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         De Dissectione Partium Corporis Humani Libri Tres, à Carolo Stephano, Doctore Medico, editi. Unà cum Figuris, & Incisionum Declarationibus, à Stephano Riverio Chirurgo cõpositis

      Parisiis [Paris], apud Simonem Colinaeum [Simon de Colines], 1545. Folio, with a very large woodcut printer's device on the title page (appropriately depicting Time carrying a scythe), criblé initials, approximately 100 small in-text woodcut illustrations, and 62 full-page woodcuts. Modern (but not recent) antique-style half speckled calf and marbled papered boards, spine blind-tooled in compartments, with a gilt morocco title-label; title leaf and terminal leaf (last page blank) dusty and a little soiled, with expert restoration to minor loss to the blank margins; leaf K3 creased and a little soiled, with expert restoration to old tears and minor loss to the margins; four leaves (K4-5 and K7-8, containing five of the full-page woodcuts, with the original pagination errors on K7b and K8a) supplied in facsimile on old paper; light stain to the top margin of the last quarter of the book (well clear of the text except for the last two leaves); a few trifling marginal spots and stains, and minor signs of use and age; notwithstanding, an excellent copy of this rare and handsome work. 'This magnificent folio volume is one of the finest of all anatomical treatises. Certainly it was the finest printed in France in its century, and the sixty-two full-page woodcuts, artistically presenting the anatomical subjects in special poses before unusual background settings, are particularly sumptuous and imaginative. The anatomy itself is pre-Vesalian in conception and far from being as accurate as that of Vesalius. Some of the plates show diseased as well as normal anatomy' (^Heirs to Hippocrates^ 256). 'Charles Estienne [scion of the famous Estienne family of printers] studied medicine in Paris, completing his training in 1540; in 1535, during his course of anatomical studies under Jacques Dubois (Jacobus Sylvius), he had Andreas Vesalius as a classmate. At the time the only illustrated manuals of dissection available were the writings of Berengario da Carpi, and the need for an improved, well-illustrated manual must have been obvious to all students of anatomy, particularly the medical student son of one of the world's leading publishers. Estienne did not hesitate to fill this need. The manuscript and illustrations for ^De Dissectione^ were completed by 1539, and the book was set in type halfway through Book 3 and the last section, when publication was stopped by a lawsuit brought by Étienne de la Rivière, an obscure surgeon and anatomist who had attended lectures at the Paris faculty during 1533-1536, overlapping the time of Estienne's medical study in Paris. According to historian of surgery and economist, François Quesnay, Estienne may have attempted to plagiarize a manuscript of Étienne de la Rivière which the latter had turned over to him for translation from French into Latin. In the eventual settlement of the lawsuit, Estienne was required to credit Rivière for the various anatomical preparations and for the pictures of the dissections. Had ^De Dissectione^ been published in 1539, there is no question that it would have stolen much of the thunder from Vesalius's ^Fabrica^: it would have been the first work to show detailed illustrations of dissection in serial progression, the first to discuss and illustrate the total human body, the first to publish instructions on how to mount a skeleton, and the first to set the anatomical figures in a fully developed panoramic landscape, a tradition begun by Berengario da Carpi in his ^Commentary on Mondino^. Nonetheless, Estienne's work still contained numerous original contributions to anatomy, including the first published illustrations of the whole external venous and nervous systems, and descriptions of the morphology and purpose of the "feeding holes" of bones, the tripartite composition of the sternum, the valvulae in the hepatic veins and the scrotal septum. In addition, the work's eight dissections of the brain provide more anatomical detail that had previously appeared' (online Garrison-Morton 378). The woodcuts largely depict full-length figures, with the dissected portions cut on smaller blocks set into the larger block for printing, suggesting that the larger blocks may initially have been cut for another purpose. The connection between these figures and Caraglio's series of erotic prints, ^Gli amori degli dei^, is worthy of further investigation. Choulant-Frank (pages 152-155) has a less flattering description of Estienne's endeavours. Provenance: Sir D'Arcy Power (1855-1941), surgeon and medical historian, with his bookplate on the front pastedown (purchased in 1907 from Harry H. Peach, with the original receipt for £1 still present); later, Dr Milton Roxanas (purchased in 1987 from James Tait Goodrich Antiquarian Books and Manuscripts; the relevant paperwork is loosely inserted).

      [Bookseller: Michael Treloar Antiquarian Booksellers]
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         Ragionamenti della lingua toscana, dove si parla del perfetto oratore, et poeta volgari, divisi in tre libri. Nel primo si pruova la philosophia esser necessaria allo acquistamento della rhetorica et poetica. Nel secondo si ragiona de i precetti dell'oratore. Et nel terzo, delle leggi appartenenti al poeta, et al bene scrivere, si nella prosa, come nel verso

      èer Giovanni de Farri.. al segno del Griffo. In-8° (155x110mm), pp. 439, (5), legatura ottocentesca m. pelle marrone con titolo e filetti in oro al dorso. Impresa tipografica al titolo. Errata finale. Ex-libris ottocentesco (nome del proprietario in parte abraso, ma si tratta dello storico saluzzese Carlo Muletti). Glosse marginali di mano rinascimentale a numerose cc., annotazione antica al verso dell'ultima carta col "Tetrastichon de Nomine Jesu". Sparse bruniture, piccoli restauri alle cerniere. Buon esemplare, lievemente rifilato. Prima edizione di questo trattato linguistico-retorico del Tomitano (Padova, 1517-ivi, 1576), fra i massimi esponenti dell'Umanesimo padovano. Notevole eco ebbero fra l'altro gli spunti polemici nei confronti di Dante contenuti nell'opera: "Echi non favorevoli per i suoi giudizi piuttosto drastici su D.ante si ebbero quando furono pubblicati i Ragionamenti della lingua toscana, in quattro libri (Venezia, per Giovanni de' Farri, 1545; ibid., per Giovanni de' Farri et fratelli, 1546), in cui il Tomitano fece condannare dallo Speroni lo stile poco curato di D., forse prima che lo Speroni divenisse lo strenuo difensore del poeta fiorentino nella polemica contro il Cariero; tuttavia le accuse formulate contro D. possono identificarsi con quelle che già avevano mosso al poeta il Bembo e i suoi seguaci. E proprio sulla scia del Bembo il T. sostenne che D. fu " più filosofo e teologo che soave rimatore, onde trasportato dall'affezione ebbe più cura di dire i concetti nell'animo compresi, che di biasimare e polire il suo stile e renderlo in perfezione maggiore ". Frutto delle polemiche suscitate dall'opera risultò il dialogo Carlo Lenzoni in difesa della lingua fiorentina e di D., pubblicato a Firenze nel 1556, dove per bocca del Giambullari, oltre a confutare l'esattezza dei versi danteschi citati dal T., si fa la difesa di D. rispondendo alle accuse del Bembo, ma ignorando gl'imitatori. Alla polemica il T. rispose con i Quattro libri della lingua thoscana (Padova, " appresso a Marcantonio Olmo " 1570), una rielaborazione dei Ragionamenti, in cui usò una maggiore cautela riferendosi a D., soppresse i versi danteschi citati tanto spesso nei Ragionamenti, attenuò insomma i toni e i rilievi critici." (Aulo Greco in Enciclopedia Dantesca, 1970). Biancardi-Francese, p. 432. Graesse, VII, 171. Gamba, 1698. EDIT16 CNCE 39253. STC Italian, p. 675 (nuova emissione del 1546, identica a questa). Adams, T-794 (emissione del 1546). Ascarelli, p. 197. Italiano

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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         Ragionamenti della lingua toscana, dove si parla del perfetto oratore, et poeta volgari,? divisi in tre libri. Nel primo si pruova la philosophia esser necessaria allo acquistamento della rhetorica et poetica. Nel secondo si ragiona de i precetti dell'oratore. Et nel terzo, delle leggi appartenenti al poeta, et al bene scrivere, si nella prosa, come nel verso.

      Venezia, Giovanni Farri and fratelli 1545 - 8vo (152x102 mm). 439, (5) pp. With the printer's device on the title-page. Recent stiff vellum, lettering-piece on spine, inked title on lower edge. Provenance: on the title-page ownership's inscription of the humanist Alfonso Cambi Importuni (Naples, 1535-1570). Cambi collaborated with Lucantonio Ridolfi to the edition of Petrarch's Canzoniere published in Lyons in 1558; is the dedicatee of Galeazzo Florimonte's Ragionamenti sopra l'Etica di Aristotile (Venice, 1567, see below in this catalogue); was a correspondant of Annibal Caro; figures as an interlocutor in the dialogue Il Rota, ovvero Dialogo delle Imprese by Scipione Ammirato (Naples, 1562) (cf. C. Mutini, Cambi, Alfonso, in: "Dizionario Biografico degli Italiani", vol. 17, 1974, s.v.). Some light foxing, small stain and pen tests on last leaf verso, a fresh and genuine copy. FIRST EDITION. Bernardino Tomitano was a 24-year-old philosopher, when in 1541 he attended the ceremony during which his teacher, the famous scholar Sperone Speroni, was crowned prince of the Accademia degli Infiammati of Padua. In the two days following this event, scholars, academics, and poetry connoisseurs met at Speroni's house to discuss about literature and language. Four years later, in 1545, Tomitano published a detailed account of those literary conversations on poetics and rhetorics in his Ragionamenti della lingua Toscana (cf. M.T. Girardi, Il sapere e le lettere in Bernardino Tomitano, Milan, 1995, pp. 3-5). "The Ragionamenti della lingua toscana of Bernardino Tomitano (1545) represents the first nearly complete "art of poetry' in the present series of Platonic treatises; it also represents the most eclectic and in a sense the most typical studied thus far. If one were to read the three books of the Ragionamenti in reverse order, one would find in the third all the detailed treatment of the more particular aspects of the art, a treatment resting largely on Horace's Ars poetica and on their rhetoricians but deriving certain essential ideas from Aristotle. The second book deals largely with oratory, but even here the application of oratorical principles to poetry is constantly traced and all the examples are taken from poets; once again, the classical rhetoricians provide the distinctions and the rules. But in the first book, where Tomitano wishes to lay the philosophical foundations for all the art of writing, his source his Plato. And it is Plato appealed to on a much broader basis than was done by most of Tomitano's contemporaries. For rather than begin with one of the favorite dicta., he takes as his starting point Plato's general concept of Ideas. Like the painter, the poet and the orator attempt to represent in the medium of the arts some perfect concept or Idea. If the poet is to succeed as a poet, he must therefore be something of a philosopher so that he may know the truths which he is going to imitate. The relationship of poetry to philosophy is indeed a complicated one. The business of philosophy is the discovery of truth; the business of poetry is the imitation of truth through the medium of fictions. But poetry does not imitate all truth, nor does it serve its ultimate ends in every part of its imitation. Of its two ends, pleasure and utility, it is the latter which involves philosophy. For the utility is both moral and intellectual in character, and it is found in moral and intellectual precepts scattered throughout the work" (B. Weinberg, A History of Literary Criticism in the Italian Renaissance, Chicago, IL, 1961, pp. 264-265). "I Ragionamenti della lingua toscana di Tomitano, [furono] pubblicati nel 1545 a Venezia. I Ragionamenti furono ristampati l'anno successivo, sostanzialmente immutati sesi eccettua l'aggiunta di una cinquantina di pagine contenenti unconfronto tra la retorica di Aristotele e quella di Cicerone. L'opera,come si dirà, sarà poi rimaneggiata molti anni dopo e pubblicatacon il titolo di Quattro libri della lingua thoscana. Si tratta in sostanzadi un [Attributes: Hard Cover]

      [Bookseller: Libreria Alberto Govi di F. Govi Sas]
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         Articuli ad narrationes nouas Pertin[entes] formati. S.T.C. 820; Beale T118

      Hunc libellum excudebat Henricus Smythe [etc.], London 1545 - Modern calf, gilt, light browning and some marginal staining, else well preserved; the Taussig copy The rare, penultimate printing of the medieval tract glossing and complementing both Natura Brevium and Novae Narrationes, all works central to early pleading and practice in the royal courts; six copies in ESTC, two being fragments only [Attributes: Hard Cover]

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
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         [first seven words in Greek, transliterated as] Theodoretou episkopou Kyrou, Peri pronoias logoi deka. [then in Latin] Theodoreti episcopi Cyri de providentia sermones X. Nunc primum in lucem editi.

      Romae: [Antonio Blado], 1545. 8vo (16.1 cm, 6.375"). 255 pp. First edition of Theodoret's ten well-argued sermons exploring Providence, God's loving-kindness, edited by Nicolaus Majoranus, bishop of Malfetta. Theodoret may be known best for his involvement in the Nestorian controversy with Cyril of Alexandria.    While the dedication and some of the prefatory matter are printed in Latin, the main text is printed in Greek complete with sidenotes and unaccomplished guide letters; the title-page showcases a woodcut of the printer's device and Cardinal Niccolò Rodolfi's coat of arms (as the work was dedicated to him). An early user has also helpfully added title information to the fore-edge in ink, with a later user supplying the publisher ("A. Blado") in light pencil on the title-page.    Provenance: Circular institutional rubber-stamp reading "C.V.P.F." for the Collegium Urbanum de Propaganda Fide (Rome) on title-page; most recently in the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.         Adams T485. Apparently not in Legrand, Bibliographie Hellenique. 19th-century quarter brown sheep and dark purple-brown leaf-patterned paper, spine lettered/ruled in gilt, rubbed with some loss of leather. Light to moderate age-toning/foxing; paper of two corners flawed in manufacture, small wormtrack to inner upper gutter from p. 201 through end (almost completely repaired). Provenance/use evidence as above. => Neatly printed, with signing in Greek.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Natura Brevium Newly and moost treuly corrected, With dyuers additions of statutes boke cases, plees in abatementes of the sayd wryttes and theyr declaracio[n]s and barres to ye same added [etc.] [with] The olde tenures. S.T.C. 18397; Beale T92 and T78

      Imprynted . . . Wythout Temple barre . . . by me Henry Smyth, London 1545 - Modern calf, bound in two volumes, some browning, considerable notations in the Natura Brevium, altogether well preserved; the Taussig copies Two of the most important medieval English law books, preceding both Fitzherbert and Littleton respectively and providing the elementary instruction essential to early English law, in John Baker's words "serv[ing] as a primer into Tudor times"

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
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         1545 1st ed Estienne BIBLE Zurich Vulgate Latin Parallel Vatablus Biblia 2v SET

      Lutetiae, Ex officina Roberti Stephani typographi Regii, 1545. First edition. - 1545 1st ed Estienne BIBLE Zurich Vulgate Latin Parallel Vatablus Biblia 2v SET EXQUISITE & COMPLETE / Exceedingly Rare BIBLE A rare 1545 second octavo edition of Robert Stephanus’ ‘Biblia’. This printing is the first reissue of the 1543 Zurich version, printed in parallel columns with the Vulgate. The margins contain notes which profess to be drawn from ‘memoranda’ made by friends of the editor during the lectures of Vatablus, but they appear to be colored by the religious opinions of Stephanus himself. Some of these notes had already appeared, together with a selection of variant readings, in quarto edition of the Pentateuch. While it is the second octavo of Estienne, it is the first time he printed the Zurich Bible. He amended the notes of Vatable in a way that reflected his own religious opinions – thus, this Bible landed on the Prohibited Book Index. The world ‘Biblia’ in the title is enclosed within an ornamental frame. Below it is the device of an olive-tree with the legend ‘Noli altum sapere’. According to Pettigrew, “This is a very scarce and beautiful edition. It is printed in a very small but distinct character in two columns. This edition has the usual prefaces, indexes, interpretations, etc, and this edition was placed in the ‘Index Librorum. Prohibitorum.” (Pettigrew 102) Item number: #1719 Price: $5500 Bible Biblia. Quid in hac editione praestitum sit, vide in ea quam operi praeposuimus, as lectorem epistola. Lutetiae, Ex officina Roberti Stephani typographi Regii, 1545. First edition. Details: • Collation complete with all pages; 2 volumes: o [12-] 156 -172 -116 -180 (i.e. 184) -128 [-40] o Signatures: *8, **4, a-t8v4, aa-xx8yy4, aaa-ooo8ppp4, A-S8T12V-Y8Z4, AA-RR8SS4, TT8VV8XX-ZZ4 • References: Darlow & Moule 6127; Pettigrew, Descriptive Catalogue; Adams B 1036 • Language: Latin • Binding: Fine decorative leather; tight & secure • Size: ~7.75in X 5.25in (19.5cm x 13.5cm) • Exceedingly rare with no other example for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 1719 Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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         Samson and Delilah.

      ca. 1545.(). Woodcut. 320 x 500 mm. Laid down with repairs to tears. Most of margin intact.Passavant, VI, p. 223, no. 5; Titian and the Venetian Woodcut, no. 39; Tizian und Sein Kreis Holzschnitte, Nr. 10.

