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Displayed below are some selected recent viaLibri matches for books published in 1518

         De re militaria.

      (in fine:) In Orthona ad mare, per Hieronimo Soncino impressa, 1518 a di xvij de marzo, - in-8, ff. 194 n.n, bella legatura coeva di riutilizzo con antico foglio di pergamena vergato in carolina (mancanze al dorso) con brani dalla ''Strage degli Innocenti'' dal Vangelo secondo Matteo. Seconda edizione impressa dai torchi di Soncino dopo quella di Pesaro del 1507, e una delle cinque edizioni ad essere stampata ad Ortona, di questo poema didattico di nove libri in volgare, in terzine. Preceduto dall'Indice e dalla dedica del Soncino a ''Lodovico Conte de Montorio''. Redatto originariamente in prosa durante il periodo ferrarese, il poema fu poi dal suo autore trasportato in terzine ed ebbe notevole fortuna, specialmente dopo la revisione e la stampa fattane da Bernardo di Filippo Giunti nel 1520. Il Cornazzano (1430-1484) fu celebre letterato e poeta in latino ed in volgare, visse a Siena, alla corte sforzesca (per Frane. Sforza compose il poema noto come''Sforzeide''), a quella di Ferrara ed a Venezia; interessante per la storia del costume il suo ''Libro dell'arte del danzare'', dedicato ad Ippolita Sforza, della quale era maestro di ballo. Per quanto riguarda il Soncino secondo la ricostruzione di Ennio Sandal (Gershom, Girolamo, Hieronymus, le edizioni del Soncino nelle città adriatiche 1502-1527, Edizioni dei Soncino, Soncino 2001, p. 27) ''nei primi tre decenni del secolo XVI Gershom Soncino stampò a Fano (1502- 1506, 1508, 1515-1516), a Pesaro (1507-1508, 1509-1515, 1517, 1519-1520), a Ortona (1518-1519) e a Rimini (1520-1527). Inoltre, egli stampò, o fece stampare a proprio nome, alcune edizioni ad Ancona (1513-1517) e a Cesena (1527). In un quarto di secolo (1502-1527) Gershom pubblicò quasi un centinaio di edizioni in volgare, in latino e in greco, e una ottantina di edizioni in ebraico''. Al titolo antica nota di possesso di mano cinquecentesca ''Pietro Biefro (?) Bressa'', alcuni piccoli camminamenti di tarlo ai primi e ultimi ff. Adams C-2645. Manzoni 109. Sandal, Soncino nelle città adriatiche, 93.  [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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         Ein hubsche histori vo(n) der kunigclichen statt troy wie si zerstoerett wart.

      Mit Holzschnitt-Titel und 113 tls. wiederholten Textholzschnitten. 95 nummerierte Bll., 1 w. Bl. Holzdeckelband im Stil d. Zt. mit Lederrücken. 32,5 x 23 cm. VD16 H 5680 (4 Standorte) Goed. I, 372, 6,6 Gotzkowsky 245, 11 Heitz/Ritter 680 Muller 123, 88 Muther 1518. - 13. deutsche Ausgabe, die zweite, die im 16. Jahrhundert gedruckt worden ist und die erste bei Knobloch, noch mit den Holzschnitten Kistlers von 1499 illustriert. Von der Übersetzung Hans Mairs sind drei Varianten bekannt, diese stammt ursprünglich aus dem Jahr 1391 und erschien 1494 erstmals in gedruckter Form. Der große Titelholzschnitt mit der Erstürmung und der Zerstörung der Stadt Troja ist vermutlich für den Druck der vorliegenden Ausgabe hergestellt worden. Die Textholzschnitte stammen aus Kistlers Troja - Ausgabe und seinem Straßburger Druck "Montevilla" (dazu Hain Copinger 10651 und Schramm Straßburger Drucker, Teil 2 (Bilderschmuck 20), Tafel 1931), sie wurden zumeist seitlich beschnitten, bzw. durch zusätzliche ornamentale Leisten an den Seiten dem Satzspiegel angepasst. Sie messen ca. 75 x 130 mm (einer 200 x 135 mm). - Tls. etwas gebräunt und fleckig. Einige alte Unterstreichungen, wenigen Anmerkungen und Notizen. Tls. etwas feuchtfleckig. einige wenige kleine Wurmlöcher. Insgesamt recht gutes Exemplar der seltenen Ausgabe!

      [Bookseller: Antiquariat Turszynski]
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         Dieta salutis Sancti bonauenture doctoris eminentissimi: aureus libellus: qui dieta salutis communiter nuncupatur: omnibus diuini eloquii buccinatoribus maxime necessarius. Vna cum eiusdem authoris de Christi natiuitate, de resurrectione hominis a peccato, et preparatione ad gratiam deuotissimis tractatibus. Necnon eleganti tabula totius operis materiam perstringente, nunc primum in legitimum ordinem redacta. Nouissime post omnes impressiones ubique locorum excussas, astatim recognitus, cunctisque mendis, et erroribus expurgatus

      per Cesarem Arriuabenum venetum, Venetiis 1518 - Privo di difetti evidenti, buono stato generale di conservazione. Dorso in pergamena rinforzato nel XVII secolo (32) + c.c. CXLIII + (1) p. 155x105 mm

      [Bookseller: Libreria Antiquaria Giulio Cesare]
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         Utopia and Epigrammata

      Basel: Froben, 1518. The first Basel edition (the third overall), the first with these illustrations, and the first edition of More's Epigrams. Two parts (of three issued; the final part issued contained the Epigrams of Erasmus). Octavo, bound in full calf, gilt titles and tooling to the spine, all edges sprinkled red. Woodcut architectural title border by Hans Holbein on title, woodcut map and headpiece by Ambrosius Holbein, woodcut title border to More's epigrams by Urs Graf. Henry Edward Bunbury's copy with his bookplate, ownership inscription of John Burns, 1916. In excellent condition with only light toning and wear. An important early edition of More's Utopia. Written while Thomas More was a London lawyer, Utopia "inveighs against the new statesmanship of all-powerful autocracy and the new economics of large enclosures and the destruction of the old common-field agriculture, just as it pleads for religious tolerance and universal education... More had been born and brought up in the law, the most traditional and the most English of all professions: to him, human institutes were not a matter for radical, theoretical reform, but were organic things to which change came slowly. In Utopia More is concerned to show that the old, medieval institutes, if freed from abuse, are the best; not the new theoretic reforms, which he justly feared... Utopia is not, as often imagined, More's ideal state: it exemplifies only the virtues of wisdom, fortitude, temperance and justice. It reflects the moral poverty of the states which More knew, whose Christian rulers should possess also the Christian virtues of Faith, Hope and Charity" (PMM 47). Through its invention of the word 'utopia,' a Greek pun meaning 'no place', "Moore's Utopia has given its name to a whole genre of literature--Utopian literature--as well as to a way of thinking" (Bronowski & Mazlish, 44).

