 (15,5x21cm) 114pp. (2). Sig. a-n4, o6. relié

      [Bookseller: Librairie Le Feu Follet]
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        Commentarii di C Iul Cesare tradotti in volgare per Agostino Ortica della Porta Genovese

      Venice: Stampato in Venetia per Iacopo Penzio de Lecho. Ad instantia de M. Agostino Genovese. Good. 1517. Full leather. [8], 295, [1] leaves. With the final blank leaf which is just holding on. Includes 4 illustrations of battering rams etc. Bound in very worn old full leather, lacks the upper section of the spine and the lettering label is probably a replacement. Spine very worn and with some worm damage as well. Title page has been glued back in at some point as it is now 0.5cm narrower than the following pages. Worm damage to the front board and the following four leaves. Some staining and soiling throughout. Heavy stain to leaf 31 and adjoining leaves. Small holes to the lower margins on leaves 159-161. Old reinforcement to the inner margins of leaves 292 and 293. Page edges are worn gilt and with a gauffered pattern. Armorial bookplate of Thomas Philip Earl de Grey, Wrest Park to the front pastedown. Small old ink name written at the head of the title page. .

      [Bookseller: Stephen Rench]
 32.   Check availability:     Biblio     Link/Print  


        Histoire du cardinal Ximenès

      Edition originale, rare, orné d'un portrait au frontispice de Delinck et illustrée de 6 bandeaux de titre et de 6 cul delampe par Sébastien Le Clerc. Marque de l'imprimeur en page de titre, à la fleur de lys de Florence.Pleine Basane brune d'époque. spine à nerfs orné. Pièce de titre en maroquin rouge. spine-ends et mors en tête et queue restaurés. Coins dénudés.L'oeuvre parut quelques jours à peine après l'Histoire de Ximenez de Marsolier et dont la comparaison suscita une polémique jusqu'au XIXe siècle. Alors que l'ouvrage de Fléchier tend à illustrer la sainteté du Cardinal, celui de Marsolier, plus critique, s'adresse "aux libertins, à ce parti des philosophes qui commençait à lever la tête". Réformateur religieux et homme politique, Ximénès (Francisco Jiménez de Cisneros) fut nommé Grand Inquisiteur d'Espagne et gouverneur de Castille ; il montra beaucoup de tempérence dans son administration de l'inquisition et sa politique envers les mores. A l'origine moine franciscain, n'oubliant pas ses origines, il tendit à une réforme profonde du clergé vers plus de morale. Il s'éteint en 1517, après s'être illustré sur tous les fronts, enseignement, politique... Il est une des figures majeures de l'histoire de l'Espagne de cette fin du XVe siècle. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Chez Jean Anisson à Paris 1693 in-4 (18x26cm) (4) XVIII 659pp. (16) relié

      [Bookseller: Librairie Le Feu Follet]
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        Feldtbuch der Wundtartzney.