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         Designs for furnishing, including cupboards and sideboards, tables, chairs, beds, pedestals for busts, caryatid and terminal figures, doorways, and a chimneypiece, cartouches and fleurons, seventy-three etchings altogether

      [Orléans? and Paris], c. 1545-1565. An extraordinary album of etched furniture designs by Jacques Androuet du Cerceau, containing most of his known prints of this type, together with one unrecorded print, gathered and bound circa 1580. Until recently the album reposed in the extensive library formed in the 17th and 18th centuries by the Earls of Macclesfield at Shirburn Castle, Oxfordshire, unknown and unrecorded. Its recovery brings vital evidence to the study of the states and issue dates of Androuet du Cerceau's prints for furniture.Androuet du Cerceau, Jacques Paris (?) circa 1520 - 15 86 Paris or Montargis Designs for furnishing, including cupboards and sideboards, tables, chairs, beds, pedestals for busts, caryatid and terminal figures, doorways, and a chimneypiece, cartouches and fleurons, seventy-three etchings altogether. [Orléans? and Paris, circa 1545-1565] folio (320 × 220 mm), 66 leaves (numbered by hand 1-67, with folio 44 numbered on recto 44 and on verso 45), presenting seventy-three etchings by Jacques Androuet du Cerceau. collation forty-four prints are imposed in pairs on whole sheets of paper, gathered in quires, and bound in on their own paper; one print (cancellans [g]4) mounted by binder on the stub of the cancel­landum; eighteen prints mounted by binder in two quires of album leaves placed at the end ([i] and [k]); ten prints (on nine individual leaves, here designated π1-π2, 1 X1- 7 X1) interpolated by binder according to their subject: [a] 8 [b]6[c] 6 [d] 4(+π 2after [d]2; Χ1, 2 X1, 3 X1 after [d]3) [e] 6 [f] 6(+ 4 X1,5 X1,6 X1 after [f]6) [g] 4 (-[g]4, cancelled and 7 X1 substituted) [h] 6[i]6[k] 6. paper the principal watermark is a crescent above a banner lettered j perret (30 × 40 mm; Briquet no. 5306), 1 appearing in folios [a]1, [a]3, [a]4, [a]7, [b]4, [b]5, [b]6, [c]2, [c]3, [c]6, [d]2, [d]4, [e]1, [e]3, [e]5, [f]1, [f]4, [f]5, [g]1, [g]3, [h]1, [h]4, [h]5 (all whole sheets except [g]1); other watermarks observed: fragment of anchor? ([i]1 and [i]5), bunch of grapes (Χ1, binder's guard), fragment of armo­rial ( 3 X1), fragment of armorial with three fleur-de-lis and crown with shell border ( 4 X1, album leaf), fragment of same armorial? ( 5 X1, album leaf), post horn ( 6 X1, album leaf); no watermark observed in conjugate folios [i]2/[i]5, [k]1/[k]6, [k]2/[k]5, [k]3/[k]6, π1/π2 or interpolated leaves 2 X1, 7 X1. provenance early pencil inscriptions and drawings in the margins of folios 11, 22, 23, 24, 50, 51 recto -- early ink inscription 5- in upper corner of the first free-endpaper (presumably a price) -- prints numbered 1-67 (and 67 Plates inscribed on the front pastedown in another hand) -- Earls of Macclesfield, armorial exlibris on pastedown South Library dated 1860 (shelfmark added in ink 179. I. 15), and family armorial blindstamp in top margins of the first three folios -- sale by Sotheby's, 'The Library of the Earls of Macclesfield, removed from Shirburn Castle, Part Three', London, 4 November 2004, lot 646 condition short tears in folios 15, 27, 42 (all but one closed by the binder); prints on folios 27, 28, 42, 43, 44, 56, 58, 59, 61 trimmed along or within platemark before binding, then attached to binder's guards or window-mounted; some light paper discolouration, otherwise in superb state of preservation. binding contemporary French calf drawn over pasteboards; covers framed by a single gilt and two blind rules, oval gilt centre-piece on both covers, the spine divided into seven compartments by six raised bands and lettered Diver Dess (Divers Desseins) directly on the leather in the second compart­ment), the other compartments decorated by a small, gilt flower ornament; page edges stained blue. An extraordinary album of etched furniture designs by Jacques Androuet du Cerceau, containing most of his known prints of this type, together with one unre­corded print, gathered and bound circa 1580. Until recently the album reposed in the exten­sive library formed in the 17th and 18th centuries by the Earls of Macclesfield at Shirburn Castle, Oxfordshire, unknown and unrecorded. Its recovery brings vital evidence to the study of the states and issue dates of Du Cerceau's prints for furniture. 2 [img-2352-left-large_default] Fig. 1 Height of Binding 324 mm The prints include models for storage furniture of various types (known in France as buffets and dressoirs), built up architecturally, like temples, in two or more stages; for tables of various sizes, some with sliding tops, all supported on solid carved trestles in the ancient Roman style; for benches and chests; for beds, with and without canopies, supported on carved animals or motifs taken from animals (or monsters) instead of legs; for a choir chair; framed panels of ornament; terms and sphinxes. The designs are richly ornamented with columns, capitals, entablatures, and other architectural elements, often without structural significance; with these Du Cerceau combined decorative elements, including vases, garlands, caryatids, masks, and trophies. The complexity of some models - a dormer window in the form of a triumphal arch, surmounted by an image of Laocoön and his sons (print on folio 23); 3 a bed which rests on a writhing snake at one end and on an elephant's foot at the other (folio 38) - suggests that Du Cerceau did not intend them to be executed as shown, but to serve as repertories of ideas, sources of inspiration for objects of all kinds by craftsman of all types: painters, embroiderers, gold and silversmiths, tapestry makers, and bookbinders among them. 4 The designer's intentions evidently were well-understood by craftsmen, as no piece of fur­niture built according to one of Du Cerceau's designs is known. Elements of his designs can be detected in specific pieces. 5 One of these is the famous table in the Withdrawing Chamber of Hardwick Hall, Derbyshire, which indicates that Du Cerceau's patterns were available to English joiners and cabinetmakers as early as the third quarter of the sixteenth century. 6 From the early 1580s, Du Cerceau's furniture designs were diffused by others, notably Hans Vredeman de Vries (Differents pourtraicts de menuiserie, reversed versions of sixteen of Du Cerceau's prints, published circa 1583), 7 Crispin ii de Passe (Shriner Laden, published 1621), 8 and Paul Vredeman de Vries (Verscheyden Schrynwerck, pub­lished 1630), 9 and thereafter it becomes difficult to identify precisely the design source utilised by the craftsman. According to present knowledge, Du Cerceau never worked as a menuisier, and it is assumed that his interest in furniture was entirely as a designer. He produced the prints contained in our album over a period of perhaps twenty years (circa 1545-circa 1565), and sold them individually or in small series of uncertain contents, without titles or other text indicating the subjects of the prints or suggesting their organisation, such as he provided for his prints of temples and grotesques. Only a single print with furniture (a table, not present in our volume) identifies Du Cerceau as designer or etcher or publisher and carries a date (1550); 10 all the others are anonymous and undated. It seems that some matrices were etched while Du Cerceau was still working in Orléans; the great majority, however, appear to have been made after he established himself in Paris (1550 or 1551), and to date from the early 1560s, before he took refuge in the Huguenot sanctuary at Montargis (1565). Although Du Cerceau routinely copied or adapted the designs of others, his models of furniture are not derived from known prints. 11 [img-2353-left-large_default] Fig. 2 Prints [4] (left) and [5] (right), Cabinets et dressoirs (189 × 139 and 191 × 142 mm, platemarks) [img-2354-left-large_default] Fig. 3 (Left) Print [32], Trois chimères, vues de profil (210 × 142 mm, platemark). (Right) Print [33], Un panneau représentant la Victoire avec des trophées (190 × 130 mm, platemark) [img-2355-left-large_default] Fig. 4 Print [30], Trois termes ou cariatides, de profil (185 × 136 mm, platemark) The lack of any internal arrangement of the furniture prints has been remedied by succes­sive students of Du Cerceau's graphic œuvre, who have organised them into categories by type of furniture, and then ordered them by similarity. Hippolyte Destailleur and Henry de Geymüller 12 established a nucleus of forty-five prints which they categorise as follows 'Cabinets et dressoirs', twenty prints (displaying twenty-one subjects)'Tables', eleven prints (displaying twenty-four subjects)'Chaise de chœur', one print (displaying one subject)'Portes', two prints (displaying two subjects)'Lits', six plates (displaying eight subjects)'Deux gaines et un panneau orné de sculptures', one plate (displaying three subjects)'Dessus de cheminée', one plate (displaying one subject)'Termes vus de profil', one plate (displaying three subjects)'Gaines ou scabellons', two plates (displaying eight subjects) Some additional etchings of furniture, most judged by Destailleur and Geymüller to be of earlier creation, complete the corpus: a design for a domestic table (the aforementioned print dated 1550), a chair, a bench, two beds, three chimney-pieces, four carved or sculp­tured retables, and a wainscot panel. Du Cerceau's designs for mirror frames, chandeliers, reliquaries and other ecclesiastical furniture, are considered separately, as objets d'orfèvrerie. Subsequent listings of Du Cerceau's furniture prints, by Désiré Guilmard, 13 Édouard Baldus, 14 and Simon Jervis, 15 have merely reformulated Destailleur-Geymüller's work: the nucleus of forty-five prints is broadly retained, a few of Du Cerceau's earlier furniture prints are withdrawn from the corpus, and given to anonymous masters, and a few other prints by him are introduced among the furniture designs according to personal notions of the genre. Peter Fuhring, author of a forthcoming catalogue raisonnée of Du Cerceau's prints, has defined the corpus thus: 'Quand on se limite au strict sujet du mobilier, on compte trente-neuf planches dans l'œuvre grave d'Androuet, mais si l'on y ajoute des sujets voisons, comme les sphinx, termes, panneaux, cadres et portails, on arrive largement à soixante planches'. 16 The Macclesfield album contains all forty-five prints of the Destailleur-Geymüller nucleus. All but one of these etchings were imposed in pairs: two matrices were inked and wiped, then laid out and printed on a single sheet of paper in one pass through the press. 17 Occa­sional offsetting (folio 5 onto 4, folio 11 onto 12, folio 17 onto 18) indicates that the matri­ces were struck at the same time (offsetting occurs when printed sheets that are not yet dry are laid over one another). Paper evidence suggests circa 1560-1570 as the probable date of printing; 18 other evidence proves that some matrices already had experienced use. A common feature of matrices produced in the Du Cerceau atelier is their swift deteriora­tion (through inexpert hammering, heavy use, or by mishandling), evidenced by the open­ing of cracks in the copper, steady diminution in size, 'clipped' corners, and so forth. The print on folio 3 of our album (conjugate with folio 6) retains its original corners, whereas the impression in the Musée du Louvre (Collection Edmond de Rothschild) is clipped, and thus representative of a subsequent issue. 19 Since the print on folio 15 of our album (conju­gate with folio 20) shows a clipped corner, we surmise earlier usage of this matrice - and also of the other matrices producing the print series 'Cabinets et dressoirs'. The great majority of Du Cerceau's prints for furniture are preserved in modern assem­blages (recueil factice); very few survive in contemporary bindings, and the rediscovered Macclesfield album is certain to be useful in the difficult work of giving order to the states and determining issue dates. [img-2356-left-large_default] Fig. 5 Print [42], Lit style Henri ii (210 × 287 mm, trimmed) Interpolated in the Macclesfield album among the prints issued in the 1560s are twenty-nine prints of earlier conception and date of printing (printed on twenty-two folios), 20 of which twenty are not models for furniture according to definitions of the genre favoured by Destailleur, Geymüller, et. al. Some of these twenty-nine prints were bound in the album on their own paper; the rest were mounted by the binder on stubs, or trimmed along the platemark and either inlaid in album sheets, or pasted onto them (once on a verso, folio 44). Several prints show a residue of glue on their versoes, evidence that they formerly were attached to supports, presumably leaves in a previous album. [img-2357-left-large_default] Fig. 6 Print [44], Chaire a haut dossier, the only recorded impression (315 × 210 mm, trimmed) One of these early prints (folio 44) is presently known to Peter Fuhring only by the impres­sion in our Macclesfield album (see Fig. 6). 21 It is a design for a high-backed chair, its back panel carved with grotesque ornament (after the models of Enea Vico, published 1541) and flanked by columns supporting a frieze, cornice and pediment. The hinged seat forms the lid of a storage coffer, the sides of which are carved with grotesque female terms. 22 Another early print (folio 42) is a large bed 'style Henri ii'; it is known to the writer only by a single impression once in the Fountaine and Foulc collections (and now unlocated) (see Fig. 5). Also rare, but surviving in multiple impressions, are the 'Grand dressoir avec cariatides de femmes' (folio 26) and 'Grand meuble de cabinet à trois étages' (folio 27). Among the twenty associated prints is a closed suite of twelve 'Fleurons' (printed on six sheets, folios 62-67), apparently conceived and first printed by Du Cerceau at Orléans in the 1540s. Six prints (from the series of twenty) of 'Grands Cartouches de Fontainebleau' and the 'Deux Lucarnes' (imposed together, folios 23-24) are of similar date. The clipped corners of the matrices of two 'Fleurons' and of one 'Lucarne' betray previous usage of these matrices. The binding evidently was made to safeguard these two groups of prints: one group newly struck, and bound in on their own paper (forty-four prints); the other group comprising prints published at earlier dates, probably obtained second-hand, and mounted in album leaves (twenty-nine prints). The covers of the binding are decorated by a blocked oval cen­tre-piece of interlacing strapwork (72 × 55 mm) of a type popular across northern Europe (including England) for at least thirty years. 23 The watermark in the binder's endpapers, an armorial surmounted by a crown, with a banner below, cannot be identified; the style sug­gests a date of circa 1570. At this date ornament prints were esteemed for their practical function and seldom collected for their qualities as works of arts and preserved in albums. Nonetheless, other albums are known, each to some degree unique in content and organisation, reflecting the circumstances of their sale - individually, or in small cahiers, according to the preferences of the purchaser. Other impressions Located ● Berlin, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Kunstbibliothek 24 ● Ecouen, Musée national de la Renaissance, Estampes, n° 2001-12 nos. 1-55 25 ● Hamburg, Museum für Kunst und Gewerbe Hamburg 26 ● London, Victoria & Albert Museum, Print Room, 94.F.57 (E.5448-5492) 27 ● New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1926 (26.50.6) 28 ● Paris, Ecole nationale supérieure des beaux-arts 29 ● Paris, Louvre, Collection Edmond de Rothschild, Inventaire L.65 L.R., f° 15 30 ● Paris, Bibliothèque nationale de France, ED-2 (F, 2) - Pet. Fol. 31 ● Paris, Bibliothèque nationale de France, ED-2 (E, 2) - Pet. Fol. 32 ● Vienna, Österreichisches Museum für angewandte Kunst, Inv. 2273 33 ● Vienna, Österreichisches Museum für angewandte Kunst, Inv. 8075 Sd 34 Lost / Unidentified impressions ● Bearzi, Giovanni Battista 35 ● Bérard, Eugène (1838-1890) 36 ● Destailleur, Gabriel-Hippolyte Alexandre (1822-1893) 37 ● Hubert, 'Architecte' 38 ● Monville (Montebello), Comte de 39 ● Morgand, Librairie Damascene 40 ● Piot, Eugene (1812-1891) -- Guyot de Villeneuve, François Gustave Adolphe (1825-1898) 41 -- Lebeuf de Montgermont, Louis (1841?