      [Bookseller: Raptis Rare Books]
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         Rare Antique Master Print-RELIGION-DEATH-ANANIAS-ACTS 5-Raphael-Carpi-1518

      1518 - Antique Master Print, untitled. The death of Ananias. Ananias, after having sold his land, following Barnabas' example, secretly kept a part of the proceeds instead of donating it to the apostles. For this (i.e. lying to the Holy Spirit) he falls dead instantly. Description: Despite the damage a very good example of a 16th. century chiaroscuro printing. State: Second state of 2. Ref: Bartsch XII.46.27. IconClass 73F154.Artists and Engravers: Made by 'Ugo da Carpi' after 'Raphael'. Ugo da Carpi (Italian; 1480-1532) specialized in color woodcuts. Raffaello Sanzio da Urbino (1483 - 1520) known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human g Chiaroscuro woodcut on hand laid paper. Anonymous. Fair, given age. No margins, laid down with many tears and traces of use, but still making a good impression. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. The overall size is ca. 10.8 x 15.9 cm. The image size is ca. 10.8 x 15.9 cm. The overall size is ca. 4.3 x 6.3 inch. The image size is ca. 4.3 x 6.3 inch. Storage location: LA-A2-18

      [Bookseller: ThePrintsCollector]
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         Das ist ein anschlag eins zugs wider die TÜrcken vnd alle die wider den Christenlichen glauben seind

      1518]. 1518 - Title with woodcut coat of arms. Small 4to. Bound in old flexible vellum, overall a very good copy. 4ff. [NÜrenberg, Jobst Gutknecht, The expansion of the Ottoman Empire during the reign of Sultan Selim I. (1465-1520) was closely watched throughout Europe. The present work calls for the formation of an army to be sent against the Turks (and all others opposed to Christianity). In the first half of the 16th century over 900 pamphlets relating to the Turks were issued, documenting the widespread fear of a Turkish domination. The present call to arms was issued in vaious cities throughout central Europe including Augsburg, Breslau, and Basel. Two other Nuremberg imprints are known to have been printed in the same year (Georg Stuchs & Friedrich Peypus). GÖllner: Turcica I, 107. VD16, D-160. KÖhler 664. Weller 1088. Only two copies in OCLC.

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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         O die Stund ist aus - Vergrösserte Kopie nach einem Kupferstich von Hans Behaim. Tusche a. Lwd.

      /2016 1518 - 18 x 24 cm, 34 x 42 cm, gerahmt, Tadell. Auf Rückseite vom Kopistenkünstler Joachim Wittke (Künstler und Restaurator ( signiert - Sebald Beham (1500-1500)war der ältere Bruder Barthel Behams. Sein erster Vorname Hans, der nach der Form seines Monogramms angenommen wird, ist in den zeitgenössischen Quellen nicht nachweisbar. Über die Ausbildung der beiden Maler und Kupferstecher sind ebenfalls keine zeitgenössischen Quellen erhalten. Durch die künstlerische Nähe zu Albrecht Dürer wird in der Sekundärliteratur vermutet, dass die Brüder Beham ihre Ausbildung in der Werkstatt Dürers erhielten.1524, nach einem Aufenthalt Thomas Müntzers in Nürnberg, sympathisierten er, sein Bruder Barthel und Georg Pencz, ein weiterer Geselle Dürers, mit dem religiös und politisch radikalen Flügel der Reformation. Ob sie sich tatsächlich der sozialrevolutionären Bewegung der Täufer anschlossen, ist unklar. Die drei ?gottlosen Maler? wurden zusammen mit anderen Angeklagten, unter ihnen der Schulmeister Hans Denck (1495?1527) festgenommen und im Januar 1525 vor Gericht gestellt. Der Rat ließ relative Milde walten und verbannte die Künstler im Einvernehmen mit der Geistlichkeit lediglich aus der Stadt Nürnberg.Sebald Beham kehrte schon 1528 nach Nürnberg zurück, wurde 1529 der Verbreitung von Pornographie verdächtigt und abermals ausgewiesen und begab sich nach München. In den Jahren 1530 und 1531 arbeitete er unter anderem für Kardinal Albrecht von Mainz. Um 1532 siedelte er nach Frankfurt am Main über, wo er 1540 das volle Bürgerrecht erhielt. In Frankfurt schuf er zahlreiche Vorlagen für Holzschnitte (Bibeln und Chroniken) und trat als Kupferstecher und Entwurfszeichner für Holzschnitte hervor. Er hat etwa 270 Kupferstiche und 300 Holzschnitte geschaffen. 500 gr. Schlagworte: Totentanz [Attributes: Signed Copy]

      [Bookseller: antiquariat peter petrej]
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         Elucidarius vel vocabularius poeticus ... co[n]tine[n]s fabulas, historias, prouincias, vrbes, insulas, fluuios, et montes illustres; Item vocabula et interpretationes Grecoru[m] & Hebraicoru[m], una cu[m] vocabulis co[m]munibus Saracenoru[m], in latinu[m] translatis et alijs in fine adiunctis.

      [colophon: Hagenaw: per ... Henricu[s] Gran, impe[n]sis ... Joanis Rynman, 1518]. 4to (20 cm; 8"). [57] ff. (without final blank). Torrentinus' Elucidarius vel vocabularius poeticus, also published under the title Parvum dictionary poeticum, is the earliest known historical, mythological, and geographical dictionary. First published in 1498 in Deventer where Torrentinus (a.k.a. Herman van Beek, Herman van der Beeke), a Netherlandish grammarian, taught in Hegius' school, it had by 1540 had more than 30 editions. Primarily given over to literature — especially poetry, which caused Renouard to call it the "first . . . attempt at a poetic dictionary" — it contains literary references to numerous provinces, cities, islands, mountains, and rivers, with this edition being enlarged over earlier ones by inclusion of a supplement on Latin numbers and weights, and lists of trees, bushes, herbs, and stones.    There are two states of the colophon of this edition, one as above, the other reading "Impressus Argentine per Joannem Knoblugh"; but the states are otherwise identical, page for page, line for line, including use on both title-pages of an architectural woodcut border incorporating Heinrich Gran's device! => The text is printed in black letter with large, handsome running heads, attractive initials, and usefully large-lettered captions in the supplement.    Searches of WorldCat and NUC locate no copies in North America of the Hagenau issue and only one (at Harvard) of this one. => Because this was designed for students, few copies of the early editions survive.    Provenance: From the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.         VD16 T1606; Benzing, Hagenau, 39, 184. On Heinrich Gran's device, see: Heitz & Barack 2. 20th-century boards covered with vellum-like paper. Light age-toning with very light waterstaining across corners at end and some light foxing to margins elsewhere; very good and in fact for a "student book" remarkably good. => A rare and attractive item.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Tabula Asiae VII

      Artist: Ruscelli Girolamo ( - 1566) Venice; issued in: Venice; date: ca 1561 1518 - - technic: Copper print; - colorit: colored; - condition: Very good; - size (in cm): 19 x 25; - description: Ptolemaic map with Persia / Pakistan; -vita of the artist: Girolamo Ruscelli (1518-1566) was an Italian polymath, humanist, editor, and cartographer active in Venice during the early 16th century. Ruscelli is best known for his important revision of Ptolemy's Geographia, which was published post humously in 1574. It is generally assumed that Alexius Pedemontanus was a pseudonym of Girolamo Ruscelli. In a later work, Ruscelli reported that the Secreti contained the experimental results of an ?Academy of Secrets? that he and a group of humanists and noblemen founded in Naples in the 1540s. Ruscelli?s academy is the first recorded example of an experimental scientific society. The academy was later imitated by Giambattista Della Porta, who founded an ?Accademia dei Secreti? in Naples in the 1560s.