      Strassburg: Gedruckt durch Johannem Schott, 1517. 1st Edition. Softcover. Folio - over 12 - 15" tall. Folio (280 x 195 mm). 102 leaves, ff. [4] I-LXX [2] LXXI-XCV. Signatures: pi4 a-l6 m6 ( m3.4) n6 o4 p6 q8 (-q8). Double column in Fraktur type. 22 full-page and 5 half-page woodcut illustrations attributed to Hans Wechtlin, the first on the title-page, a smaller woodcut of a scribe on leaf d1, one (of two) inserted woodcut plate printed as broadside on full sheet and bound in as folding plate. Large woodcut historiated and ornamental initials. With the additional two unfoliated leaves bound in between LXX and LXXI, not found in many copies. Three full-page woodcuts and four initials with contemporary hand-coloring. Without the final blank q8. Recently bound in a 15th century antiphonary vellum bifolium. All edges engraved "Chyrurgia Theutonica" by a contemporary hand. The folding woodcut plate repaired at fold with little loss of image. Lower blank margin of title-page restored (not affecting text). Title-page, preliminaries and folding plate with heavy but marginal brown staining, otherwise crisp and bright. Single small wormhole through first and last leaves. Provenance: From a venerable old Strassburg family who worked in the chirurgical tool manufacturing for several generations. An outstanding, amazingly well-preserved and very wide-margined copy containing the rare fugitive skeleton plate. ----Grolier/Norman Medicine 14; NLM/Durling 2059 (lacking the 2 folding plates); VD-16 G-1618; Choulant, pp. 162-66; Garrison & Morton 5560; Stillwell 387; Lilly Library, p.19; Herrlinger, History of Medical Illustration, pp. 140-43; Waller 3506 (calling for one plate only); cf. Heirs of Hippocrates 149 (1530 edition); Wellcome I, 2760 (1527 edition). FIRST EDITION of a milestone in human anatomy and surgery and of greatest rarity. Only two copies have appeared at auction in the past 50 years: the first with one folding plates only as here and otherwise complete (Hartung & Karl Nov. 8, 1988, sold for DM 48,000) and the second copy defective lacking both folding plates and with the title-leaf torn with loss of the title (Christie's sale, Nov. 29, 2000; $20,036). Written in German vernacular rather than Latin and frequently used as working copies, all early editions are normally found in rather bad condition. In contrast to that, our copy is unusually well preserved, with only little staining, soiling or fraying. The book was very popular. The work went through at least twelve editions between the time of its first publication in 1517 and the early seventeenth century. VD16 lists 14 editions in the 16th century. "In the same year that Martin Luther posted his Ninety-Five Theses, Gersdorff initiated the reformation of surgery by relating his own extensive experience in his Feldtbuch der Wundtartzney." (Grolier/Norman). The book is written on the basis of Gersdorff's 40 years experience as a military surgeon. A summary of the available knowledge of human anatomy derived from old Arabic writings, Guy de Chauliac, and other sources is followed by a guide to the surgical treatment of wounds, with a subsidiary part on the treatment of leprosy, followed by three Latin-German glossaries at the end - one of anatomic terms, one of diseases, and one of simples. "The book ... was translated into Latin and Dutch, and was widely quoted, referred to, and plagiarised in subsequent medical texts. Eminently practical in its instructions on the care and treatment of the wounded, it had admirably graphic wood engravings. The twenty-seven illustrations show clear diagrams of instruments and protheses, such as a mechanical iron-hand, in addition to scenes of operations, including the first printed picture of an amputation. Several illustrations, such as of the ambe, became standard in subsequent German surgical texts. The full-sheet anatomical skeleton existed in its own right as a broadside print and is often missing. (William Lefanu, Notable Medical Books from the Lilly Library, p. 19). Herrlinger comments that "The illustrations . . . belong to the early phase of 16th-century medical illustration and represent one of its high points" (History of medical illustration, London, 1970. p. 142). "Gersdorff ... had gained wide experience during the course... of campaigning and was an expert in the care and treatment of battlefield injuries ... [He] emphasized a well-founded knowledge of anatomy because the surgeon was frequently called upon to deal with extensive bodily trauma... The surgical portion of the work was devoted to wound surgery and covers in some detail the methods he employed for extracting foreign objects and amputating limbs. He used a tourniquet to control bleeding when amputating and covered the stump with the bladder of a bovine or swine to help control postoperative hemorrhaging. He also included information on various remedies and medications that might be employed by the surgeon. Of special interest are the sedatives and analgesics, although he appears not to have employed them in his practice. The section on leprosy is given over largely to remedies for a disease he did not believe could be cured." (Heirs of Hippocrates 149). *There appears to be two variants of this first edition: one with the bifolio numbered LXX/LXXI (signatures m3.4) present (e.g. at Universität Heidelberg), and another, without this but with an unnumbered bifolio (same signatures m3.4) with two full-page woodcuts including the first illustration of an amputation (e.g. at Augsburg Staats- u. Stadtbibliothek). Our copy does contain the unnumbered as well as the numbered bifolios and collates with the copy in the Österreichische Nationalbibliothek Wien. Also included in our copy is the folding diagram of the human skeleton which was originally published as a fugitive sheet. Very few copies also have a second fugitive sheet, the viscera-manikin, showing the internal organs (see H. Norman, One hundred books famous in medicine, Grolier Club, pp.54-5). Very Good.

      [Bookseller: Milestones of Science Books]
 34.   Check availability:     Direct From Seller     Link/Print  

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