-1918) 42 ● Vivenel, Antoine (1799-1862) 43 Bibliography amsterdam catalogue Rijksmuseum (Netherlands). Rijksprentenkabinet, Ornamentprenten in het Rijksprentenkabinet.i , 15de & 16de Eeuw, compiled by Marijnke De Jong and Irene De Groot (Amsterdam 1988) baldus, Cartouches Édouard Baldus, Œuvre de Jacques Androuet dit Du Cerceau... S è rie de 33 cartouches. H é liogravure par Edouard Baldus (Paris circa 1884-1891) baldus, Fleurons Édouard Baldus, Œuvre de Jacques Androuet dit Du Cerceau... Fleurons. Héliogravure par Edouard Baldus (Paris circa 1884-1891) baldus, Meubles Édouard Baldus, Œuvre de Jacques Androuet dit Du Cerceau. Meubles. Héliogravure par Edouard Baldus (Paris circa 1884-1891) berlin katalog Staatliche Kunstbibliothek (Berlin, Germany), Katalog der Ornamentstich-Sammlung der Staatlichen Kunstbibliothek, Berlin (Berlin 1936-1939) byrne 1973Janet S. Byrne, 'Jacopo della Nave or Jacques Androuet du Cerceau?' in Metropolitan Museum Jour­nal 7 (1973), pp.143-149 byrne 1981Janet S. Byrne, Renaissance ornament prints and drawings (New York 1981) destailleur, Notices Hippolyte Destailleur, Notices sur quelques artistes français, architectes, dessinateurs, graveurs duxvi e auxvii e siècle (Paris 1863) destailleur, Receuil Hippolyte Destailleur, Recueil d'estampes relatives à l'ornementation des appartements auxxvi e,xvii e etxviii e siècles (Paris 1863-1871) destailleur sale 'Livres et estampes relatifs aux beaux-arts (architecture, peinture, gravure, ornementation, etc.) provenant de la bibliothèque de feu M. Hippolyte Destailleur', Paris, 20-31 May 1895 foulc sale 'Catalogue d'une très importante collection de livres d'architecture, Recueils d'ornements', Paris, 3-6 June 1914 fuhring 1994 The French Renaissance in prints from the Bibliothèque Nationale de France, catalogue of an exhibi­tion held at the Armand Hammer Museum of Art and Cultural Center, Los Angeles, 1 November 1994-1 January 1995 (Los Angeles 1994), pp.370-371 no. 122 (entry by Peter Fuhring) fuhring 2002 Peter Fuhring, 'Jacques Androuet Du Cerceau et le mobilier de la Renaissance' in Parures d'or et de pourpre. Le mobilier à la cour des Valois (Paris-Blois 2002), pp.40-51 geymüller Henry de Geymüller, Les Du Cerceau; leur vie et leur œuvre (Paris 1887) guilmard Désiré Guilmard, Les maîtres ornemanistes, dessinateurs, peintres, architectes, sculpteurs et graveurs (Paris 1880-1881) hamburg katalog Museum für Kunst und Gewerbe (Hamburg, Germany), Katalog der Ornamentstich-Sammlung, com­piled by Ludwig Döry (Hamburg 1960) jean-richard Ornemanistes du xv e au xvii e siècle, catalogue of an exhibition held in the Musée du Louvre, 12 June-21 September 1987, compiled by Pierrette Jean-Richard (Paris 1988) jervis Simon Jervis, Printed furniture designs before 1650 (Leeds 1974) la sirène La Sirène, Ornements, Architecture [catalogue of prints sold at fixed prices] (Paris 1991) le blanc Charles Le Blanc, Manuel de l'amateur d'estampes (Paris 1854), volume i linzeler Bibliothèque nationale (France). Cabinet des estampes, I nventaire du Fonds Fran ç ais: Graveurs du seizième siècle, compiled by André Linzeler (Paris 1932), volume i vienna katalog 1889 K. K. Österreichisches Museum für Kunst und Industrie (Vienna), Illustrierter Katalog der Ornament­stichsammlung des K. K. Österreich. Museums für Kunst und Industrie: Erwerbungen seit dem Jahre 1871, compiled by Franz Ritter (Vienna 1889) List of Prints / Furniture 'Cabinets et dressoirs’ (twenty-one subjects on twenty plates, complete) Album folios 1-11, 13-19, 21-22 references Le Blanc nos. 125-144; Destailleur, Recueil, p.14; Baldus, Meubles nos. 1-10, 18-19, 25-27, 40-43 (nineteen plates only); Geymüller p.319; Vienna Katalog 1889 p.150 (in a group of twenty-nine prints); Foulc Sale lot 75, no. 39; Linzeler p.63/a (erroneously categorised as twenty-three prints); Berlin Katalog no. 1241/1; Hamburg Katalog no. 434/1 (sixteen prints only); Jervis nos. 51-72; La Sirène item 50 ■ 1 (verso)Imposed with print 8Platemark: 189 × 135/137 mmWatermark: J. PerretReproductions: Baldus, Meubles 1; Jervis 64 ■ 2 (verso)Imposed with print 7Platemark: 190 × 132 mmReproductions: Baldus, Meubles 4; Jervis 63 ■ 3 (verso)Imposed with print 6Platemark: 187/189 × 142 mmWatermark: J. PerretReproductions: Baldus, Meubles 25; Jervis 57; Jean-Richard no. 88 (upper right corner of matrice clipped) ■ 4 (verso) (see Fig. 2)Imposed with print 5 (print 5 has offset onto print 4)Platemark: 189 × 139 mmWatermark: J. PerretReproductions: Baldus, Meubles 27; Jervis 60; Fuhring 2002 fig. 11 ■ 5 (recto) (see Fig. 2)Imposed with print 4Platemark: 191 × 142 mmReproductions: Baldus, Meubles 2; Geymüller fig. 114; Jervis 56 ■ 6 (recto)Imposed with print 3Platemark: 192 × 142/144 mmReproduction: Jervis 54 ■ 7 (recto)Imposed with print 2Platemark: 189 × 129 mmWatermark: J. PerretReproductions: Baldus, Meubles 10; Jervis 66; Byrne 1981 fig. 144 ■ 8 (recto)Imposed with print 1Platemark: 189 × 135 mmReproductions: Baldus, Meubles 8; Jervis 68 ■ 9 (verso)Imposed with print 14Platemark: 189 × 141/143 mmReproductions: Baldus, Meubles 5; Jervis 55; Fuhring 2002 fig. 10 ■ 10 (verso)Imposed with print 13Platemark: 200 × 138/140 mmReproductions: Baldus, Meubles 6; Jervis 51 ■ 11 (verso)Imposed with print 12 (print 11 has offset onto print 12)Platemark: 190 × 140 mmReproductions: Baldus, Meubles 40 (image reversed during photogravure process); Jervis 71 ■ 13 (recto)Imposed with print 10Platemark: 198 × 137 mmWatermark: J. PerretReproductions: Destailleur, Recueil, i, pl.41; Guilmard, ii, pl. 4; Baldus, Meubles 3; Jervis 52 ■ 14 (recto)Imposed with print 9Platemark: 190 × 140 mmWatermark: J. PerretReproductions: Baldus, Meubles 7; Jervis 53 ■ 15 (verso)Imposed with print 20Platemark: 186 × 140/144 mm. Upper left corner roundedA 10 mm tear closed without lossReproductions: Baldus, Meubles 41 (image reversed during photogravure process); Jervis 58 ■ 16 (verso)Imposed with print 19Platemark: 187 × 140 mmWatermark: J. PerretReproductions: Baldus, Meubles 9; Jervis 65 ■ 17 (verso)Imposed with print 18 (print 17 has offset onto print 18)Platemark: 197 × 136 mmWatermark: J. PerretReproductions: Baldus, Meubles 43 (image reversed during photogravure process); Jervis 59 ■ 18 (recto)Imposed with print 17Platemark: 191 × 126/128 mm. Upper left corner roundedReproductions: Baldus, Meubles 42 (image reversed during photogravure process); Jervis 70 ■ 19 (recto)Imposed with print 16Platemark: 185/188 × 130 mmReproductions: Baldus, Meubles 26; Jervis 61 ■ 21 (verso)Imposed with print 29Platemark: 185 × 139 mmReproductions: Baldus, Meubles 19; Katalog der Ornamentstichsammlung des Kunstgewerbe-Museums zu Berlin (Leipzig 1894), p.135; Jervis 67 ■ 22 (verso)Imposed with print 25Platemark: 191 × 143 mmWatermark: J. PerretReproductions: Baldus, Meubles 18; Jervis 72 [img-2358-left-large_default] Fig. 7: Prints [52-53], Tables (platemarks 188 × 142 and 192 × 143 mm) 'Tables' (twenty-four subjects on eleven plates, complete) Album folios 29, 46-55 references Le Blanc nos. 151-161; Baldus, Meubles nos. 14, 28-37; Geymüller p.319; Linzeler p.63/b (complete); Berlin Katalog no. 1241/2; Jervis nos. 74-84; La Sirène item 51 (complete) ■ 29 (recto)Imposed with print 21Platemark: 190 × 141 mmWatermark: J. PerretReproductions: Baldus, Meubles 14; Jervis 74 ■ 46 (verso)Singleton (conjugate leaf cancelled, print 49 attached on its stub)Platemark: 193 × 140 mm. Lower right corner of matrice broken or clippedWatermark: J. PerretReproductions: Baldus, Meubles 29; Jervis 77 ■ 47 (verso)Imposed with print 48Platemark: 193 × 142 mmReproductions: Baldus, Meubles 35; Jervis 82 ■ 48 (recto)Imposed with print 47Platemark: 192 × 143 mmWatermark: J. PerretReproductions: cf. Baldus, Meubles 30 (top = our print 48 top, bottom = our print 54 bottom) and Baldus 33 (top = our print 54 top, bottom = our print 48 bottom); Jervis 81 (like our print, cf. p.26 note 4: 'the tables in [Jervis'] 81 and 84 are differently combined by Baldus') ■ 49 (recto)Inserted leaf 302 × 200 mmPlatemark: 193 × 142 mmNo watermark observedReproductions: Baldus, Meubles 37; Geymüller p.319; Jervis 83 ■ 50 (verso)Imposed with print 55Platemark: 190 × 138 mmWatermark: J. PerretReproductions: Baldus, Meubles 28; Jervis 76 ■ 51 (verso)Imposed with print 54Platemark: 187 × 142 mmReproductions: Baldus 32; Jervis 80 ■ 52 (verso) (see Fig. 7)Imposed with print 53Platemark: 188 × 142 mmReproductions: Destailleur, Receuil, i, pl.52; Baldus, Meubles 34; Jervis 78 ■ 53 (recto) (see Fig. 7)Imposed with print 52Platemark: 192 × 143 mmWatermark: J. PerretReproductions: Baldus, Meubles 36; Jervis 79 ■ 54 (recto)Imposed with print 51Platemark: 191 × 143 mmWatermark: J. PerretReproductions: cf. Baldus, Meubles 30 (top = our print 48 top, bottom = our 54 bottom) and Baldus 33 (top = our print 54 top, bottom = our print 48 bottom); Jervis 84 ■ 55 (recto)Imposed with print 50Platemark: 187 × 139 mmReproductions: Baldus 31; Jervis 75 'Chaire à dossier, avec pilastre et fronton' (Chaise de chœur) (single plate) Album folio 43 references Baldus, Meubles no. 44; Geymüller p.319; Linzeler p.63/c; Berlin Katalog no. 1241/11; Jervis no. 92; La Sirène item.65 ■ 43 (recto)Inserted leaf 315 × 210 mm (mounted on binder's guard)Print 198 × 94 mm trimmed, window-mounted in the album leafWatermark of album leaf: large armorial (three fleur-de-lys and crown)Reproductions: Destailleur, Recueil, ii, pl.6; Baldus, Meubles 44 (image reversed in photogravure process); Jervis 92; Byrne 1981 fig. 142 'Portes' (two plates, complete) Album folios 12, 25 references Baldus, Meubles nos. 23-24; Geymüller p.319; Linzeler p.63/d; Berlin Katalog no. 1241/4; Hamburg Katalog no. 434/6; Jervis nos. 98-99; La Sirène item 54 ■ 12 (recto)Imposed with print 11Platemark: 182 × 147/149 mmWatermark: J. PerretReproductions: Baldus, Meubles 23; Jervis 98 ■ 25 (recto)Imposed with print 22Platemark: 193 × 145 mmReproductions: Baldus, Meubles 24; Jervis 99 [img-4022-left-large_default] Fig. 8: Prints [38-39], Lits (platemarks 205 × 140 and 210 × 135 mm) 'Lits' (eight subjects on six plates) Album folios 36-41 references Le Blanc nos. 145-150; Baldus, Meubles nos. 11-13, 15-17; Geymüller p.319; Linzeler p.63/e; Berlin Katalog no. 1241/3; Hamburg Katalog no. 434/2; Jervis nos. 85-90; La Sirène items 52-53 ■ 36 (verso)Imposed with print 41Platemark: 191 × 138 mmWatermark: J. PerretReproductions: Destailleur, Recueil, ii, pl.8; Baldus, Meubles 15; Jervis 86 ■ 37 (verso)Imposed with print 40Platemark: 140 × 197 mmReproductions: Baldus, Meubles 13; Jervis 87 ■ 38 (verso) (see Fig. 8)Imposed with print 39Platemark: 205 × 140 mmReproductions: Baldus, Meubles 16; Jervis 90 ■ 39 (recto) (see Fig. 8)Imposed with print 38Platemark: 210 × 135 mmWatermark: J. PerretReproductions: Baldus, Meubles 12; Jervis 89 ■ 40 (recto)Imposed with print 37Platemark: 135 × 220 mmWatermark: J. PerretReproductions: Baldus, Meubles 17; Jervis 88 ■ 41 (recto)Imposed with print 36Platemark: 190 × 144 mmReproductions: Destailleur, Recueil, ii, pl.9; Baldus, Meubles 11; Jervis 85; Byrne 1981 fig. 143 'Deux gaines et un panneau orné de sculptures' (three subjects, on one plate) Album folio 35 references Baldus, Meubles no. 49; Geymüller p.319; Linzeler p.63/f; Berlin Katalog no. 1241/7; Jervis no. 97; La Sirène item 56 ■ 35 (recto)Imposed with print 30Platemark: 138 × 186 mmReproductions: Baldus, Meubles 49 (image reversed during photogravure process); Jervis 97; Fuhring 2002 fig. 1 'Baignoire' (fonts baptismaux? coffre? sarcophage?) (single plate) Album folio 44 (verso) references Geymüller p.321; Linzeler p.63/g; Jervis no. 94; Amsterdam catalogue no. 547.2; La Sirène item 42 ■ 45Laid to verso of folio 44Platemark: 65 × 130 mm (sheet 103 × 223 mm)Reproductions: Jervis 94; Byrne 1981 fig. 126; Amsterdam catalogue no. 547.2 'Dessus de cheminée' (single plate) Album folio 20 references Guilmard p.11; Baldus, Meubles no. 48; Foulc Sale lot 75, no. 39; Jervis no. 95; La Sirène item 58 ■ 20 (recto)Imposed with print 15Platemark: 142 × 220mmWatermark: J. PerretReproductions: Baldus, Meubles 48 (image reversed during photogravure process); Jervis 95; Fuhring 2002 fig. 8 'Trois termes ou cariatides, de profil' (three subjects on one plate) Album folio 30 references Baldus, Meubles no. 45; Geymüller p.319; Linzeler p.61/b; Jervis no. 101; La Sirène item 60 ■ 30 (verso) (see Fig. 4)Imposed with print 35Platemark: 185 × 136 mmWatermark: J. PerretReproductions: Baldus, Meubles 45 (image reversed during photogravure process); Jervis 101 'Gaines ou scabellons ' (eight subjects on two plates, complete) Album folios 31, 34 references Baldus, Meubles nos. 21-22; Geymüller p.319; Foulc Sale lot 75, no. 39; Linzeler p.61,c; Berlin Katalog no. 1241/8; La Sirène item no. 61 ■ 31 (verso)Imposed with print 34Platemark: 140 × 186 mm. Crack in plate between 3rd and 4th scabellonReproduction: Baldus, Meubles 21 ■ 34 (recto)Imposed with print 31Platemark: 138 × 182 mmWatermark: J. PerretReproductions: Baldus, Meubles 22; Geymüller fig. 25 (detail) 'Grand dressoir avec cariatides de femmes' (single plate) Album folio 26 references Guilmard p.12; Destailleur Sale lot 288,2 ('Grands dressoirs, 2 pièces); Foulc Sale lot 75, no. 38a; Linzeler p.63; Jervis no. 96; La Sirène item 69 ■ 26 (recto)Inserted leaf (mounted on binder's guard)Platemark: 272 × 192 mmWatermark: bunch of grapesReproductions: Jervis 69; La Sirène [plate 1] 'Grand meuble de cabinet à trois étages' (single plate) Album folio 27 references Guilmard p.12; Baldus, Meubles no. 39; Foulc Sale lot 75, no. 38b; Jervis no. 62; La Sirène item 70 ■ 27 (recto)Inserted leaf, bottom 60 mm folded inPrint 341 × 205 mm, trimmed within platemark at bottom (platemark left hidden in gutter)A clean 20 mm tear along fold (no loss of image)Watermark: none observed in print, horizontal chain linesReproductions: Baldus, Meubles 39 (image reversed during photogravure process); Jervis 62 (image taken from Baldus, cf. p.x) 'La Charité, assise sous un riche tabernacle' (single plate) Album folio 28 references Baldus, Meubles no. 38; Geymüller p.325; Foulc Sale lot 75, no. 49f; La Sirène item 71 ■ 28 (recto)Inserted leaf (mounted on binder's guard)Print 295 × 132 mm trimmed, laid to album sheetWatermark: none observedReproduction: Baldus, Meubles 38 (image reversed during photogravure process) 'Trois chimères, vues de profil' (single plate) Album folio 32 references Baldus, Meubles no. 20; Foulc Sale lot 75, no. 39; Linzeler p.61; Berlin Katalog no. 1241/9; Jervis no. 100; La Sirène item 63 ■ 32 (verso) (see Fig. 3)Imposed with print 33Platemark 210 × 142 mm. Plate clipped left? (tail not complete as in Baldus reproduction)Watermark: J. PerretReproductions: Baldus, Meubles 20; Jervis 100; Fuhring 2002 fig. 2 'Un panneau représentant la Victoire avec des trophées' (single plate) Album folio 33 references Baldus, Meubles no. 47; Geymüller p.319; Foulc Sale lot 75, no. 39; Berlin Katalog no. 1241/5; Jervis no. 96; Fontainebleau et l'estampe en France au xvi e si è cle: iconographie et contra­dictions, catalogue of an exhibition Château-Musée de Nemours (Paris 1985), 140; Amsterdam catalo­gue no. 547.1; La Sirène item 57 ■ 33 (recto) (see Fig. 3)Imposed with print 32Platemark 190 × 130 mmReproductions: Baldus, Meubles 47 (image reversed during photogravure process); Jervis 96; Amsterdam catalogue no. 547.1; Fuhring 2002 fig. 7 'Lit style Henri ii ' (single plate) Album folio 42 references Geymüller pp.318-19 ('Pièce unique. Ancienne coll. Fountaine, chez M. Foulc'); Foulc Sale lot 75, no. 9d ('Epreuve unique') ■ 42 (recto) (see Fig. 5)Mounted on an inserted leaf 315 × 290 mmPrint 210 × 287 mm trimmed within platemarkWatermark of album sheet: post hornReproduction: Foulc Sale pl. 2 'Chaire a haut dossier' (single plate) Album folio 44 (recto) unrecorded (see discussion above) ■ 44 (recto) (see Fig. 6)Inserted leaf of album dimensionsPrint 315 × 210 mm trimmed, window-mounted in the album leafWatermark of album leaf: large armorial (three fleur-de-lys and crown) List of Prints / Associated prints 'Deux Lucarnes, jointes a la suite des Meubles' (two plates, complete) 44 Album folios 23-24 references Destailleur, Notices, p.46; Destailleur, Recueil, p.14; Baldus, Meubles nos. 50-51; Destailleur Sale lot 289 (with other furniture prints in a contemporary album); Geymüller p.318; Guilmard p.12; Baldus nos. 50-51; Foulc Sale lot 75, no. 23 (with other works, in a binding post-1561); Berlin Katalog no. 1241/15; La Sirène item 64 ■ 23 (verso)Inserted leaf (mounted on binder's guard)Platemark: 186 × 120 mm. Upper left corner roundedNo watermark observed (same paper stock as 24)Reproductions: Guilmard, ii, pl. 5; Baldus, Meubles 50 (image reversed during photogravure proc­ess); Geymüller fig. 78 ■ 24 (recto)Inserted leaf (mounted on binder's guard)Platemark: 191 × 118 mmNo watermark observed (same paper stock as 23)Reproduction: Baldus, Meubles 51 (image reversed during photogravure process) 'Grands Cartouches de Fontainebleau' (four from the set of twenty) Album folios 56, 58, 59, 61 references Baldus, Cartouches no. 21; Geymüller p.315; Félix Herbet, Les Graveurs de l'école de Fontainebleau (reprint Amsterdam 1969), pp.150-153: iv-v (two suites of ‘Grands Cartouches', each ten plates); Foulc Sale lot 75, no. 28; Linzeler p.62; Berlin Katalog no. 283; J.M. González de Zárate, Real Colección de Estampas de San Lorenzo de El Escorial (Vitoria-Gasteiz 1992), volume i ■ 56 (recto)Deuxième suite: 'Rond vide entre deux satyres termes; au dessus, un enfant soufflant dans deux longues cornes'Herbet p.152 no. 6 (v, 6)Inserted leaf of album dimensions (conjugate with 61)Borderline 225 × 155 mm (sheet 235 × 167 mm), window-mountedWatermark in print: charged circle (50 mm), six-pointed star beneathReproduction: González de Zárate, i, p.60 no. 2.4(102) ■ 58 (recto)Première suite: 'Panneau rectangulaire vide, dans des cuirs. De chaque côte, torse de femme, sans bras, supportant un panier de fruits'Herbet p.150 no. 1 (iv, 1)Inserted leaf of album dimensions (conjugate with 59)Print 162 × 199 mm trimmed, window-mountedWatermark: none observed in album sheet or printReproduction: Rudolf Berliner, Ornamentale Vorlage-Bl ä tter (Leipzig 1925), pl.187 ■ 59 (recto)Première suite: 'Colonne terminée par un torse de satyre séparant un cadre vide à gauche d'une moitie de cadre a droit'Herbet p.151 no. 10 (iv, 10)Inserted leaf of album dimensions (conjugate with 58)Print 165 × 229 mm trimmed, window-mountedWatermark in print: charged circle (50 mm), six-pointed star beneathReproductions: Baldus 21; González de Zárate, i, p.158 no. 1.7(98) ■ 61 (recto)Première suite: 'Femme dans une niche, portant un croissant sur la tête, derrière des cuirs; les jam­bes sont dans une gaine'Herbet p.150 no. 5 (iv, 5)Inserted leaf of album dimensions (conjugate with 56)Print 230 × 157 mm trimmed, window mountedWatermark: none observed in sheet or printReproductions: Geymüller fig. 20; González de Zárate, i, p.57, no. 1.4(95) 'Les Petits Cartouches de Fontainebleau' (two from a group of uncertain size) Album folios 57, 60 references Guilmard p.11 (30 plates); Baldus, Cartouches nos. 30-31; Geymüller p.315 (36 plates); Félix Herbet, Les Graveurs de l'école de Fontainebleau (reprint Amsterdam 1969), pp.153-157: vi: 'Petits Cartouches' (32 plates); Foulc Sale lot 75, no. 29 (31 plates); Linzeler p.62; Berlin Katalog no. 284 (29 plates); Amsterdam catalogue no. 542 (31 plates); La Sirène item 38; J.M. González de Zárate, Real Colección de Estampas de San Lorenzo de El Escorial (Vitoria-Gasteiz 1992), volume i ■ 57 (recto)'Petits Cartouches de Fontainebleau': 'Cadre rond dans des cuirs ou sont disposées sept figures. En hauteur'Herbet p.157 no. 30(vi, 30); Amsterdam catalogue 542.29Inserted leaf 300 × 205 mm (mounted on binder's guard, remargined below)(conjugate with 60)Platemark: 198 × 144 mmWatermark: none observed in binder's guard or printReproduction: Baldus, Cartouches 30 (image reversed during photogravure process) ■ 60 (recto)'Petits Cartouches de Fontainebleau': 'Cadre carré dans des cuirs où sont disposées huit figures. En hauteur'Herbet p.157 no. 30 (vi, 31)Inserted leaf 300 × 205 mm (mounted on binder's guard, remargined below)(conjugate with 57)Platemark 194 × 146 mmWatermark: none observed in binder's guard or printReproductions: Baldus, Cartouches 31; Amsterdam catalogue no. 542.30 'Fleurons' (twelve subjects on six plates, complete) Album folios 62-67 references Destailleur, Notices, p.46; Destailleur, Recueil, p.14; Guilmard p.11; Baldus, Fleurons; Geymüller pp.174, 320; Destailleur Sale lot 292; Foulc Sale lot 75, no. 41; Berlin Katalog no. 290 (11 prints only, dated 'um 1562'); Linzeler pp.61-62; Amsterdam catalogue no. 546 ■ 62 (recto)Inserted leaf (mounted on binder's guard)Top print: platemark 75 × 129 mm (Linzeler no. 7)Bottom print: platemark 75 × 128 mm (Linzeler no. 11)No watermark observedReproduction: Baldus (unnumbered) ■ 63 (recto)Inserted leaf (mounted on binder's guard)Top print: platemark 72 × 126 mm (Linzeler no. 2)Bottom print: platemark 73 × 123 mm (Linzeler no. 5)No watermark observedReproduction: Baldus (unnumbered); top Amsterdam catalogue no. 546.9 ■ 64 (recto)Inserted leaf (mounted on binder's guard)Top print: platemark 72 × 130 mm (Linzeler no. 1)Bottom print: platemark 75 × 127 mm (Linzeler no. 12)No watermark observedReproductions: Baldus (unnumbered); top Geymüller p.326 ■ 65 (recto)Inserted leaf (mounted on binder's guard)Top print: platemark 72 × 126 mm (Linzeler no. 4)Bottom print: platemark 72 × 126 mm (Linzeler no. 6)Fragment of watermark in binder's guardReproduction: Baldus (unnumbered) ■ 66 (recto)Inserted leaf (mounted on binder's guard)Top print: platemark 75 × 117 mm (Linzeler no. 8)Bottom print: platemark 75 × 122 mm (Linzeler no. 9)Fragment of watermark in binder's guardReproductions: Baldus (unnumbered); bottom Amsterdam catalogue no. 546.2 ■ 67 (recto)Inserted leaf (mounted on binder's guard)Top print: platemark 75 × 117 mm (Linzeler no. 10). Corner roundedBottom print: platemark 74 × 126 mm (Linzeler no. 3). Corner roundedNo watermark observedReproduction: Baldus (unnumbered) Abbreviated references are expanded in bibliography. 