      [Bookseller: Antique Sommer& Sapunaru KG]
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         Tractatus de fractura calve sive cranei

      Bologna: Girolamo Benedetti, 1518. 4to (208x150 mm). CV, [1] leaves. Collation: A6 B-Z4 AA-CC4: A1r title and woodcut, A1v preliminary verse and letters by various authors, A3r dedication to Lorenzo de' Medici, A3v introduction, A6r text, CC1v letter to the reader, CC2r index, CC3r errata, CC3v colophon, register and printer's device, CC4 blank. Roman type throughout, title in gothic. Anatomical woodcut of the cranium on the title-page, 21 woodcut illustrations of surgical instruments, 2 large woodcut initials, and numerous other smaller initials. 17th-century stiff vellum, later morocco lettering-piece on spine. On the front pastedown engraved bookplate of Umberto Calamida; on the title-page stamp of Ferdinando Palasciano. Title-page slightly soiled and foxed in the margin, small light stain caused by the stamp to the following four leaves, some marginal staining and foxing, but all in all a very good, genuine copy with good margins and a few contemporary marginal annotations.RARE FIRST EDITION of the first monograph on head injuries and their neurosurgical treatment.In 1517 Berengario was called to attend Lorenzo de' Medici who had suffered a gunshot wound and an occipital skull fracture in battle. The Tractatus was written as a result of the assignment "in little more than two months, soon after Berengario return to Bologna, and dedicated to Lorenzo de' Medici. It opens with a short discussion of various sorts of skull fractures, followed by a grouping of the consequent lesions according to their symptoms… Berengario was able to cite from contemporary knowledge or from his own direct observation the relationship between the location of the lesions and the resulting neurological effects. Next, he discusses prognosis, diagnosis, treatment, the instruments to be employed, and the technique of craniotomy. Berengario's book was the most original neurosurgical treatise until then and was not surpassed until the appearance of Ambroise Pare's similar work in 1562" (C.D. O'Malley, Berengario da Carpi, Giacomo, in: "Dictionary of Scientific Biography", C.C. Gillispie, ed., I, New York, 1970, p. 618).The son of the surgeon Faustino Barigazzi, Berengario received the first training in anatomy from his father and possibly some classical education from Aldus Manutius, who spent 8 years in Carpi, Berengario's hometown, between 1469 and 1477. Subsequently, Berengario entered the medical school of the University of Bologna, graduating in 1489. In 1502 he was appointed lecturer in surgery at Bologna. By then he had acquired a considerable fame as surgeon, especially as military surgeon. He soon also acquired popularity as a teacher, and under the pontificate of Julius II and Leo X he was often called to Rome or Florence for medical consultation. In 1525 he went to Piacenza to assist Giovanni dalle Bande Nere, whose leg had been hit by a cannon bomb. In 1526 he spent several months in Rome to assist Cardinal Pompeo Colonna. Upon his return to Bologna, he was dismissed from his position at the university and retired to Ferrara. During his career he published several works of his own or other physicians, mainly to support his teaching.Edit 16, CNCE5418; Garrison-Morton, 4850.2; Norman, 186; V. Putti, Berengario da Carpi saggio biografico e bibliografico, Bologna, 1937, pp. 136-37; Durling, 531; D.S.B., op. cit., pp. 617-621.

      [Bookseller: Govi Rare Books LLC ]
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         Apulegio volgare, tradotto per el Conte Mattheo Maria Boiardo

      8vo (152x100 mm); early 20th-century red roan, panels with blind-stamped diamond-shaped centerpiece within an elaborated gilt frame and two blind-ruled fillets, lettered and dated spine with four raised bands, marbled endleaves (somewhat faded); (103) leaves. Signatures: A-N8. Lacking the last blank leaf. Title-page within woodcut border. Printer's device on l. N7v. Large initial on l. A2v. With 32 woodcut vignettes in text attributed on stylistic evidence to Benedetto Bordon (c. 1455-1530) and his workshop (cf. L. Armstrong, Woodcuts in Classical Texts Printed in Venice, 1490-1520, and the Role of Benedetto Bordon as Designer, in: "Seven Perspectives on Woodcut. Presentation from A Heavenly Craft. Symposium and Exhibition", D. De Simone, ed., Washington D.C., 2008, pp. 55-58). Provenance: Bookplate of Jean Furstenberg on front pastedown; pencil note on the back flyleaf by the bookseller Martin Breslauer (cf. Cat. 106, no. 29 $ 1,850); Otto Schäfer (The Collection of Otto Schäfer, Part I: Italian Books, Sotheby's, December 8, 1994, lot 13 $ 6,900). Title-page a bit soiled, some browning and foxing, but a very good copy.VERY RARE FIRST EDITION of Matteo Maria Boiardo's Italian translation of Apuleius' Golden Ass. Boiardo's translation had a limited manuscript circulation during the author's lifetime and before it was first printed in 1518. A second enlarged Zoppino edition was issued in 1519 with the addition of new vignettes. An alleged 1516 edition, quoted by some bibliographies, is a ghost. The work was then reprinted several times until 1549, when a new translation by Agnolo Firenzuola appeared on the market.Boiardo used for his translation a copy of Apuleius' editio princeps (1469) that had been annotated by an anonymous humanist who had also added in the margin many significant textual variants. The translation must have been begun after 1469, excluding thus the possibility, backed by some scholars, that it had been begun by the poet's grandfather, Feltrino Boiardo (d. 1456) (cf. E. Fumagalli, Matteo Maria Boiardo volgarizzatore dell' "Asino d'oro". Contributo alla studio della fortuna di Apuleio nell'Umanesimo, Padua, 1988, pp. 15-28)."Boiardo completed his translation by 1479, but Ercole d'Este drastically limited its circulation. He jealously guarded all his books, but he seems to take special delight in Apuleius' novel, which he claimed to consult every day. His precautions were successful. Apolegio volgare was published only in 1518, long after the deaths of both Ercole and Boiardo, and only two manuscripts are extant. In the 1490s, while Ercole and his family still had what we might term 'exclusive rights' to it, Apolegio volgare inspired at least three important treatments of Psyche associated with the Este: a long poem entitled Fabula Psiches et Cupidinis by Niccolò da Correggio, a fresco cycle in one of Ercole's palaces, and a comedy by Galeotto del Carretto Noze de Psiche e Cupidine" (J. Haig Gaisser, The Fortunes of Apuleius and the Golden Ass: A Study in Transmission and Reception, Princeton NJ-Oxford, 2008, p. 185).For a long time critics have put Boiardo translator in second place far behind Boiardo poet. The language used in the 'volgarizzamento' with its frequent Latinisms was considered approximate, while the frequent simplifications of the Latin text were believed due to the author's carelessness or poor reading comprehension. Actually the Latinisms are often dictated by the lexical narrowness which a non-Tuscan author, such as Boiardo, had to face at the end of the 15th century, if he wanted to avoid dialect terms. As for the so-called simplifications, they are often motivated by precise stylistic choices. As a matter of fact, Boiardo devoted great care and attention to this aspect of his literary output (cf. L. Mondin, Note all' "Apulegio volgare" di Matteo Maria Boiardo, in: "Lexis", 1989, IV, pp. 77-105).Born around 1441 in Scandiano near Reggio Emilia, in his family feud, from Giovanni Boiardo and Lucia Strozzi, the sister of the humanist Tito Vespasiano, Matteo Maria Boiardo spent his youth at the court of Ferrara, where he grew up cultivating classical literature, poetry and the arts. The death in quick succession of his father, his grandfather and his paternal uncle forced him, at only nineteen, to take care of the management of the feud.Cherished by the Este Duke, Boiardo was given various positions of representation. His passionate love for the young lady Antonia Caprara inspired the verses of his 'canzoniere' (1469-76), the Amorum libri, divided into three books each consisting of fifty sonnets and ten poems of different metres, clearly inspired by Petrarch (first edition: Reggio Emilia, Francesco Mazali, 1499).In 1476, Boiardo escaped an attempted poisoning and decided to permanently move to Ferrara, where he lived as a salaried member of Hercules I's court. In 1480, a year after the marriage with a noblewoman of Novellara, Boiardo was appointed governor of Modena. Seven years later he passed to the governorship of Reggio Emilia, where he died on December 19, 1494.His fame is primarily linked to the famous chivalric poem Orlando innamorato, begun around 1476 and left unfinished at the ninth canto of book 3.Edit 16, CNCE2227; M. Sander, Le livre à figures italien, Milan, 1942, no. 487; R. Mortimer, Italian 16th-Century Books in the Harvard College Library, Cambridge MA, 1974, I, no. 24; F. Federici, Degli scrittori latini e delle italiane versioni delle loro opere, Padua, 1860, p. 141; F.L.A. Schweiger, Bibliographisches Lexicon der gesamten Literatur der Römer, Amsterdam, 1962, I, p. 14; M. Palumbo, Benedetto Bordon, a Life in the World of Books, New York, 2015, no. 16 (second Zoppino edition); J.A. Molinaro, Matteo Maria Boiardo: A Bibliography of Works and Criticism from 1487-1980, Canada, 1984, p. 51.