1. Charles-Moïse Briquet, Les filigranes. Dictionnaire historique dès marques du papier des leur apparition vers 1282 jusqu'en 1600 (Paris 1907), i, p.308: 'J. Perret était sans doute un parent de son homonyme, Claude, qui, en 1559, exploitait un battoir à papier à Mallay-le-Roy, prés de Sens'; ibid., pp.314-315 for history of the mill. 2. fuhring 2002 p.47: 'Il n'est pas aisé de mesurer le tirage ni la diffusion des planches de mobilier d'Androuet du Cerceau. Il existe aujourd'hui plusieurs exemplaires de ce groupe d'estampes, quel­ques-uns sont reliés avec parfois d'autres sujets ajoutés, mais peu d'entre eux conservent une reliure du xvie siècle. L'estimation du tirage est d'autant plus difficile...'. To the writer's knowledge, no compa­rable album of Du Cerceau's furniture prints has appeared on the market since the dispersals of the Destailleur (1895) and Lebeuf de Montgermont (1913) collections (see appendix other impressions). 3. Traditionally considered a lucarne (attic window), but regarded by Margaret McGowan, The vision of Rome in late Renaissance France (New Haven 2000), p.157 (reproduced), as a double-buffet. 4. Du Cerceau's print of a 'Cabinet au trophées d'armes' (our folio 4; baldus no. 27, jervis no. 60) is the model for a binding in Biblioteca Reale di Torino; see Hector Lefuel, 'Deux reliures du xvie siècle d'après Du Cerceau' in Byblis 5 (1926), pp.139-146 (binding and print reproduced), and fuhring 2002 pp.49, 51 note 23 (print reproduced). 5. For examples, see Elisabeth Vadaszi, 'Buffet ou dressoir? L'influence de Du Cerceau sur un dressoir de Budapest' in Ars Decorativa 5 (1977), pp.17-39; Peter Hughes, The Wallace Collection: Catalogue of Furniture (London 1996), i, pp.64, 67, 75, 107; Jacques Thirion, Le mobilier du Moyen Age et de la Renaissance en France (Dijon 1998), pp.235-238 ('Le Rôle des Gravures') and passim. 6. jervis p.25. 7. jervis nos. 142-157; amsterdam catalogue no. 183 nos. 1-16; F.W.H. Hollstein, Hollstein's Dutch & Flemish etchings, engravings and woodcuts, 1450-1700, xlviii, compiled by Peter Fuhring (Rotterdam 1997), nos. 491-507; Anja Grebe, 'Die Möbelentwürfe von Hans Vredeman de Vries - Zwischen Schreinervorlagen und Sammlerwerk' in Hans Vredeman de Vries und die Folgen, edited by Heiner Borggrefe (Marburg 2005), pp.109-117. 8. jervis nos. 291-208. 9. Hollstein/Fuhring, op. cit., nos. 624-663. 10. In an œuvre of hundreds of plates, Du Cerceau applied his name (or monogram) to only three; one is the print mentioned, lettered in the matrice 'Pour une table a ralonger' and 'Iac. And. Dv Cerc Fac[iebat] Avreliae. 1550'. geymüller p.318 considered it independently of Du Cerceau's other prints with models for tables. 11. Very few prints with models for furniture can be dated before 1550. The earliest were made in Germany circa 1525-1530 by Albrecht Altdorfer and Daniel Hopfer, with Peter Flötner, the Master hs, and the Master hg also active there before mid-century. The earliest known prints of furniture published in France are two of beds by an anonymous master, one of which is lettered 'Mvlta renas­centvr que nunc cecidere 1535' (geymüller p.290, as by Du Cerceau; foulc sale lots 75b, 75c, as by Du Cerceau; fuhring 2002 pp.43-44, 51 figs. 3-4); nine prints of ecclesiastical furniture by the Master ia (Gisèle Lambert, Les premières gravures italiennes: Quattrocento - début du Cinquecento; Inventaire de la collection du département des Estampes et de la Photographie, Paris 1999, pp.437-441 nos. 798-806; see also byrne 1973 pp.143-149, fuhring 2002 fig. 6); and seven prints of archi­tectural elements (with potential utility to woodworkers and sculptors) etched by the Master hs (Hughes Sambin?) and dated 1553 to 1560 (fuhring 2002 pp.47-48). 12. destailleur, Notices, p.46; destailleur, Recueil, p. 14; geymüller pp.183-184, 289-290, 318-319. This combination of subjects occurs in several old albums, including the one owned by Destailleur (see appendix other impressions). The matrices must have been maintained as a group over time, as impressions on different papers are known (e.g. la sirène nos. 50-54, printed on stock manufactured by Edmond Denise, Briquet, op. cit., nos. 4432-4434). 13. guilmard pp.11-12 (fifty prints). 14. baldus passim (fifty-two prints). 15. jervis nos. 51-101 (fifty-one prints). See also bryne p.110 (forty-five prints) and Marjorie Connell, in Designs of desire: architectural and ornamental prints and drawings 1500-1850, catalogue of an exhibition held in the Burrell Gallery, Glasgow (Edinburgh 1999), pp.82-83 no. 24 (fifty prints, 'pub­lished as a coherent group c.1550/51'). 16. fuhring 2002 p.42. 17. The forty-four matrices were not printed in the 'suites' constituted by Destailleur, Geymüller, Jervis, and others: a table (on folio 29) is imposed with a cabinet (folio 21), and the two 'Portes' (folios 12, 25) do not appear on the same sheet. It may be meaningful that both 'Portes' occur among the 'Cabi­nets et dressoirs', as does the single print of a chimney-piece (folio 20, imposed with folio 15). 18. All the matrices of this group are printed on a single paper stock, manufactured by J. Perret at Châlons, Mallay-le-Roy (Sens), documented by Briquet, op. cit., no. 5306: 'Sens 1566'. By 1571, J. Perret had adopted a watermark of three linked crescents (Briquet no. 5375). It seems that Du Cerceau's etched furniture designs continued to be printed after his death, by his sons Baptiste (died 1596) and Jacques ii (died 1614). A comprehensive investigation will likely prove the existence of many more reissues of the furniture prints than are now recognised. 19. jean-richard no. 88 (reproduced). 20. The chronology of Du Cerceau's prints remains vexed. geymüller pp.183-184, 318-319, decided priority on stylistic grounds, without consideration of physical evidence. 21. P. Fuhring, 'L'œuvre gravé' in Jacques Androuet du Cerceau: "un des plus grands architectes qui se soient jamais trouvés en France", catalogue accompanying an exhibition at the Musée des monu­ments français, 10 February-9 May 2010 (Paris 2010), pp.54 fig. 2, 55, 58 note 96, 311 no. ME 1 / 3. 22. Similar armless terms, also beneath C-scrolls, appear in the drawing by Du Cerceau reproduced by geymüller pl. iii (between pp.120-121). 23. Werner Hohl, 'Ornamentplatten' in Gutenberg-Jahrbuch 1989, pp.324-329. 24. berlin katalog no. 1241: '52 Blatt Möbel, Möbelteile und Verwandtes... 1) 20 Blatt Schränke. 2) 11 Blatt Tische. 3) 6 Blatt Betten. 4) 2 Blatt Türen. 5) 1 Blatt Kaminaufsatz. 6) 1 Blatt Füllung (fehlt bei Geymüller). 7) 1 Blatt Füllung nebst 2 Pilastern. 8) 2 Blatt je Pilaster. 9) 1 Blatt 3 Sphingen. 10) 1 Blatt 3 Hermen 18,8-21,0 × 13,0-14,3 (Platte). 11) 1 Blatt Kirchenstuhl 19,5 × 9,0 (Darstellung). 12) 1 Blatt Bank 11,5 × 14,0 (Darstellung). 13) 1 Blatt großer Schrank 33,9 × 21,5 (Platte). 14) 1 Blatt Auf­satz 29,0 × 14,5 (Platte), die letzten drei Blätter nicht bei Geymüller. 15) 2 Blatt Dachfenster 19,0 × 12,0 (Platte).' 25. A group of forty-four prints of furniture designs (some cut in two), plus two plates of 'Pilastres effilés vers le bas' (geymüller p.319). Images at http://www.culture.fr. 26. hamburg katalog no. 434: '36 Bl.: Möbel, Möbelteile und Verwandtes... 1) 16 Bl.: Schränke und Buffets. 2) 6 Bl.: Betten. 3) 9 Bl.: Tische. 4) 1 Bl.: Sphingen. 5) 2 Bl.: Hermen. 6) 2 Bl.: Türen.' 27. 'Designs for furnishings, including cupboards, sideboards, tables, beds, doorways, pedestals, caryat­ids, sphinxes, frames, and a chimneypiece. Plates (43) from a series'. Also 'designs for caryatid and terminal figures. Plates (2, with 3 designs on each plate) from a set of 12'. Mounted in a volume, exlibris George Abraham Crawley (sold as the property of Mr. S.F. Colley Smith by Sotheby's, 24 November 1960, lot 24). 28. A volume assembled by Edmund Foulc (d. 1916); see foulc sale lot 75, no. 39: a group of forty-six plates in a 19th-century binding by Thibaron-Joly. 29. geymüller p.184 (note 1): 'un beau volume des meubles' (not traced in library's opac, unless contained in one of the two large albums factice from the Lesoufaché bequest, shelfmarks Est Les 16 and Est Les 17). 30. jean-richard p.64: 'Recueil de 160 pl. [of various plates by Du Cerceau], reliure de Motte en maroquin bleu... Signatures de Guillois et L. Vaudoyer sur la page de garde'. 31. Includes designs for 'Reliquaires, monstrances, fonds baptismaux, calice, retables ou cadres d'autel; 16 planches au trait, parfois rehaussées de lavis' together with 'Serrurerie: 21 planches' and 'Bijoux: 48 planches' [E040433-040502]. Compare guilmard pp.15-17 and linzeler pp.65-67. 32. A volume assembled by the architect Antoine Callet (1755-1850?), his sale 'Catalogue d'objets d'art, antiquités, émaux; tableaux, dessins, gravures, livres à figures; manuscrits, qui composent le cabinet et la bibliothèque de feu M. Callet', Paris, 26 February-5 March 1855, lot 381: '14 vol. Meu­bles. 45 pl. sans titre ni date, représentant des buffets, dressoirs, tables, lits, etc.' Contents according to library opac: 'Deux motifs de lucarne' (baldus nos. 50-51) [E040216-040217], 'Meubles (cabinets, dressoirs, tables...)' (baldus nos. 1-10, 14, 18, 19, 25-37, 40-43) [E040218-040249], 'Cathèdre (chaise de chœur ou chayère). Planche ombrée' (baldus no. 44) [E040250], 'Deux portes' (baldus nos. 23, 24) [E040251-040252], 'Lits droits ou en forme de bateaux' (baldus nos. 11-16) [E040253-040258], 'Panneau sculpté entre deux gaines, scène de bataille' (baldus no. 49) [E040259], 'Coffre (ou sarcophage, ou salière, ou baignoire), plus une reproduction par Pilinski' (baldus no. 39) [E040260-040261], 'Grande table "...a ralonger..." [E040262], 'Banc avec accotoirs (reproduction par Pilinski), plus un calque' (baldus no. 46) [E040263-040264], 'Balustrades dites bordures (ou à tort petits nielles). 42 planches' [E040265-040306], 'Frises. Quatre planches au trait, rehaussées de lavis, offrent 13 motifs de frises' [E040307-040310]. Cf. guilmard pp.15-17 and linzeler pp.63-64. 33. '29 Bl. Möbel: Tische, Kästen, Betten, etc.' vienna katalog 1889 pp.150-151 (one plate illustra­ted). 34. '48. Bl. Möbel: Kästen, Betten, Tische, Kamine und A.' K. K. Österreichisches Museum für Kunst und Industrie (Vienna), Illustrierter Katalog der Ornamentstichsammlung des Österreichischen Museums für Kunst und Industrie: Erwerbungen seit 1889, compiled by Franz Ritter (Vienna 1919), pp.136-137 (one plate illustrated). 35. 'Catalogue de livres rares et précieux composant la bibliothèque de feu M. l'abbé Jean-Baptiste Chevalier de Bearzi,' Paris, 31 May 1855, lot 1677: 'Trente-sept planches de meubles d'Androuet du Cerceau. In-fol. cart. à la Bradel. Belles épreuves. Un des ouvrages les plus beaux et les plus curieux de Du Cerceau. Il est de la plus grande rareté'. 36. 'Catalogue d'estampes et de livres relatifs a l'architecture et a l'ornementation... La Collection de feu M. Eug. Bérard, Architecte', Paris, 16-20 February 1891, lot 451: 'Meubles. Quarante-sept pièces, dont: dix-huit pièces, buffets, crédences, cabinets, etc.; douze pièces, tables; six pièces, lits; deux piè­ces, portes; une pièce, cheminée; deux pièces, cadres; une pièce, chenets; trois pièces, gaines; une pièce, lucarne; une pièce, grande meuble de cabinet à trois étages; plus trois copies des pièces qui manquent'. 37. destailleur sale lot 289: 'Meubles dessinés et gravés par J.A. Du Cerceau. S. l. n. d., pet. in-fol, vélin. Cette suite, une des plus remarquables de l'œuvre de Du Cerceau, comprend, d'après MM. Destailleur et de Geymüller (p.319), 45 pièces sur lesquelles nous n'en avons que 42. Cabinets, 20 ff. - Tables, 11 ff. - Chaise de chœur, 1 f. - Portes, 2 ff. - Lits, 6 ff. - Panneau et gaines, 1 f. - Cheminée, 1 f. Il nous manque 3 ff. de Termes et gaines, par contre nous avons en plus un Banc avec barres d'appui aux extrémités. Pièce non décrite. Très belles épreuves du premier tirage a toutes marges. Une pièce est remontée'. Bound circa 1576 together with other publications of Du Cerceau in contemporary vellum. 38. 'Catalogue de livres d'architecture, de peinture, de sculpture et d'antiquités, faisant partie de la bibliothèque de feu M. Hubert', Paris, 20 December 1841 (sale catalogue not located by the writer). According to Pierre François Defer, Catalogue général des ventes publiques depuis 1737 jusqu' à nos jours. Tome i (Paris 1865), p.64 no. 28, one lot was 'Buffets, dressoirs, tables, lits, etc. ... 51 pièces'. 39. 'Notice d'une belle collection d'ornemens de la Renaissance, gravés par d'anciens maîtres, prove­nant du Cabinet de M. de M...', Paris, 1-2 April 1835, lot 98: 'Meubles divers, dont les tables, pièces rares, par le même, 43 p'. 40. Répertoire méthodique de la librairie Damascène Morgand (Paris 1893), i, p.306, item 2074: 'Recueil des Meubles, Termes, Objets de serrurerie, etc., dessinés et gravés par Androuet Du Cerceau. S.l. n.d. (vers 1580), en un vol. in-4, demi-rel. chagrin. 750 [Francs]. Très-beau recueil composé de 67 planches en excellents épreuves du premier tirage. Il renferme: 1° Cabinets, Dressoirs, 21 pièces sur 20 feuilles. 2° Tables, 24 pièces sur 11 ff. 3° Chaise de Chœur, 1 pièce sur 1 f. 4° Portes, 2 pièces sur 2 ff. 5° Lits, 8 pièces sur 6 ff. 6° Deux gaines et un panneau avec sculptures, 3 pièces sur 1 f. 7° Dessus de cheminée, 1 pièce sur 1 f. 8° 3 termes vus de profil sur 1 f. 9° Gaines ou scabellons, 8 pièces sur 2 ff. Au total pour la série des Meubles, 71 pièces sur 45 ff.; cette collection est complète ainsi. 10° Lucar­nes, 2 pièces sur 2 ff. 11° Termes, 18 pièces sur 6 ff. 12° Sphinx et Chimères, 3 pièces sur 1 f. 13° Heurtoirs pour tiroirs et marteaux, 20 pièces sur 8 ff. 14° 3 fonds de coupe sur 3 ff. 15° 2 fleurons sur 2 ff. Ensemble 119 pièces sur 67 feuilles. Ces épreuves montées à châssis proviennent de la Bibliothè­que Nationale (Doubles échanges)'. 41. 'Catalogue des livres manuscrits et imprimés, des dessins et des estampes du cabinet de feu M. Guyot de Villeneuve', Paris, 26-31 March 1900, lot 230: 'Recueil des Meubles, Termes, etc., dessinés et gravés par Androuet Du Cerceau. S.l. n.d. (vers 1580). En un vol. in-4, veau ant. jaspé (Rel. anc.). Très beau recueil composé de planches en excellentes épreuves du premier tirage. Il renferme: 1° Meu­bles. - Portes, 2 pièces sur 2 ff. Cabinets, Dressoirs, 21 pièces sur 20 ff. Deux gaines et un panneau avec sculpture, 3 pièces sur 1 f. Gaines ou scabellons, 8 pièces sur 2 ff. Sphinx et Chimères, 8 pièces sur 1 f. Dessus de cheminée, 1 pièce sur 1 f. Trois termes vus de profil, 1 pièce sur 1 f. Tables, 24 pièces sur 11 ff. Lits, 8 pièces sur 6 ff. Miroir, 1 pièce sur 1 f. (pièce en largeur). Au total pour la série des Meubles, 77 pièces sur 46 ff. 2° Détails d'ordre d'Architecture. S.l. n.d., 2e série, 20 planches. Ce volume appartenait à M. Piot... L'exemplaire est à toute marges et d'une grande pureté. Il est fort rare de trouver la suite des meubles dans une pareille condition'. 42. 'Catalogue des Livres de la Bibliothèque de M. L. de Montgermont' (sixth sale), Paris, 19-21 May 1913, lot 17: 'Recueil des Meubles, Termes, etc. dessinés et gravés par J. Androuet Du Cerceau. S.l. n.d. (vers 1580), in-4, veau granité, dos orné, tr. peigne (Rel. anc.). Très beau recueil composé de 66 planches en excellentes épreuves du premier tirage. 1º Meubles, Portes, Cabinets, Dressoirs, Termes, Tables, Lits, Miroir, etc., 77 pièces sur 46 ff. Cette collection est complète ainsi. 2º Détails d'ordre d'Architecture. 2e série, 20 pl. L'exemplaire est à toutes marges et d'une grande pureté. Des bibliothè­ques de Eug. Piot et Guyot de Villeneuve' (realised 3720 Francs to the Parisian bookseller Albert Besombes). 43. 'Catalogue de feu M. A.V., architecte. Estampes, maîtres anonymes et à monogrammes. Oeuvres d'Androuet du Cerceau... Ornements... Livres à figures, architecture, littérature, beaux-arts & catalo­gues', Paris, 16-18 July 1862, pp.10-11, about 45 prints sold in seven lots: lot 110: 'Rétables d'autel 2 et 1 calque', 111: 'Lucarnes très-riches. Rare. 2 p', 136: 'Meubles, banc et siège épiscopal. 2 p. et calque de titre', 137: 'Tables 12 p. à 1, 2, et 3 motifs', 138: 'Armoires 7 p. - Dressoirs 4 p.', 139: 'Buf­fets, dressoirs 9 p. et 2 calques', 140: 'Lits 6 p. à 1 et 2 motifs'. For sale results, see Defer, op. cit., p.64 no. 28: 'Vivenel (1862), 45 pièces, dont deux calques, en quatre lots, 1065 fr'. 44. Not identical with any of Du Cerceau's twelve designs of Lucarnes appearing in his Second Livre d'architecture (Paris 1561).

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         Dialogus. Von der Herrlichen, trostreichen predigt, die Christus Luc. xxiiij. von Jerusalem bis gen Emaus, den zweien Jüngern am Ostertag, aus Mose und allen Propheten gethan hat, Durch. Urbanum, Rhegium, Kurtz vor seinem ende, ubersehen und gebessert.

      - Wittenberg, J. Klug, 1545. 4to. 4 Bl., 315 (recte 316) römisch num. Bl., 4 Bl. Register. Späterer Halbpergamentband (Deckelbezüge u. vorderer Vorsatz erneuert). Eines der letzten und schönsten Werke des Rhegius, in Form eines Dialogs zwischen ihm und seiner Frau Anna abgefaßt: "ein Zeugnis seiner innigen Liebe zu seiner Frau, mit der er, wie die Vorrede bezeugt, das Gespräch wirklich gehalten" (RE XVI, 741). Im Anschluß an die bei Lukas überlieferte Emmaus-Episode ("Und fing an bei Mose und allen Propheten und legte ihnen in der ganzen Schrift aus, was darin von ihm gesagt war") gibt Rhegius eine Zusammenfassung und Erklärung aller alttestamentlichen Weissagungen auf Jesus als den verheißenen Messias. Das Werk wurde im 16. und 17. Jahrhundert eines der verbreitetsten, immer wieder neu aufgelegten und auch wirklich gelesenen Erbauungsbücher der evangelischen Kirche. Martin Chemnitz empfahl es allen frommen Christen als "einen Ausbund voll christlicher Erinnerung und Lehre". Die Erstausgabe erschien 1537, vier Jahre vor dem Tode des Rhegius. Vorliegend die dritte Ausgabe. - VD16, R 1768; Edmond 1265; vgl. Slg. Stickelberger 673 (Ausgabe von 1584); kein Exemplar bei Knaake und Kuczynski. - Zwischen Textende und dem Register zwischengebunden: FRANZ(IUS), Wolfgang. Oratio cur Dominus noster Iesus Christus sit vocatus Emmanuel: Quam in academia Vvitebergensi a.d. 9. Decemb. Anno Christi 1597 publicè recitavit. Wittenberg, S. Gronenberg, 1598. 32 Bl. - Wolfgang Franz (1564-1628) wurde 1598 zunächst Professor für Geschichte an der Universität Wittenberg, 1605 dann Professor der Theologie und Probst der Schlosskirche. In dieser Stellung spielte er in der damaligen Zeit als Kontroverstheologe eine bedeutende Rolle. - VD 16, ZV 6097. - Durchgehend gebräunt u. etwas fingerfleckig, anfangs u. am Ende wasserrandig. Wenige kl. Wurmspuren, vereinzelt Unterstreichungen von alter Hand. Titel angestaubt, mit Randläsuren u. Stempel. Bl. 212 doppelt numeriert. [Attributes: First Edition]

      [Bookseller: Buch & Consult Ulrich Keip]
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         [Works, ca. 1545-1550]. [Supplied title: The Workes of Geffray Chaucer newly printed, with dyuers workes whiche were neuer in print before: as in the table more playnly dothe appere. Cum priuilegio]

      Imprinted at London: [Nicholas Hill for] Rycharde Kele, dwellynge in Lombarde strete nere vnto the stockes market at the sygne of the Egle, ca. 1545-1550. Third William Thynne edition. Folio (305 x 195 mm), recent full calf in the antique style, light brown spine label, gilt. A defective copy, lacking A1-G1, G6, H1, I4-5, K1-2, L1, Aa1, Aa6, Ll1-2, Oo3-4, Pp1-2 and 5, Qq3-4, Fff4, Hhh2, Ppp1-Qqq6. In this copy the leaf Xx4 is bound in reverse. NB: a perfect copy would collate: A B-V X 2A-3Q (the final leaf being blank). The third edition of the Works of Chaucer which includes many Chaucerian Apocrypha. This very important edition was edited under the auspices of William Thynne, Chaucer's first great champion, and his first "modern" editor. Although this copy is quite incomplete, it is priced accordingly, and offers students opportunities to study first-hand a ca. 1550 edition of very significant sections of Chaucer's works, including complete or substantially complete sections of the Canturbury Tales, namely: The Wife of Bath; Friar; Summoner; Clerk; Franklin; Second Nun, Canon's Yeoman; Doctor, Pardoner; Shipman, Prioress, Rime of Sir Thopas, The Tale of Chaucer, Monk, Nun's Priest, Manciple, Plowman, Parson. Additionally there is the Romaunt of the Rose; Troilus and Cressida; the Legend of Good Women; A Goodly Balade of Chaucer (i.e. "Mother of Nurture"); Boethius; the Dream of Chaucer; the Assembly of Foules; the Flower of Courtesy; Pity; La Belle Dame sans Mercy; Anelida and Arcite; the Assembly of Ladies; Of the Astrolabe; the Complaint of the Black Knight; A Praise of Women; the House of Fame; the Testament of Love; the Lamentation of Mary Magdalen; and the Remedy of Love. PROVENANCE: Inscription on first (original) blank: “This book of Sr Jeffory Chaucer I give to my Son Simon. Hump. Burton.” The original owner was most likely Humphrey Burton, of Carlesby, in the city of Coventry, born 1594 (living 1681), married to Joan, daughter of Simon Norton, of Coventry, sister of Sir Thomas Norton, Bart., of the same place. His son was Simon Burton, living 1682, Clerk of Assize for the Isle of Ely. SOURCE: "The Topographer and Genealogist" (edited by John Gough Nichols), 1846, Volume 1, p. 495. --> John Tagg, with his (18th-century?) bookplate affixed inside front cover --> Walter Martin, Fredericksburg, TX (purchased in 1980). REFERENCES: STC 5071. Grolier, "One Hundred Books Famous in English Literature," 41. Ames III 1608. Pforzheimer I, 174. ESTC: S107203.