      [Bookseller: Govi Rare Books LLC]
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         San Luca

      1518 - Bulino, 1518, datato e monogrammato in lastra in basso a destra. Da un soggetto di Giulio Romano. Bellissima prova, contrastata, edita a Roma da Antonio Salamanca, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. Engraving, 1518, dated and signed with monogram on plate on lower right. Afret a subject by Giulio Romano. Excellent work, rich in shades, printed in Rome by Antonio Salamanca on contemporary laid paper, trimmed to platemark, in very good condition. Dimensioni 180 245mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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         Rosa gallica ... omnibus sanitate[m] affecta[n]tibus utilis & necessaria. Que in se co[n]tinet precepta, auctoritates, atq[ue] sente[n]tias memoratu dignas, ex Hippocratis, Galeni, Erasistrati, Asclepiadis, Diascoridis, Rasis, Haliabatis, Isaac, Avicen[n]ae, multoru[m]q[ue] alioru[m] clarorum virorum libris in unum collectas: quae ad medicam artem recta[mque] vivendi forma[m] plurimu[m] conducu[n]t. Una cu[m] sua pretiosa Margarita: de medici atq[ue] egri officio.

      [colophon: Valentia Allobrogum {i.e., Paris}]: Venundatur ab Iodoco Badio [Ascensio], [colophon: 1518]. 8vo (16.6 cm, 6.55"). [8], CXXXVI ff. Florilegium of ancient and medieval thought on medicine, hygiene, diet, and general health, compiled by a prominent Lyonnese physician (1471–1539). Following that Rosa Gallica is an additional treatise on procedures for doctors, entitled Margarita in tribute to the author's wife, Marguerite Terrail. This is the 1518 reimpression of the 1514 first edition, both Renouard and Vicaire saying with certainty that it faithfully reproduces that original. Its title-page bears an attractive woodcut of the author holding an oversized rose and pointing to a book, while Marguerite (with a daisy in hand) sits nearby in an enclosed garden with a book of her own.    Binding: 19th-century divinity-style calf, spine with raised bands, blind tooling, and gilt lettering; covers framed and panelled in blind fillets, each cover => preserving an on-laid original 16th-century Flemish stamped-panel stamp at center. The front cover panel shows St. Roche (patron saint of plague victims) in pilgrim guise, displaying a plague sore on his thigh to an angel on his right, with a dog on his left; the scene bears the legend "St. Roche libera nos a p[este]." The back panel is presents two columns of facing animals (dogs, geese, wyverns, and monkeys) with the surrounding legend, "deus dedit / deus abstulit, [signed] pe X c / sit nomen / domini benedictum." Goldschmidt tentatively sources the St. Roche panel in Cologne, and more confidently attributes the animal panel to Pieter de Keysere (Petrus Caesaris), active in Ghent ca. 1511–59. All edges gilt.    Provenance: Title-page with heavily flourished early inked ownership inscription ("Fr. vanden Zype"?), potentially that of Frans van den Zype, a 17th-century physician and professor of anatomy, author of Fundamenta medicinae. Front pastedown with bookplate of Scottish scholar, author, and book collector Sir William Stirling-Maxwell (1818–78). Most recently in the library of American collector Albert A. Howard (sans indicia).         Adams C1330; Durling 944; Renouard, II, 273; Vicaire 160–61; Wellcome, I, 1422 (for 1514 ed.); Moreau, Editions parisiennes du XVI siecle, II, 793. For binding panels, see: Goldschmidt 72 & 115. Bound as above, spine leather and board edges chipped with joints neatly refurbished. Scattered smudges as of serious use and very faint waterstaining across a number of upper corners; half a dozen leaves with a marginal stain perhaps of wax reaching two lines down into text from top edge. Intermittent faint early inked underlining, and a handful of early inked marginalia (a few trimmed), pages otherwise crisp and clean; two leaves with repair to fore-edge or a corner. => A scarce, attractive, important, intriguing volume.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Das deutsch römisch Brevier. Translated by Kristof Frangepán (Christoph Frangipani), Prince and Count of Segna, Mordrus and Beglia (1482-1527). Edited by Jakob Wyck