      [Bookseller: Michael Laird Rare Books LLC]
 11.   Check availability:     Biblio     Link/Print  


         Ragionamenti della lingua toscana, dove si parla del perfetto oratore, and poeta volgari . divisi in tre libri.(Al colophon: In Venetia, per Giovanni de Farri and fratelli, al segno del Griffo, 1545).

      (Al colophon: In Venetia, per Giovanni de Farri and fratelli, al segno del Griffo 1545 - Cm. 14, pp. 439 (5). Bel marchio tipografico al frontespizio e alcuni graziosi capilettera xilografici. Ottima legatura settecentesca in piena perg. rigida con titoli in oro al dorso, unghie e tagli rossi. Antiche note ms. al margine, rifilate a causa della rilegatura settecentesca. Sporadici aloni (più evidenti nella parte finale) e qualche macchietta sparsa, una delle quali più evidente ma limitata al margine interno delle carte di errata poste in fine (forse dovuta al colore rosso usato per i tagli). Restauro al margine esterno dell'ultima carta. Esemplare nel complesso in buono stato di conservazione. Bernardino Tomitano (1517-1576), letterato padovano, fu membro dell'Accademia degli Infiammati e frequentatore di Sperone Speroni, Pietro Bembo, Paolo Giovio, Girolamo Fracastoro e Aldo Manuzio. Da questo contesto culturale trovò spunto quest'opera, finalizzata a direzionare compiutamente il modo di scrivere in lingua italiana. Nel 1554 Tomitano fu inquisito (e poi prosciolto) con l'accusa eresia dal Santo Uffizio veneto per aver tradotto alcune interpretazioni sul Vangelo di Erasmo da Rotterdam. Non comune prima edizione. Cfr. Iccu; Biancardi-Francese, Prime edizioni italiane, p. 432; Graesse, VII, 171; Gamba, 1698 per edizioni successive; Iccu. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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         BIBLIA. Quid in hac editione praestitum sit, vide in ea quam operi praeposuimus, ad lectorem Epistola

      Ex officina Roberti Stephani, (Estienne), Typographii Regii., Lutetiae 1545 - Slightly later full leather with ornate gilt device on front and rear, small gilt device in each of eight spine compartments. (ii), (iii), (iiiii - (vi)), (i), (ii), (i - iiii), 156, 172, 116 pages, numbered on rectos only. Very tight, covers Very Good, joints and front hinge professionally and seamlessly strengthened, old, very minor, small light stain mark on an edge here and there else leaves quite nice, edges of title-page a little ragged, old seminary inkstamp at bottom of title-page, a little old scribbling on either side of title-page illustration, a little old writing on front pastedown, lacks free endpapers front and rear. Very tight, handsome copy of a rare, important ed. of the Bible printed by Stephanus (Estienne): two different translations, printed in parallel, in Latin; Jerome's commentary in margins. Variant readings from Hebrew text are marked. Follows order of the Vulgate thru Ecclessiasticus. Libri Prophetici missing and probably in a second book (not present). Pagination shifts between Ruth & Samuel (p.156), Esther & Job (p.172) and finishes with Ecclesiastici (p.116). Because of its rarity, book must be shipped by priority mail. [Attributes: Hard Cover]

      [Bookseller: Recycle Bookstore]
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         De Dissectione Partium Corporis Humani Libri Tres, à Carolo Stephano, Doctore Medico, editi. Unà cum Figuris, & Incisionum Declarationibus, à Stephano Riverio Chirurgo cõpositis

      apud Simonem Colinaeum [Simon de Colines], Parisiis [Paris] 1545 - Folio, with a very large woodcut printer's device on the title page (appropriately depicting Time carrying a scythe), criblé initials, approximately 100 small in-text woodcut illustrations, and 62 full-page woodcuts. Modern (but not recent) antique-style half speckled calf and marbled papered boards, spine blind-tooled in compartments, with a gilt morocco title-label; title leaf and terminal leaf (last page blank) dusty and a little soiled, with expert restoration to minor loss to the blank margins; leaf K3 creased and a little soiled, with expert restoration to old tears and minor loss to the margins; four leaves (K4-5 and K7-8, containing five of the full-page woodcuts, with the original pagination errors on K7b and K8a) supplied in facsimile on old paper; light stain to the top margin of the last quarter of the book (well clear of the text except for the last two leaves); a few trifling marginal spots and stains, and minor signs of use and age; notwithstanding, an excellent copy of this rare and handsome work. 'This magnificent folio volume is one of the finest of all anatomical treatises. Certainly it was the finest printed in France in its century, and the sixty-two full-page woodcuts, artistically presenting the anatomical subjects in special poses before unusual background settings, are particularly sumptuous and imaginative. The anatomy itself is pre-Vesalian in conception and far from being as accurate as that of Vesalius. Some of the plates show diseased as well as normal anatomy' (^Heirs to Hippocrates^ 256). 'Charles Estienne [scion of the famous Estienne family of printers] studied medicine in Paris, completing his training in 1540; in 1535, during his course of anatomical studies under Jacques Dubois (Jacobus Sylvius), he had Andreas Vesalius as a classmate. At the time the only illustrated manuals of dissection available were the writings of Berengario da Carpi, and the need for an improved, well-illustrated manual must have been obvious to all students of anatomy, particularly the medical student son of one of the world's leading publishers. Estienne did not hesitate to fill this need. The manuscript and illustrations for ^De Dissectione^ were completed by 1539, and the book was set in type halfway through Book 3 and the last section, when publication was stopped by a lawsuit brought by Étienne de la Rivière, an obscure surgeon and anatomist who had attended lectures at the Paris faculty during 1533-1536, overlapping the time of Estienne's medical study in Paris. According to historian of surgery and economist, François Quesnay, Estienne may have attempted to plagiarize a manuscript of Étienne de la Rivière which the latter had turned over to him for translation from French into Latin. In the eventual settlement of the lawsuit, Estienne was required to credit Rivière for the various anatomical preparations and for the pictures of the dissections. Had ^De Dissectione^ been published in 1539, there is no question that it would have stolen much of the thunder from Vesalius's ^Fabrica^: it would have been the first work to show detailed illustrations of dissection in serial progression, the first to discuss and illustrate the total human body, the first to publish instructions on how to mount a skeleton, and the first to set the anatomical figures in a fully developed panoramic landscape, a tradition begun by Berengario da Carpi in his ^Commentary on Mondino^. Nonetheless, Estienne's work still contained numerous original contributions to anatomy, including the first published illustrations of the whole external venous and nervous systems, and descriptions of the morphology and purpose of the "feeding holes" of bones, the tripartite composition of the sternum, the valvulae in the hepatic veins and the scrotal septum. In addition, the work's eight dissections of the brain provide more anatomical detail that had previously appeared' (online Garrison-Morton 378). The woodcuts largely depict full-length figures, with t [Attributes: First Edition; Hard Cover]

      [Bookseller: Michael Treloar Booksellers ANZAAB/ILAB]
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         De campanis commentarius.Rome, Guglielmo Facciotti, 1612. With the letterpress title in a woodcut architectural frame and 4 engraved plates (including 2 folding). 19th-century blind-tooled tan sheepskin.

      - BLC STC Italian (17th cen.), p. 756; Gregory, Cat. of early printed books on music in the Libr. of Congress, p. 233; B. Huys, Cat. des imprimés musicaux des XVe, XVIe et XVIIe siècles, 376; ICCU BVEE035288. First edition of one of the first monographs on church bells, carillons and bell ringing, by the Italian philologist Angelo Rocca (1545-1620). It discusses the origins of bells, rites for their consecration, their ecclesiastical usage (in and outside the liturgy), the office of bell ringer, secular uses of bells, musical uses of bells and chiming clocks. Plate A (folding) shows the 24-hour astrological clock (1496-1499) in the tower on St. Marks' square in Venice, including its 2 meter bell with two larger-than-life mechanical bronze figures who hammer it. Plate B (folding) shows 5 mechanical figures striking the 5 bells of the chiming clock of St. Lambert's Cathedral in Liège (completed 1433, destroyed 1795). Plate C shows an enormous bell that requires 24 men to ring it and plate D a carillon (bells played from a manual and pedal keyboard).Rocca founded the Angelica (Public) Library at Rome. He was appointed papal sacristan in 1595. As papal sacristan Rocca acquired a broad knowledge of the nature and use of bells. With the signature of the Welsh musicologist, music historian and Anglican priest William Meredith Morris (1867-1921). With plate B torn, repaired and slightly shaved (affecting only the ends of the supporting beams), minor foxing, an occasional browned patch and some marginal stains, but still in good condition. Binding with a few small chips, scuffs or cracks, but otherwise good and structurally sound. An essential source for any study of the history of bells and bell ringing, including clocks and carillons.

      [Bookseller: ASHER Rare Books]
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         Ebraicarum Quaestionum.

      Louis Elzevier. I: In-8° (mm 158x102). Pagine 126, [2]. Marca xilografica al frontespizio, stemma della città di Leida entro elaborata bordura inciso in legno al verso di carta A8. II: In-8°. Pagine 72. Marca tipografica xilografica al frontespizio. Piccolo lavoro di tarlo al margine esterno delle carte delle due opere che solo raramente tocca i marginalia a stampa, lievi bruniture uniformi e tracce d'uso ma buon esemplare, genuino. Legatura coeva in pergamena floscia, titolo manoscritto al dorso sbiadito, rotture ai margini dei piatti. Nota manoscritta di mano coeva al recto della carta F7 della prima opera. Prima opera stampata da Lodewijk Elzevir (1545 ca-1617), fondatore della celebre dinastia di editori, tipografi e librai degli Elzevier attivi fino al 1791, i quali durante tutto il XVII secolo rappresentarono la più importante casa editrice d'Europa. Nato a Leida, questi cominciò la sua carriera come legatore presso l'officina di Christophe Plantin ad Anversa. Nel 1580 si stabilì a Leida, dove tre anni dopo diede alle stampe il suo primo libro. Il volume contiene anche il raro foglio di errata, che secondo Pieters fu aggiunto in un secondo tempo, addirittura dopo il 1 maggio 1587, come testimonia l'indicazione al colophon "e regione Scholae novae", con riferimento al locale che Elzevier ottenne il permesso di costruire all'interno dell'Accademia. Il secondo libro stampato da Elzevier apparve solo nel 1592 a distanza di ben 9 anni dal primo. Ch. Pieters, Annales de l'imprimerie Elsvirienne, Ghent, 1858, pp. 31-32, nr. 1; A. Pettegree e M. Walsby, eds., Netherlandish Books, Leiden-Boston, 2011, nn. 10350-10351..

      [Bookseller: Libreria Govi Alberto]
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         De dissectione partium corporis humani libri tres. - Neuroantomie.

      Paris, Simon de Colines, 1545, Folio, pp. 249-250, 1 ganzseitiget Holzschnitt. "... the work's eight dissection of the brain give more anatomical detail that had previously appeared."

      [Bookseller: MedicusBooks.Com]
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         Los Claros varones de Espanna / hecho por Hernando de Pulgar

      1545 - Impreso en . Valladolid : en casa de Francisco Fernandez de Cordoua, 8 novembre 1545. 4º, plena piel s. XIX. lxix, [1] f. Datos de edición al final de la obra en colofón. Gótico castellano a línea tirada. Portada arquitectónica grabada con figuras humanas, desperfecto en margen inferior derecho con leve pérdida de grabado. Ref: Alcocer 126, Palau 242119 [Attributes: Hard Cover]

      [Bookseller: Elena Gallego - Rare Books]
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         I casi de gli huomini illustri. Opera [..] partita in nove libri ne quali si trattano molti accidenti di diversi prencipi [..] tradotti et ampliati per m. Giuseppe Betussi da Bassano.

      Al segno del Pozzo [per messere Andrea Arivabene], 1545. In-8° (cm. 15,2), genuina legatura coeva in p. pergamena floscia con tiolo ms. al dorso (lievi usure); cc. 262 (i.e. 264) [16] (ultime 3 carte bianche) in ottimo stato, frontespizio con grande impresa araldica (dedicatario conte Collatino di Collalto) e antica dedica manoscritta, molte iniziali in legno, macchioline alla sola carta I8 e al taglio superiore; ripetute nella numerazione le cc.195-196. Prima edizione in volgare di un'opera boccaccesca che moraleggiava sulle sventure dei personaggi storici, e perciò incontrava il gusto degli umanisti italiani. «Cette édition conserve un passage sur le pape Jean, qui, au dire de M. Libri, aurait été supprimé dans d'autres» [Brunet I, 989]. Non comune. Cfr. Bacchi della Lega 20. Ottimo esemplare.

      [Bookseller: Gabriele Maspero Libri Antichi]
 19.   Check availability:     maremagnum.com     Link/Print  


         Digestum vetus. Dn. Iustiniani sacratissimi principis iuris enucleati, ex omni veteri iure collecti, Digestorum, seu Pandectarum tomus primus (vulgus Digestum vetus appellat) ad vetustorum simul & emendatorum codicum fidem, summa diligentia recognitus. Accessit noua & elegans interpretatio in arborem servitutum, nunquam antehac in lucem emissa.

      - Lugduni, apud Hugonem, & Haeredes Aemonis à Porta, 1545 (Excussum Lugduni, impensis Honestorum virorum Hugonis et heredum Aemonis a porta anno domini, 1544), in-folio, il volume conserva la legatura originale antica dei fascicoli, ma ha le copertine in pergamena con grosse mancanze al rivestimento, e il dorso è parzialmente mutilo, cc. [48], 454. Con bella marca xilografica al front. e tre grandi xilografie n.t. (cc. g5v, 2c8v, A7r). Impresso in rosso e nero. Putroppo mancano due carte al primo fascicolo (a3 e a4). Mancanze ai margini dovute a tarli lungo tutto il volume (in pochi fascicoli anche nello specchio di stampa).

      [Bookseller: Libreria Oreste Gozzini snc]
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         1. Die New Erclärung der Landsfreyhait des loblichen haus und Fürstenthumbs Obern unnd Nidern Bairn.

      (München, Schobser), um 1545. - Folio, circa 30 x 20,8 cm. 18 Blatt, Titel in Rot und Schwarz mit grossem Wappen-Holzschnitt Halb-Lederband d. 19. Jh. VD16 B 982; Lentner 2609; Pfister I, 519. Textgleicher Neudruck der revidierten Erklärung von 1516. Der Holzschnitt mit bayerischem Rautenwappen im Früchtekranz. - ANGEBUNDEN: 2. Der Fürstlichen Bayrischen Landßordnung weitere erclerung, sambt etlichen von newem daran gehengten, vnd zu anstellung guter loeblicher Policey dienstlichen satzungen. München, Adam Berg, 1578. XLIX num., 3 nn. Bll., Titel in Rot und Schwarz und mit großem Wappenholzschnitt. - VD16 B 1036. Erste Ausgabe der bis 1598 dreimal gedruckten Bayerischen Landesordnung. Das Gesetzbuch Herzog Albrechts V. von Bayern (1528-1579) ist auch eine wertvolle kulturgeschichtliche Quelle, da es viele Regeln für den Alltag aufzeichnet, sich u. a. ausführlich mit dem Bierbrauen befaßt, ferner mit der Ordnung in Wirtshäusern, bei Hochzeiten und anderen Festlichkeiten, mit Badestuben der Bauern, Unterhaltung der Landstrassen, Verordnungen für Goldschmiede, Metzger und andere Handwerker etc. "- Nur wenig gebräunt, vereinzelt leicht fleckig, zu Beginn wenige Blätter mit kleinen Papierfehlern im weissen Rand (ohne Textverlust), meist sauber, auf festem Papier. Etwas berieben, hinterer Vorsatz erneuert. Gut erhalten und schön. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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         De campanis commentarius.Rome, Guglielmo Facciotti, 1612. With the letterpress title in a woodcut architectural frame and 4 engraved plates (including 2 folding). 19th-century blind-tooled tan sheepskin.