      Venice: Gregorio de' Gregori for the author, 31 October 1518. 4to (239 x 170 mm). Gothic letter, printed throughout in red and black. 324 woodcuts (including repeats), including 11 finely executed full-page woodcuts, 5 of them signed "IA" and "ZA" (by Zoan Andrea Vavassore), 12 woodcut borders, the twelve occupations of the months in the Calendar and numerous woodcut initials of different sizes in the text. Modern vellum. A2 with repair in lower margin just touching letters, small marginal repairs on l1, y2, T1, AA4-8 and BB6, repaired tear on EE6 crossing text, two lines slightly abraded on BB1r-v, two repairs on BB5 one affecting text. Provenance: purchased from Scribner's, 1969. A SUPERB VENETIAN WOODCUT BOOK OF WHICH ONLY FOUR HUNDRED COPIES WERE PRIVATELY PRINTED, AND THE FIRST TRANSLATION OF THE ROMAN BREVIARY INTO ANY MODERN LANGUAGE. A remarkable and rare liturgical book, containing the complete Roman Breviary, translated into German by Count Christopher Frangipani. The preface and colophon provide great detail surrounding the circumstances of the production of this curious book. Count Frangepán, prince of the Holy Roman Empire, had followed Emperor Maximilian in his campaign against the Venetians, was captured in 1515 and held for five years as prisoner of war in the fortress of "Dorasel" (Torcello) near Venice. His wife Apollonia (the erstwhile mistress of Emperor Maximilian) braved great dangers in joining him in his captivity, and they are both portrayed kneeling in prayer beneath a woodcut of the Coronation of the Virgin, which is repeated twice in this book. Apollonia tragically died during her voluntary imprisonment before her husband was set free. Frangipani was handed over to the French in Milan where he continued to be held until he eventually made his escape. He later died in the civil war between Hungarian factions. The Breviary was printed during Frangipani's captivity at his own expense by Gregor de Gregoriis, in an edition of 400 copies, to be given to those who prayed for his release. Although the statement in the colophon is unclear, there is no doubt the Count himself was the translator, most likely assisted by his wife. The colophon specifically mentions that Jakob Wyg, Discalced Carmelite of Colmar, corrected and arranged the translation. Although Bohatta records twelve copies in permanent collections, the book is EXTREMELY RARE IN THE MARKET: only one copy (Schaefer) has appeared at auction in at least 35 years according to American Book Prices Current. Bohatta Breviere 63; Essling 988; Harvard/Mortimer Italian 88; Rosenwald 786; Sander 1368. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
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         Pomponius Mela. Iulius Solinus. Itinerarium Antonini Aug. Vibius Sequester. P. Victor De regionibus urbis Romae. Dionysius Afer De situ orbis Prisciano interprete

      in aedibus Aldi, et Andreae soceri, mense Octobri, 1518. in 8°, 16 cm, rilegatura settecentesca in piena pelle marmorizzata, titolo e decorazioni floreali in oro al dorso, cornice a secco ai piatti, tagli colorati, c. 233, (3), prefazione di Francesco Torresano, ancora aldina al frontespizio ed in fine

      [Bookseller: Studio Bibliografico Orfeo (ALAI-ILAB)]
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         Fanciulla accanto a un vaso

      1518 - Bulino, 1518 circa, privo di firma. Magnifica prova, ricca di toni, impressa su sottile carta vergata coeva "testa di Re con corona in un cerchio", rifilata alla linea marginale, piccole ossidazioni, per il resto in ottimo stato di conservazione. Il foglio appartiene a un gruppo di incisioni delle stesse dimensioni raffiguranti giovani donne accanto a vasi antichi. I corpi, sommariamente coperti, sono di grande bellezza ed eleganza. Secondo il Bartsch questi soggetti derivano da Raffaello, mentre sia il Passavant che recentemente Oberhuber sostengono la derivazione da Giulio Romano o da Luca Penni. Timbro di collezione al verso sconosciuto al Lugt. Bibliografia: Bartsch, XIV, p.353, 474; Passavant, p. 594, 90; Oberuhuber, Roma e lo stile classico di Raffaello, p. 196, 130. Dimensioni 140x210. Engraving, 1518 circa, without signature. Magnificent work rich in shades, printed on thin contemporary laid paper with "King’s head with crown in a circle", trimmed to marginal line, light oxidations, otherwside in very good condition. This sheet belongs to a group of engravings depicting young women with vases. The bodies, which are not very much cloche, are extremely beautiful and elegant. According to Bartsch, these subjects derive from Raffaello, while both Passavant and Oberhuber said they are after Giulio Romano or Luca Penni. Collection stamp on verso, not listed by Lugt. Bibliografia: Bartsch, XIV, p.353, 474; Passavant, p. 594, 90; Oberuhuber, Roma e lo stile classico di Raffaello, p. 196, 130. Dimensioni 140x210. Bartsch, XIV, p.353, 474; Passavant, p. 594, 90; Oberuhuber, Roma e lo stile classico di Raffaello, p. 196, 130. Dimensioni 140x210. Dimensioni

      [Bookseller: Libreria Antiquarius]
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         Encomium Matrimonii…Encomium Artis Medicae per eundem

      Title within woodcut border & woodcut on verso of final leaf. 54, [2] pp. Small 4to, modern binding reusing an early MS. leaf over boards (verso of final leaf a little soiled). [Basel: J. Froben, 1518].First separate edition of these two famous texts, "In Praise of Marriage" and "In Praise of Medicine." The first work created a cause célèbre; written many years earlier in honor of the marriage of his friend Lord Mountjoy, when finally published it was seen by the Louvain and Paris theologians as an implicit condemnation of clerical celibacy.The second work is Erasmus's expression of his views of the medical arts. It "presents a view of medical ethics that identifies competence, beneficence and diligence as the physician's primary moral obligations. The activity of the physician, when directed toward the patient in accordance with these obligations, gives rise to reciprocal obligations on the part of the patient: gratitude and reward. The activity of the patient in accordance with these obligations returns honour and payment to the physician."-Albury & Weisz, "The Medical Ethics of Erasmus and the Physician-Patient Relationship" (online resource). It is dedicated to the distinguished physician Henricus Afinius, the chief physician of Antwerp.These two works were first published a few months earlier as part of the Querela Pacis, printed in Louvain.Fine copy and rather scarce.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc. ]
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         Calculorum qui in corpore ac membris hominum innascuntur, genera XII. Zürich, [Jacob Gesner], 1565. 8vo. With a woodcut publisher's device on the title-page and 11 woodcuts in the text, 2 of them nearly full-page. Modern half goatskin parchment.

      Adams, G-522/[2]; Durling 2656; Osler 646/[2]; Sinkankas 2366/2; Sparrow, Milestones of Science 82/[8]; Ward 906/[2] & 1251; Wellcome 2804/[2]. First and only edition of a treatise on stones found in the human body, including the first known detailed account of gallstones, well-illustrated with 11 woodcuts showing more than 30 objects. In addition to stones, it includes growths and indigestible objects swallowed, divided into twelve chapters according to the part of the body in which they were found. Johannes Kentmann (1518-1574), as both mineralogist and city physician of Dresden and Torgau, was ideally suited to discuss this subject. Conrad Gessner included Kentmann's treatise in his compilation, De Omni Rerum Fossilium Genere , but it is separately signed and foliated for separate publication as well.A very good copy with generous margins. The text of slightly more than one page struck through in ink. Fascinating doctor/mineralogist's view of "stones" found in human bodies.

      [Bookseller: Antiquariaat FORUM BV]
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      Venetia, per Georgio de Rusconi & Nicolo Zopino e Vincenzo Compagni, 1518. In-8 p. (mm. 210x157), p. pergam. molle coeva, tit. mss. al dorso, CCCXXVI cc.num., frontespizio in cornice xilografica con marca editoriale in cui è raffigurato S. Giorgio che uccide il drago e, sullo sfondo, una regina in preghiera davanti al castello; nel colophon ”finisse la pria parte delle vite de Plutarcho, impressa in Venetia.. nel MDXVIII a di ii. Marzo”. Il nome del traduttore “Baptista Alexandro Iaconello” si ricava dal Prologo. Testo su due colonne; ognuna delle 26 Vite - da Teseo a Catone Uticense - è ornata da una bellissima vignetta xilografata, a due scomparti. La seconda parte venne pubblicata nel 1525, sempre a Venezia da Nicolo Zopino (che ristampo’ anche la prima parte nello stesso anno). Cfr. Essling,598 - Sander,5787 - Choix de Olschki,X,15722. Solo l’ultima e la c. CCXCVII con picc. manc. margin., altrim. fresco esemplare marginoso, ben conservato.

      [Bookseller: Libreria Malavasi sas]
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         Pomponius Mela. Iulius Solinus. Itinerarium Antonini Aug. Vibius Sequester. P. Victor de regionibus urbis Romae. Dionysius Afer de situ orbi, Prisciano Interpret

      Colophon on G2r: [Venice: In Aedibus Aldi, Et Andreae Soceri, October 1518]., 1518. 8vo. ff. 233, [3]. complete with the 2 blanks, B8 & G3. Aldine woodcut device on title & verso of last leaf. 19th century paneled calf. armorial bookplate of Henry Richard Vassall Fox, Third Baron Holland [1773-1840]. First Aldine Edition of this collection of ancient geographical texts. Mela’s was "the first extant geographical work in Latin and the only Roman treatise of the classical period devoted exclusively to that subject." (DSB) His descriptive survey of the habitable world (Europe, Africa, and Asia) includes remarks on manners and customs, details on spectacular phenomena, and speculation on the causes of tides. "Despite his general inferiority as a geographer, Pomponius knew more than Strabo about the positions of Britain, Ireland, and the coasts of Gaul and north Germany; he was also the first to mention the Orkney Islands. Pomponius exerted a considerable influence on early medieval authors, both on his own account, and because Pliny used and cited his work." (Ibid.) Solinus’s description of the classical world was based on Pliny’s Natural History and Mela’s geography. The Itinerarium compiled by Antoninus provides a brief survey of the whole of the Roman Empire. Vibius Sequester lists the names of the principal rivers, mountains, etc. known to the Romans. Victor’s work on the topography of ancient Rome, which appears here for the first time, is an important source for the identification of Roman ruins. The last text is Dionysius Afer’s treatise on cosmography. Renouard I 198.9. Adams M1053. BM STC Italian p. 432. JCB I p. 71.. 1st Edition.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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         La Pentecoste

      1518 - Bulino, 1518, datato in lastra e firmato DO. CAP. sulla pergamena a sinistra. Magnifica prova, impressa su carta vergata coeva, rifilata alla linea marginale, in perfetto stato di conservazione. San Luca, negli Atti degli Apostoli (2: 1-4), racconta che nel giorno della Pentecoste lo Spirito Santo discese sugli apostoli e Maria, mentre pregavano insieme, in forma di singole lingue di fuoco che si posarono su ognuno di loro. Subito furono pieni di Spirito Santo e cominciarono a parlare nelle lingue delle nazioni che avrebbero evangelizzato. L’iconografia tradizionale riporta sempre Maria al centro della composizione, e gli Apostoli ai due lati. Dunque, l’assenza della Vergine nell’opera del Campagnola è un fatto assolutamente inusuale. Anche la forma ovale è inusuale, ma viene utilizzata da Domenico anche per la Decapitazione di un Santo, al punto che Hind ipotizza che possano essere state incise sui due lati di una stessa lastra. La composizione, proprio per l’assenza di Maria, sembrerebbe più appropriata per un’Assunzione, e infatti la disposizione e le azioni delle figure sono comparabili proprio con l’Assunzione del Campagnola stesso, datata 1517, ma anche con la celebre pala d’altare di Tiziano, per il convento dei Frari (1516-1518). In effetti, il modello per questa incisione è stato individuato in un disegno conservato al Louvre, raffigurante uno studio per un'Assunzione della Vergine o un’Ascensione di Cristo. Il disegno è spesso attribuito a Tiziano e considerato come preparatorio per l’Assunzione del convento dei Frari (1516-18). Secondo Oberhuber, il disegno del Louvre sarebbe proprio del Campagnola e rappresenterebbe un suo studio sull’opera di Tiziano. Inoltre, questa incisione rifletterebbe anche, con le dovute modifiche e adattamenti, il disegno di Domenico per la sua Assunzione, datata 1517. Comparando le due opere, si nota che la Pentecoste appare più accurata: la composizione è più nitida, le figure occupano un volume maggiore e i dettagli sono più rifiniti. Questa evoluzione sarebbe il risultato dell’influenza di Tiziano: in quel periodo, infatti, Domenico studiava le sue opere, e potrebbe anche aver studiato direttamente con lui. Hind sostiene che la lastra del Campagnola sia stata stampata prima senza data, e che l’anno 1518 sia stato aggiunto dopo, nel secondo stato. Tuttavia, Levenson-Oberhuber-Sheehan notano che gli esemplari non datati, da loro esaminati, non sono altro che impressioni tarde in cui la data è stata abrasa. Ottimo esemplare di questa rarissima incisione. Engraving dated 1518 and signed DO. CAP. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect conditions. According to the Acts of Apostles (2:1-4), on the day of Pentecost the Holy Spirit descended upon the apostles and the Virgin, gathering to pray, in the form of individual flames. All of them were filled with the Holy Spirit and began to speak in other tongues as the Spirit enabled them. The typical iconography shows the Virgin as the central figure of the composition, therefore, the absence of her in the work by Campagnola is quite unusual. The excited group here seems more appropriate for an Assumption of the Virgin, and the arrangement and actions of the figures are indeed comparable to the apostles in Domenico’s own Assumption, and in the famous altarpiece by Titian of 1516-18.The composition of the print is based on a drawing in the Louvre of a group of apostles executed with an Assumption of the Virgin or perhaps a Ascension of Christ in mind. The drawing is similar to our print, in reverse, in a number of figures and in much of the general composition, and has been traditionally taken as a preparatory design by Titian for the Frari Assumption and for his Pentecost of c. 1550 in S. Maria della Salute in Venice. Oberhuber has ascriber it to Domenico himself as a reflection of a lost early stage in the genesis of the altarpiece in the Frari. Since he had already engraved an Assumption of the Vi [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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         Amorum libri tres- De medicamine faciei libellus: et nux.