      BLC STC Italian (17th cen.), p. 756; Gregory, Cat. of early printed books on music in the Libr. of Congress, p. 233; B. Huys, Cat. des imprimés musicaux des XVe, XVIe et XVIIe siècles, 376; ICCU BVEE035288. First edition of one of the first monographs on church bells, carillons and bell ringing, by the Italian philologist Angelo Rocca (1545-1620). It discusses the origins of bells, rites for their consecration, their ecclesiastical usage (in and outside the liturgy), the office of bell ringer, secular uses of bells, musical uses of bells and chiming clocks. Plate A (folding) shows the 24-hour astrological clock (1496-1499) in the tower on St. Marks' square in Venice, including its 2 meter bell with two larger-than-life mechanical bronze figures who hammer it. Plate B (folding) shows 5 mechanical figures striking the 5 bells of the chiming clock of St. Lambert's Cathedral in Liège (completed 1433, destroyed 1795). Plate C shows an enormous bell that requires 24 men to ring it and plate D a carillon (bells played from a manual and pedal keyboard).Rocca founded the Angelica (Public) Library at Rome. He was appointed papal sacristan in 1595. As papal sacristan Rocca acquired a broad knowledge of the nature and use of bells. With the signature of the Welsh musicologist, music historian and Anglican priest William Meredith Morris (1867-1921). With plate B torn, repaired and slightly shaved (affecting only the ends of the supporting beams), minor foxing, an occasional browned patch and some marginal stains, but still in good condition. Binding with a few small chips, scuffs or cracks, but otherwise good and structurally sound. An essential source for any study of the history of bells and bell ringing, including clocks and carillons.

      [Bookseller: ASHER Rare Books (Since 1830)]
 22.   Check availability:     NVvA     Link/Print  


         L'usaige de l'astrolabe, avec un traicté de la sphére.

      Paris, Barbé, Gazeau, Sertenas, 1545. ____ Première édition, de loin la plus rare. C'est le premier traité sur l'astrolabe en français. Illustré par 38 gravures sur bois dans le texte. L'une est une volvelle (une gravure à deux parties mobiles). Le texte est élégament imprimé en caractères romains, probablement des Garamond. Le dos a été refait. *-------* First edition, far the rarest. This is the first book on the astrolabe in French. Illustrated by 38 woodcuts, whom one is a volvelle, with two moving parts. It begins with a brief description of the sphere and the usual circles of the equator, tropics, etc. The rest of the Jacquinot text is devoted to a detailed description of the astrolabe, with each piece being illustrated and its use in astronomy and surveying explained. The book is exquisitely printed in Roman letter, possibly a Garamond type. Mortimer, French, 328. In-4. Collation : (16), 84 ff. Veau, dos à nerfs orné, fleuron doré sur les plats au centre d'un encadrement doré. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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         Regole grammaticali della volgar lingua,di messer Francesco Fortunio,nuovamente reviste et con somma diligentia corrette.In Vinegia,Nelle case de' figliuoli di Aldo,

      In Vinegia,Nella casa de'figliuoli di Aldo 1545 - Ristampa identica dell'edizione del 1541. Ex-libris al contropiatto.Due sonetti petrarcheschi manoscritti da mano coeve,alla prima e all'ultima carta bianca. Margine superiore un poco corto per altro bell'esemplare. Renouard, p.131. In-8°(mm 160 x 100);(4)+47(ultima numerata 41)+(1) carte.Legatura antica in cartone alla rustica. [Attributes: Hard Cover]

      [Bookseller: La carta bianca studio bibliografico]
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         RUPERTI ABBATIS MONASTERII TUITIENSIS E REGIONE AGRIPPINAE COLONIAE IN RHENI RIPS SITI, ORDINIS S. BENEDICTI, VIRI, & VITAE, SANCTIMONIA, & SACRARUM LITERARUM PERITIA PRAECLARI, COMMENTARIORUM IN EVANGELIUM IOANNIS, LIBRI XIIII.

      Parisiis, Apud Audoenum Parvum, Via ad divum Jacobum, sub signo Floris Lilii, 1545.. Printed by Gulielmus Thibout, 1545. LATIN TEXT. Small 8vo, approximately 170 x 105 mm, 6¾ x 4 inches, leaves: (12), 391, last page has the colophon, dated August 1545, publisher's device of lions and fleur de lys on title page, some decorated initials, 21 pages of index follow title page, bound in modern quarter calf over cloth sides, raised bands and gilt lettering to spine. Early line of manuscript in old ink crossed through long ago on title page, tiny piece missing from lower outer corner of title page, 5 mm (¼") hole in blank margin of one index page, occasional light age-browning, small slight mark to some margins, expert repairs to some inner margins, worm track begins in lower margin of fol.180 increasing in size to fol.208, nowhere near text, then decreasing and ending on fol.235, small pale brown damp stain to lower corner of last 13 leaves. A good sturdy copy. First published in Cologne in 1526. The influential Benedictine theologian and writer Robert de Tuy or Rupert of Deutz (circa 1075-1129) was born in Liege in Belgium. He entered the monastery of Saint-Laurent as a young person and received a literary education. He became abbott of Deutz (Cologne) in Germany and died there in 1129. Adams, Books Printed in Europe 1501-1600, Volume II, 939 and 940. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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         Della Nobilta et Eccellenza delle Donne, dalla lingua francese nella italiana tradotto. Con una oratione di M. Alessandro Piccolomini in lode delle medesime. Venice: Gabriel Giolito de Ferrari, 1544. Small 8vo, 29, [1]ff, printer's device on title page and recto of last leaf, a couple of page numerals shaved, text nice a clean. The translation is attributed to Francesco Angelo Coccio. The original Latin version was first published in 1529, the French translation in 1530. Not in Adams. [Bound with:] FLORES (Juan de) Historia di Avrelio et Isabella : nellaquale si disputa: chi piu dia occasione di peccare, ho l'huomo alla donna, ho la donna a l'huomo, di lingva Spagnvola in Italiana tradotta di M. Lelio Aletiphilo. Venice: Gabriel Giolito de Ferrari, 1543. Small 8vo, 38, [2]ff, printer's device on title page and verso of last leaf, woodcut initials, headlines slightly cropped, text nice and clean. Adams, F626. [Bound with:] SANSOVINO (Francesco Tatti) Ragionamento... nel quale breuemente s'i

      Mantua: Mag. Mad. Gasparina, 1545. Small 8vo, 16ff, text nice and clean, armorial engraved bookplate of Treadway Nash, D.D. of Bevere, Worcestershire, some notes in ink to free-endpaper, later vellum, a nice copy. Not in Adams. Provenance: Property of the Trustees of Lord Gretton.

      [Bookseller: Forest Books]
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         Des löblichen Hauß vnd Fürstenthumbs Obern vnnd Nidern Bayren Freyheiten, von ainem Regierenden Fürsten von Bayren, auff den andern, gemainen Landt gegeben, vernewt vnd bestettigt, Die auch von Kaisern vnd Königen zugelassen vnd Confirmiert sein, jetzt gemehrt vnd widerumb getruckt.

      2 Bll. mit gr. Wappenholzschnitt auf dem Titel. 237 S., 7 Bll. - II. Die New Erclärung der Landsfreyhait des loblichen haus vnd Fürstenthumbs Obern vnnd Nidern Bairn. Anno fünnftzehenhundert vnnd im Sechtzehenden auf den vierundzwainzigistn tag des Monats Aprilis zu Jngelstat aufgericht. (München, Andreas Schobser), um 1545. 18 Bll. mit Wappenholzschnitt auf dem Titel. III. Die Ordnung vber gemainer Lanndtschaft in Bayrn auffgerichte Hanndtuest. Tausent Fünfhundert vnd im sechzehenden jar, zu Jngolstat beschlossen. 8 Bll. (l. w.), mit Wappenholzschnitt auf dem Titel. Holzdeckelband des späten 17. Jhdts. mit Schweinslederbezug. Folio. I.: VD16 B 954 IA 115.008 Lentner 3181: "Inhaltlich und drucktechnisch wertvoll" Pfister I, 4282. - II.: VD16 B 982. - III.: VD16 B 1005. - Schöner Sammelband mit 3 wichtigen Drucken zum bayerischen Recht. - Breitrandig und sauber, es fehlen die beiden Schließen.

      [Bookseller: Antiquariat Turszynski]
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         1545 1st ed Marco Guazzo Mehmed II Ottoman Turkish WARS Muslim Naples Rhodes

      In Venetia : Al segno de la Croce, MDXLV. [1545]. First edition. Colophon: "Impresse in Venetia per Bernardino Bindoni Milanese l'anno MDXLV." EDIT 16. CNCE 22057. Adams. Littlefield 8. Falconet 2:17271. - 1545 1st ed Marco Guazzo Mehmed II Ottoman Turkish WARS Muslim Naples Rhodes EXTREMELY RARE with No Other Examples Worldwide Mostly known as an Italian poet, Marco Guazzo wrote this work on the history of Mehmed II the Conqueror and his Turkish wars including his war with Ferdinand I, King of Naples, the Siege of Rhodes, and other conquests along the Mediterranean and Black Seas. While the prime focus of this work is conquests in Persia and in Rome, it “contains references to exploration in America,” (Littlefield) a very rare and early reference! Known copies of this book are extremely scarce, both for sale and in libraries. Item number: #175 Price: $1500 GUAZZO, Marco. Historie di Messer Marco Guazzo : oue se conteneno le guerre di Mahometto imperatore de Turchi haute p quindeci anni continui con la signoria di Venetia poi con il re di Persia Vsuncassano ; il re di Napoli Ferdinando ; & lassedio di Rodi ; & in che guisa ; & in che luogo mori con le guerre di suo figliuolo Baiasit fatte con il Carabogdan vaiuoda della Valachia: et con il soldan del Cairo & molte giornate con la morte de i ualorati capitani il magnifico Bertoldo, il Conte Girolamo da nouello, il Conte Giulio patre del duca d Atri e molti altri. In Venetia : Al segno de la Croce, MDXLV. [1545]. First edition. Colophon: "Impresse in Venetia per Bernardino Bindoni Milanese l'anno MDXLV." EDIT 16. CNCE 22057. Adams. Littlefield 8. Falconet 2:17271. Details: • Collation complete with all pages: 32 leaves [sign. A-D8] • Binding; Vellum; tight & secure • Language: Italian • Size: ~6in X 4in (15cm x 10cm) • EXCEEDINLY RARE with no other examples for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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         Historia del Sacro Concilio di Trento, Scritta p[er] M. Ant[on]io Milledonne, fu Sec[retari]o della Ser[enissim]a Rep[ubbli]ca di Venetia, al Sacro Sancto Concilio, con gli Ambasciatori Veneti. Trascripta.

      1545-1563 : Abschrift wohl nach 1600. 1545 - Folio (38 x 26.5 x 3 cm). Unterteilt in 2 Teile; 272 unpaginierte SS. (davon 5 blanko zw. Libro Primo resp. Secondo) in Schreibschrift von 1 Hand (lateinische Kurrent, Spitzfeder, schwarze Tinte) a. Büttenbogen (unbeschnitten, ohne Wasserzeichen) mit relativ breitem Zeilenabstand (ca. 16- auf 75-Punkt) in blind gezogenem Satzspiegel. Mehrfarbig koloriertes Frontispiz in getönter Handzeichnung (Feder, sepia/altrosa) mit zentralem Goldgrund-Medaillon. Späterer HPerg.-Einband um 1860/1880 (etwas bestossen u. berieben) mit hs. Rückentitel, Perg.-Ecken u. marmorierten Deckeln. Frontispiz marginal angeschmutzt (wohl ehem. Deckblatt), Seiten vom Kopf her unterschiedlich feuchtigkeitsrandig und sporfleckig (Text dadurch unterschiedlich verblasst, jedoch weitestgehend noch lesbar) sowie mit div. Wurmspuren, zahlreiche alte Reparaturstellen in div. Papieren, mit unterschiedlichen Textbeeinträchtigungen u. -Verlusten (letzte Lage mit weissem Papier alt repariert, dadurch unterschiedliche Textverluste, letzte ca. 5 Bll. =10 Seiten mehr). Gesamthaft weitgehend erhaltenes, grösstenteils relativ gut lesbares Exemplar. -- In italienischer Sprache. - Rückentitel: A. Milledone [sic], etc. - Nur in Worldcat (4 Standorte). - Digitalisiert in Penn Libraries (Pennsylvania Univ.), Ms. Codex 268. - Registriert u.a. in Venezia, Fondazione Querini Stampalia, Cl. III Cod. 3 (=1061); Bibliothèque Mazarine Ms. 4568; Ranke Manuscript 314; Mancini (Cortona) 306. - Es gibt allem Anschein nach keine gedruckte Ausgabe; eine französischsprachige Version wurde 1870 in Paris publiziert : Journal du concile de Trente, rédigé par un secrétaire vénitien présent aux sessions de 1562 à 1563 et publié par Armand Baschet. Paris, H. Plon 1870. 275 p. (cf. BNF no. FRBNF30947459). - Ungewöhnliche Titelillustration : auf Schiffsbug stehende weibliche Heilige in blauem Kleid über rotem Oberteil, die Arme ausgebreitet, zu ihrer Rechten ein weisser Vogel, der auf dem Kopf eines Hundes (?) steht, hinter ihr ein Fabelwesen (?). Im Fuss des Renaissancerahmens ein Schild mit Inschrift: sTc 1563 (wohl: Sacrum Tridentinum Concilium). Darunter: A.D. MDXLV - MDLXIII (das Konzil fand statt in den Jahren von 1545 bis 1563). - Incipit: ?Prefatione : Poiche non posso mancar di obedir quei Sig[no]ri quali amo, et viverisco somamente, che mi hanno commandato a scrivere l?Historia del Sacro Conc[ili]o celebrato in Trento? [etc.] / Explicit: ?[.] nel principio facio fine, rimettendomi di tutto quello che ho scritto, al giudicio, et arbitrio della Santa Chiesa Romana. Deo gratias. Finis.? -- Antonio Milledonne (Venezia 1522-1588 ibid.), italienischer Jurist und Diplomat. ?Il coronamento della carriera nella diplomazia, [.], fu comunque l?inclusione nel seguito degli ambasciatori veneti Nicolò Da Ponte e Matteo Dandolo al concilio di Trento come segretario d?ambasciata durante la terza e ultima fase dei lavori, tra il 1562 e il 1563. La nomina del cardinale veneziano B. Navagero a legato papale permise a Da Ponte e a Dandolo di essere costantemente informati [.] delle novità di contenuti e di procedura adottate dalla presidenza dei legati. In particolare l?ambasciatore Da Ponte, sostenne lo ius divino dell?obbligo di residenza dei vescovi, suscitando comprensibile risentimento a Roma. A seguito di questa esperienza diplomatica il Milledonne redasse una Historia del concilio di Trento, divisa in due libri, succinta nell?impianto ma pregevole per essere una delle prime riflessioni storiografiche sul Tridentino e per l?ampia circolazione manoscritta che ebbe. La Historia confermava, nella veste semiufficiale in cui era redatta, che a Trento ambasciatori e segretario avevano pienamente corrisposto alle commissioni del Senato.? (etc., M. Galtarossa, in: Diz. Biogr. degli Italiani, 74, 2010). -- VERSANDKATEGORIE / Weight category / Poids brut 3 kg Sprache: it [Attributes: Soft Cover]

      [Bookseller: Franz Kühne Antiquariat und Kunsthandel]
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         Rime diverse di molti eccellentiss. auttori nuovamente raccolte. Libro primo. (SEGUE): Rime di diversi nobili huomini et eccellenti poeti nella lingua thoscana. Libro secondo

      Appresso Gabriel Giolito Di Ferrari, 1545. In 16, cm 10 x 16, pp. 370 (pp. 211 - 214 e 361 - 370 mancanti per censura sostituite da altrettante carte bianche) + (30, ultime 4 bianche); cc. (3) + 184 + (13). Insegna giolitina all'ultima carta bianca. Mezza pelle ottocentesca. Edizione originale  dei primi due libri di questa fondamentale raccolta antologica, considerato il primo esempio di collana editoriale nella storia del libro italiano e tra i vettori principali per la diffusione del petrarchismo in Europa. Le pagine mancanti corrispondono agli 11 componimenti di Pietro L'Aretino, censurati in epoca successiva e di conseguenza cassati da molti esemplari. La raccolta venne curata Lodovico Domenichi e Anton Francesco Doni. Il successo fece si che altri stampatori seguitassero i libri 3 e 4 i quali in fine saranno inseriti nella numerazione dallo stesso Giolito, impossibilitato a opporsi. Interessante la presenza di componimenti di letterate come Vittoria Colonna e Veronica Gambara. King, Rabjl, Teaching other voices: women..., p. 86 (per la presenza di letterate donne); Romei, Appunti sulla tradizione delle Rime di Aretino: le antologie a stampa (In: Dentro il cinquecento), p. 108. Govi, I classici che hanno fatto l'Italia. Bongi, Annali di Gabriel Giolito, p. 88 e 143 ITA

      [Bookseller: Libreria Antiquaria Coenobium]
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         RUPERTI ABBATIS TUITIENSIS, VIRI UNDE CUNQUE DOCTISSIMI, SUMMIQUE INTER VETERES THEOLOGI, LIBRI XLII ; De operibus sanctae Trinitatis, cum luculentissimis capitulorum argumentis, cunctisq scripturam locis, nunc demum diligenter recogniti, & pristinae intergritati restituti.