      Venetiis, in aedibus Iohannis Tacuini de Tridino 1518 - Infiniti pene erroribus e manuscriptis exemplaribus emaculati. Una cum Dominici Marri Nigri veneti luculentissimis enarrationibus. Accendut pulex philomela.(Colophon:) Venetiis, in aedibus Iohannis Tacuini de Tridino, anno 1518. Edizione di grande rarità sconosciuta allo Schweiger e al Brunet. In-folio, pergamena coeva logora agli angoli con qualche strappo, dorso allentato (6), 89 ff., marca tipografica in fine su fondo nero. Frontespizio inquadrato entro una bellissima cornice ornata con fogliame e fiori e tre vignette n.t., oltre alcune grandi iniziali incise in legno. Manca l' ultimo foglio bianco. Esemplare con uno strappo nel f. 61 e relativa perdita di una ventina di parole di testo, parecchie tarlature marginali che talvolta invadono la stampa, un rinforzo al frontespizio ma, in complesso, a parte l' usura del tempo, abbastanza ben conservato. Edizione di grande rarità sconosciuta allo Schweiger e al Brunet. Graesse, V, p. 74. Essling, 2017. Sander, 5250. [Attributes: Hard Cover]

      [Bookseller: Libreria Brighenti]
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         San Matteo

      1518 - Bulino, 1518, datato e monogrammato in lastra in basso a destra. Da un soggetto di Giulio Romano. Esemplare nel primo stato di tre, avanti l'indirizzo di Antonio Salamanca. Magnifica prova, ricca di tonii, mpressa su carta vergata coeva priva di filigrana, rifilata al rame, in ottimo stato di conservazione. L'opera fa parte della serie ' I Quattro Evangelisti' che erroneamente il Vasari attribuiva a Marcantonio Raimondi, riprosurrebbero gli stessi Apostoli che Giulio Romano e Luca Penni avrebbero dipinto nella volts della cappella di Trinità dei Monti. Eccezionale tiratura. Engraving, 1518, signed and dated at lower right. After Giulio Romano. Example of the first state of three, before the address of Salamanca. A great impression, printed with tone on contemporary laid paper, trimmed to the platemark, very good ocndition. This work is part of a set called by Vasari ' The four Evangelists', wrongly ascribed to Marcantonio Raimondi. According with Vasari the engravings reproduce the frescoes by Giulio Romano and Luca Penni in the Chapel of Trinità dei Monti, in Rome. Excellent sample. Bartsch 95; Massari, Giulio Romano, p. 16, 12 I/III. Dimensioni 143 210mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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         Traiano incoronato dalla Vittoria

      1518 - Bulino, 1518-1520 circa, monogrammato in basso a destra. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana "scudo con scala e fiore", rifilata al rame, numerose pieghe di carta restaurate, per il resto in ottimo stato di conservazione. L’incisione riproduce, con qualche variazione, un rilievo dell’arco di Costantino Sulla sinistra del foglio, Traiano è accolto da Roma, personificata, e incoronato d’alloro dalla Vittoria, mentre sulla destra i soldati romani combattono contro i Daci. Raimondi rinuncia ad ogni cornice, così da conferire maggiore ampiezza alla scena, mentre lo sfondo scuro dà risalto e rilievo alle figure, con un effetto scultoreo ottenuto anche grazie all’uso del bulino arrotondato, che accentua i volumi. L’artista ha aggiunto, invece, il muro sullo sfondo a destra, che ricorre anche nell’incisione di Marco Dente, della stessa epoca, raffigurante un altro rilievo di Costantino. L’incisione di Raimondi si data generalmente all’inizio degli anni venti del XVI secolo, perché stilisticamente affine alle scene di Amore e Psiche e all’Incensiere di Francesco I. Stegeimer e Shoemaker ritengono probabile che il disegno stesso dell’incisione sia opera del Raimondi, mentre non trova seguito l’ipotesi di Delaborde, per cui l’invenzione sia da attribuire a Giulio Romano. Engraving, about 1518-1520, monogrammed lower right. Magnificent proof, rich in shades, printed on contemporary laid paper with watermark "shield with scale and flower", trimmed to copper, numerous folds of paper restored, otherwise in excellent condition. The subject derived from a bas-relief on the Arch of Constantine celebrating the Roman Emperor Trajan’s 105/06 A.D. victory over the Dacians (from an area now encompassing Romania). The friezelike shape of the composition and the depth of the visual field mimic that shallow type of sculpture, while celebrating Rome’s historical past at a moment just before the 1527 sack by the troops of Charles V, Holy Roman Emperor. Raimondi opts for no frame, so as to give greater breadth to the scene, while the dark background gives prominence and importance to the figures, with a sculptural effect achieved using the rounded burin, which accentuates the volumes. The artist has added, however, the wall in the background on the right, which also occurs in the coeval engraving by Marco Dente, depicting another Costantine relief Stegeimer and Shoemaker suggest that Marcantonio Raimondi probably made a drawing himself on which the engraving was based; while the assumption by Delaborde, for which the invention is attributed to Giulio Romano, is unfounded. The engraving is generally dated in the early twenties of the sixteenth century, because stylistically close to Cupid and Psyche and A Censer for Francis I. Bartsch, XIV, pp. 275-276 n. 361; Delaborde (1888), p. 220 n. 192; Oberhuber (1978), vol. 27, p. 57; Oberhuber, 1999, p.206, n. 138; Shoemaker, p.182 n. 61. Dimensioni 266x413. Dimensioni 266 413mm [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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         Valerius Maximus noviter recognitus cum commentario historico videlicet ac litterato Oliverij Arzignanensis: & familiari admodum ac succincto Iodoci Badij Ascensij: qui quattuor & viginti exempla aldino auspicio nuper inventa simili commentatione declaravit: & totum opus gemina tabella: altera titulorum: altera litteraum ordine illustravit. Additis Theophili lucubrationibus. Nec non pene vius imaginibus: quae priscorum gesta referre videntur.

      - (In fine: Impressum Venetiis, per Augustinum de Zannis de Portesio, Anno Dni. MDXVIII [1518] die XX Mensis Maii), in-folio, leg. coeva in piena pergamena, carte [10], CCLXXI, [1], l'ultima carta bianca. Con marca xilografica sul front. (San Bartolomeo con coltello in mano, sullo sfondo una città ed un albero, 9 xilografie n.t (una all'inizio di ciascun libro) e centinaia di iniziali xilografiche. Bella edizione corredata dai commenti di Josse Bade, Oliviero d'Arzignano e Theophylus Chalcondyles. Piccolo restauro reintegrativo all'angolo sup. esterno delle prime 10 carte, macchia d'inchiostro marginale ad una cinquantina di carte, qualche piccolo foro di tarlo al margine superiore di molte carte, qualche lieve gora. Alcune glosse marginali manoscritte in antico. [Attributes: Hard Cover]

      [Bookseller: Libreria Oreste Gozzini snc]
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         Der Newe gross Römisch Calender/ mit seinen Ausslegungen/ Erclärungen/ unnd Regeln/ Wie man alles das/ so darinn begriffen/ leichtlich/ verstendtlich/ unnd warlich/ erlernen mage: ytzundt/ (.) aisu éatom/ in Teutsche Sprach verwandelt.

      Oppenheim. J. Köbel 1522. (im Druckvermerk: 24. März 1518). - Folio. 6 n.n. Bl., XXXIIII Bl., 32 n.n. Bl, 62 Spalten, 4 n.n. S. (*1-6, A1-6, B1-4, C1-6, D1-4, E1-6, F1-4, G1-4. A1-6, B8, C4, D6, E8, *-**4, ***6, ****4). Druck in Rot und Schwarz. Mit einer Holzschnitt-Titelbordüre, einem ganzseitigen Holzschnitt mit dem Aderlassmann umgeben von 34 Wappen, 24 kleinen Holzschnittvignetten mit Stadtansichten, 12 Holzschnitten zu den Monaten und 12 Holzschnitte mit den Sternzeichen, 63 Holzschnitten mit den Mondständen und 4 ganzseitigen Instrumententafeln. Schlichter Halbpergamentband der Zeit. VD16, S9189. - Wellcome 6103. - USTC 634021. - Zimmer 1101. - Erste deutsche Ausgabe von Stoefflers Vorschlägen zur Kalenderreform. Bereits 1518, gleichzeitig wie die lateinische Ausgabe gedruckt, gelangte die deutsche Ausgabe erst 4 Jahre später auf den Markt. Stoefflers Berechnungen der Mond- und Sonnenbahnen für die Jahre 1518-1574 waren unentbehrlich zur Herstellung von Sonnenuhren und Kalendern. Der erste Teil mit der Anleitung zur Berechnung des Mondlaufes. Besonders erwähnenswert ist das Kapitel XII mit den ausführlichen Berechnungen der richtigen Zeiten für den Aderlass, begleitet mit dem schönen ganzseitigen Holzschnitt des Aderlassmannes. Der zweite Teil des Werkes enthält ein geographisches Lexikon der "Künigrych/ Fürstenn und Herzogtühm" Europas, illustriert mit 24 meist Stadtansichten. Es folgt der eigentliche Kalender mit 12 schönen, volkskundlich bedeutenden Monatsholzschnitten und dazu das jeweilige Sternzeichen und die Tabelle mit der Berechnung der Mond- und Sonnenfinsternisse von 1518 bis 1574, die Berechnung der "beweglichen" Festtage, der Sonnen- und Mondzyklen. Die vier letzten Blätter mit ganzseitigen Tafeln mit Instrumenten zur Berechnung der Sonnen- und Mondbewegungen. Johannes Stoeffler (1452-1531) war der erste Professor für Astronomie der Universität Tübingen, dazu auch gleichzeitig Pfarrer, Astrologe, Mathematiker und Hersteller von Himmelsgloben. - Wie immer auf stärkerem Papier gedruckt. - Der schlichte Einband stark beschabt und berieben. - Sehr sauberes, recht breitrandiges Exemplar auf gutem Papier. Fleckenlose Exemplare des Buches sind selten. [Attributes: First Edition]

      [Bookseller: Daniel Thierstein]
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         Tabula Europae Prima

      Artist: Ruscelli Girolamo ca ( - 1566 ) Venice; date: 1620 1518 - - technic: Copper print; colorit: colored; condition: Outer margin, tears perfectly restored; size (in cm): 13 x 17 - description: Map depicts Great Britain in trapezoid form. - vita of the artist: Girolamo Ruscelli (1518-1566) was an Italian polymath, humanist, editor, and cartographer active in Venice during the early 16th century. Ruscelli is best known for his important revision of Ptolemy's Geographia, which was published post humously in 1574. It is generally assumed that Alexius Pedemontanus was a pseudonym of Girolamo Ruscelli. In a later work, Ruscelli reported that the Secreti contained the experimental results of an ?Academy of Secrets? that he and a group of humanists and noblemen founded in Naples in the 1540s. Ruscelli?s academy is the first recorded example of an experimental scientific society. The academy was later imitated by Giambattista Della Porta, who founded an ?Accademia dei Secreti? in Naples in the 1560s.

      [Bookseller: Antique Sommer& Sapunaru KG]
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         Iannis Ioviani Pontani opera omnia soluta oratione composita

      1518. PONTANUS J.J. Iannis Ioviani Pontani opera omnia soluta oratione composita. In fine: Venetiis, in aedibus Aldi, et Andrea Soceri, 1518-1519. Tre volumi in 8vo; cc. 4 n.nn., 327 erroneamente numerate 326; 318; 301, 19 n.nn. Al secondo volume mancano, perché soppresse dai censori dell'Inquisizione, le carte 48 (bianca), 65, 66 e 67 la fine cioè del "Dialogo di Charron". Ancora aldina al primo ed al terzo volume. Legatura inglese del secolo XVIII in bazzana, piatti inquadrati da fregi in oro, dorsi a cordoni con titoli e fregi dorati. Ex libris. Opera rara. Renouard, 87.6; S.T.C., pag. 533; Adams P, 1860; Caillet, 8828; Riccardi I, 303. Il terzo volume di poesie è dedicato all'astrologia, Tolomeo, le stelle e la la luna.

      [Bookseller: Studio Bibliografico Casella]
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        De optimo reip. statu deque nova insula Utopia libelluns vere aureus [.].

      Basel, (Johann Froben, 1518). - 4to. 162 pp., fol. 163-164, (2) pp. (a-s4 t6 u6, without the 'Epigrammata' announced on the title). With woodcut title border and a border in the text by Hans Holbein the younger, 2 woodcuts in the text (1 full-page) by Ambrosius Holbein, and 6 woodcut initials; printer's device on final page. Modern giltstamped full calf. Rare third, revised edition (the first one printed in Basel) of the famous "ideal state" novel that gave its name to a whole literary genre. Edited by Erasmus of Rotterdam, whom More had sent the manuscript in 1516. The second part, about the ideal constitution for a state, was written first, while More was an envoy in Flanders in 1515, while part one was written only in 1516, after his return to England. The two woodcuts by Ambrosius Holbein, Hans's elder brother, include the famous bird's-eye view of the island of Utopia (a full-page illustration) and the charming scene showing the story's fictional traveller, Raphael Hythlodaeus, in discussion with More himself and his Antwerpian friend Peter Gilles (Aegidius), with More's young assistant John Clement (later to become a Royal Physician and More's son-in-law) approaching them. Like 'Gullliver's Travels', Utopia was written "as a tract for the times, to rub in the lesson of Erasmus; it inveighs against the new statesmanship of all-powerful autocracy and the new economics [.], just as it pleads for religious tolerance and universal education [.] More had all Swift's gift for utterly convincing romance: the beginning, when Rafael Hythlodaye recounts his voyages, has a vivdness which draws the reader on into the political theory. [More] is a saint to the Catholic, and a predecessor of Marx to the Communist. His manifesto is and will be required reading for both, and for all shades of opinion between" (PMM). - Insignificant browning; endpapers somewhat fingerstained, but a beautiful, clean copy. Handwritten ownership of Gerard van Assendelft, dated 1603, at the top edge of the title page. VD 16, M 6299. Adams M 1756. Panzer VI, 205, 222. Isaac 14177. Heckethorn 100, 90. Bezzel (Erasmusdrucke) 912. Hieronymus 260. Kat. Basel 1960, 343, 341, 120f. Gibson 3. Van der Haeghen III, 41. Cf. PMM 47.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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