      Arnoldi BIRCKMANNI 1545 - - 1545, ANTVERPIAE, Arnoldi BIRCKMANNI, Ex-libris cachet humide "conventus Carm. Disc. Insulensis". - In-quarto demi veau à quatre nerfs reliure d'époque, pièce de titre basane titre peint à la main , plats recouverts d'un splendide papier dominoté peint à la main. - P. de titre, 9 ff.nn., 1 f., 403 ff."806 p." - TRES BEL EXEMPLAIRE EN RELIURE D'EPOQUE DOMINOTEE. OUVRAGE DE GRANDE RARETE. - Benoît XVI RAPPELLE SON IMPORTANCE EN 2009 : BENOÎT XVI, AUDIENCE GÉNÉRALE, Rupert de Deutz Chers frères et sœurs, Nous faisons aujourd'hui la connaissance d'un autre moine bénédictin du XIIe siècle. Son nom est Rupert de Deutz, une ville près de Cologne, siège d'un célèbre monastère. Rupert lui-même parle de sa propre vie dans l'une de ses œuvres les plus importantes, intitulée La gloire et l'honneur du Fils de l'homme, qui est un commentaire partiel de l'Evangile de Matthieu. Encore enfant, il fut accueilli comme « oblat » dans le monastère bénédictin de Saint-Laurent à Liège, selon l'usage de l'époque de confier l'un des enfants à l'éducation des moines, entendant en faire don à Dieu. Rupert aima toujours la vie monastique. Il apprit rapidement la langue latine pour étudier la Bible et pour jouir des célébrations liturgiques. Il se distingua par sa droiture morale très intègre et par son profond attachement au Siège de Saint-Pierre. Son époque fut marquée par des oppositions entre la papauté et l'empire, à cause de ce qu'on appelle la « lutte des investitures », avec laquelle — comme je l'ai mentionné dans d'autres catéchèses — la papauté voulait empêcher que la nomination des évêques et l'exercice de leur juridiction ne dépende des autorités civiles, qui étaient guidées la plupart du temps par des motivations politiques et économiques, certainement pas pastorales. L'évêque de Liège, Othbert, résistait aux directives du Pape et envoya en exil Bérenger, abbé du monastère de Saint-Laurent, précisément à cause de sa fidélité au Pape. Dans ce monastère vivait Rupert, qui n'hésita pas à suivre l'abbé en exil; il ne revint à Liège et n'accepta de devenir prêtre que quand l'évêque Othbert rentra en communion avec le Pape. Jusqu'à ce moment, en effet, il avait évité de recevoir l'ordination d'un évêque en désaccord avec le Pape. Rupert nous enseigne que lorsque naissent des controverses dans l'Eglise, la référence au ministère pétrinien garantit la fidélité à la saine doctrine et donne la sérénité et la liberté intérieure. Après la dispute avec Othbert, il dut encore abandonner son monastère à deux reprises. En 1116, ses adversaires voulurent même lui intenter un procès. Bien qu'ayant été lavé de toutes les accusations, Rupert préféra se rendre pendant une certaine période à Siegburg, mais les polémiques n'ayant pas encore cessé lorsqu'il revint au monastère de Liège, il décida de s'établir définitivement en Allemagne. Nommé abbé de Deutz en 1120, il y resta jusqu'en 1129, année de sa mort. Il ne s'en éloigna que pour un pèlerinage à Rome, en 1124. Ecrivain fécond, Rupert a laissé de très nombreuses œuvres, aujourd'hui encore d'un grand intérêt, également parce qu'il fut actif dans plusieurs importantes discussions théologiques de l'époque. Par exemple, il intervint avec détermination dans la controverse eucharistique qui, en 1077, avait conduit à la condamnation de Bérenger de Tours. Celui-ci avait donné une interprétation réductrice de la présence du Christ dans le Sacrement de l'Eucharistie, la définissant seulement symbolique. Mots clés : [Attributes: Hard Cover]

      [Bookseller: LIBRAIRIE ANCIENNE BERNARD MARIE ROLIN]
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         Rerum a Fernando e Elisabe Hispaniarum foelicissimis Regibus gestar. Decades duas. Necnon belli Navariensis libros duos. Annexa insuper Archiepi Roderici Chronica, alissqze historiis antehac non excussis.

      (à la fin:) Apud inclytam Granatam. Anno a virgineo partu millesimo quingentesimo quadragesimo quinto (Granada, Hermanos Nebrija, 1545). - 3 parties en 1 volume in-folio. 8ff. LXXXVI feuillets. + 4ff. CXXIIII feuillets (i.e.CXXII). + 2ff. LXXVII feuillets. 1f. Plein vélin souple du temps. Edition Originale posthume imprimée à Grenade sur les presses des petit-fils de Nebrija, Sancho et Sebastián, qui avaient retrouvé le texte dans les archives inédites du célèbre humaniste. Bien que l'ouvrage soit publié sous le seul nom de Nebrija, les cinq traités dont est composé le volume, répartis en trois sections distinctes avec page de titre et pagination séparées, sont en réalité l'œuvre d'historiens espagnols que Nebrija se limita a compléter, à corriger et à traduire en latin. La première partie contient l'Histoire des Rois Catholiques par Hernando de Pulgar et l'Histoire de la Guerre de Navarre par Luis Correa. La seconde partie présente la Chronique d'Espagne par Jiménez de Rada et la Généalogie des Rois d'Espagne d'Alfonso de Cartagena. Enfin, la troisième partie contient le Paralipomène d'Espagne par l'Evêque de Gérone. Seul l'ouvrage de Correa avait déjà vu le jour en espagnol en 1513, tous les autres traités paraissant ici pour la première fois. Malgré le fait que Nebrija ne soit pas l'auteur principal de cet ouvrage, son travail de compilation, de traduction et d'adaptation, incluant la modification de certains points du texte original et différents ajouts, constitue un précieux témoignage sur son approche de l'Histoire. Ce livre est par ailleurs l'un des chefs d'œuvre de la typographie espagnole de la Renaissance. Salvá, notamment, le considérait comme le plus beau livre imprimé de son temps: "No recuerdo haber visto libro alguno, impreso en aquella época, más magnífico que el presente: el papel es hermoso y la edición bellísima". Inscriptions manuscrites postérieures et diverses taches à quelques feuillets. Très bel exemplaire de premier tirage. Palau, 189342. Sur le travail de Nebrija historien, cf. Carmen Codoñer, "Tres cronistas reales: Alfonso de Palencia, Antonio de Nebrija y Lucio Marineo Sículo" in: "La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures" (2008), Volume 37, Issue 1. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librería Comellas]
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         Commentariorum in Euangelistam Joannem heptas prima/ Commentariorum in Euangelistam Joannem heptas Teritia

      Basileae, 1545 and 1547. Large Quarto. Two volumes in one. Craig S. Farmer notes that his work in biblical interpretation used exegetical and research skills that set the standard for German biblical scholarship for the next two centuries. see his The Gospel of John in the Sixteenth Century Exegesis of Wolfgang Musculus (Oxford University Press, 1997). While most scholarship has focused on the early work of Luther and his associates on Romans and Galatians, it is this exposition on the Gospel of John (as well as his citing of the Church Fathers) that shows the power of biblical scholarship in the second generation of the Reformation. Beginning at the Wedding Feast of Cana and proceeding to the case of the woman at the well (John 4) Musculus shows a level of exegetical skill that is similar to Calvin's though they take different approaches as in the case of the woman at the well. While also a great preacher like Rhegius, his rigorous scholarship advances the exegetical approach that distinguishes the next several centuries of Lutheran scholarship. OCLC locates copies at the British Library, the National Library of Scotland, and libraries in Switzerland and Germany. There are no reported copies in North America. 1st issue of the first book, 2nd issue of the second book, single column. [24], 448, [4]pp. [1]pp. errata and [3] blank pages. Volume two: with a divisional title page, dated 1547, 473[1], [4], [1]pp. colophon. Bound in full blind stamp decorated pigskin, raised bands, title in brown ink on spine. Title page on volume two has a piece of paper mounted over a manuscript note? Occasional contemporary marginal notes, some chipping to outer margins of last few leaves not affecting text.

      [Bookseller: Alcuin Books, ABAA-ILAB]
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         Chrysostomi Archiepiscopi Constantinopolitani in omnes D. Pauli epistolas commentarij, quotquot apud Graecos extant, Latinitate donati, à multis mendis purgati, et recens in tre tomos divisi: quorum unicuique accessit index rerum omnium insignium locupletissimus, ut nihil sit quod in eo desiderari possis.

      1545. Parisiis, Sub signo hominis silvestris, via ad diuum Iacobum, 1545. In 12esimo, 1 c. b., front (tre cuori ornati e in nero su carta bianca), al verso una nota al lettore (Typographus Candido Lectori S. D.), pp. (14) (di Index Verborum Et Sententiarum insignium iuxtà..), 444, tre piccoli capolettera (avviso al lettore, Index e inizio di testo), lingua latina, alcune postille. Legatura originale in p. pergamena semimolle con tit. ms. al dorso. Si tratta del primo volume (su tre) del commento alle lettere di Paolo. Giovanni Crisostomo o Giovanni d'Antiochia (Antiochia, 345 - 347 circa - Cumana Pontica, Cappadocia, 407), Padre della Chiesa, è il più celebre degli oratori sacri. É stato il secondo patriarca di Costantinopoli, commemorato come santo dalla chiesa cattolica e dalla chiesa ortodossa, venerato dalla chiesa copta, e uno dei trentatré dottori della Chiesa. La sua eloquenza e la sua fama di oratore furono all'origine dell'' epiteto "Crisostomo" ("bocca d'oro" in greco antico). La sua personalità è soprattutto quella di un moralista, desideroso di riformare la vita cristiana, pur mantenendosi, culturalmente, nell'ambito dell'ellenismo. Il suo zelo e il suo rigore gli arrecarono anche forti opposizioni,. Subì un esilio e durante un trasferimento morì. Scrisse anche delle omelie antigiudaiche, utilizzate nei secoli come pretesto per le discriminazioni e le persecuzioni contro gli ebrei. Questo volume è il commento alle lettere di Paolo ai Romani: occorre riscoprire, sull'esempio dei Padri, le omelie incentrate sulla santità, e questa su San Paolo è una vetta tra le omelie di San Giovanni Crisostomo, sempre attuale e di aiuto per gli omileti. Nello stesso anno, sotto la stessa insegna, esce anche "Diui Ioannis Chrysostomi Episcopi Constantinopolitani in Sanctum Iesu Christi Euangelium secundum Matthaeum commentarij luculentissimi, omnibus Verbi Diuini studiosis necessarij: opus perfectum" (Parisijs, Sub signo hominis siluestris, via ad Diuum Iacobum [Regnault Chaudière], 1545). Dei numerosi scritti meritano di essere ricordati in particolare i tre libri "Contro gli avversari della vita monastica"; i sei del dialogo "Sul sacerdozio"; varie opere ascetiche (sulla verginità, contro coloro che tengono vergini coabitatrici, ecc.); i commenti agli Atti degli Apostoli; i discorsi esegetici (sulle epistole di S. Paolo, sui Salmi, ecc.) in cui segue il metodo della scuola antiochena; morali (contro i teatri e i giochi del circo); "Sui misteri" (per le grandi solennità); apologetici (quelli appuinto contro gli Ebrei, contro gli anomei, ecc.). Rara edizione (seppur non la prima) che non troviamo censita in iccu. Una antica nota manoscritta sotto le indicazioni tipografiche al frontespizio. Usuali segni del tempo alla pergamena (con una piccola mancanza della legatura all'angolo superiore del piatto anteriore) e ai fogli (con sporadiche imperfezioni), peraltro esemplare nell'insieme marginoso e fresco, con un interno in buono stato di conservazione.

      [Bookseller: Studio Bibliografico Botteghina D'arte G]
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         Aeliani Variae Historiae Libri XIIII. Ex Heraclide de rebus publicis commentarium. Polemonis Physionomia. Adamantii physionomia. Melampodis ex palpitationibus divinatio. De neuis.

      Small quarto; printer's woodcut to title page; ff [4], 111,13. Final leaf is imprimateur. Title in Greek and Latin, text in Greek. Occasional neat underlining and marginalia. 19thc full calf, the spine with raised bands, blind decoration to compartments, two black lettering pieces. A Very Good copy the Editio Princeps of Aelianus's most important work, a fascinating collection of sketches and anecdotes including natural history, fly fishing, mythology, customs and traditions, in 14 books.

      [Bookseller: Neil Summersgill]
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         De bello civili libri decem Eiusdem vita in fine operis Paris ex officina Rob Stephani

      

      [Bookseller: Maggs Bros. Ltd.]
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         Thierbuch. Von Art Natur und Eygenschafft der Thierer, Als nemlich Von Vierfüssigen Vögeln, Fyschen, Schlangen oder kriechenden Thieren, Und von den kleinen gewürmen die man Insecta nennet. . .

      Frankfurt: Cyriacus Jacob zum Bart, 1545. 1st Edition. Hardcover. Folio - over 12 - 15" tall. Folio (290 x 188 mm). 172 (of 173) numbered leaves, with final blank but lacking blank leaf a6 after preliminaries. Signatures: a6 [-a6], A-Ee6. Gothic type, 4 woodcut illustrations on title and 214 woodcut illustrations in text. Rebound to style in early 20th century full calf over wooden boards, spine with 4 raised bands, boards ruled in blind, two brass catches and clasps, red-coloured edges, spine sun-faded, little scratching to boards. Very little browning, very minor spotting and finger-soiling to text, tears in few pages repaired with Japan paper in blank lower margin, first 6 leaves repaired and reinforced at gutter, small repaired hole in title-page not affecting text or image. Provenance: Dr. Kurt Lindner, Bamberg (small stamp "Bibliotheca Tiliana" to title verso and leaf E5v and bookplate to front pastedown); Sigrid Gutekunst (bookplate to front pastedown). A very good copy with ample margins, printed on strong paper. ----Benzing, Ryff 178; Nissen ZBI 55; VD 16 A 1336; Graesse I, 56; Rottinger, Frankfurter Buchholzschn. 120. - THE RARE FIRST GERMAN EDITION OF THIS VERY POPULAR WORK OF ALBERTUS MAGNUS, edited by Walther Hermann Ryff, on zoology. The Thierbuch is one of the earliest illustrated purely zoological work and contains sections on quadrupeds, birds, snakes, and insects. The woodcuts are derived from various sources, including Lonitzer and Egenolf publications. The text is a translation of De animalibus, books 22-26. An important part of the work (chapter 23) deals with the falconry and is, apart from its ornithological section, not original, but a collection of predominantly 12th-century hunting treatises with a strong veterinary medicinal focus. (Linder, Anfänge der dt. Jagdliteratur, p.47). The first German translations of these parts were done in the 15th century by Werner Ernesti and Heinrich Münsinger. Ryff did not know these two translations present in manuscript only. The woodcuts of the master "IK" are mainly from the book of Michael Herr's Gründtlicher underricht ... aller vierfüssigen thier. The unsigned animal drawings of this print are skilful, of large style, and with the animals in almost lifelike representation. As in other medieval and early Renaissance zoological works, demons and hybrid species had considerable relevance. "Albertus also believed in hybrids of man and various animals, for example the Donkey-man (Onocentaurus), and the Goat-man (Cirinus and Pilosus) ... It is a telling detail that on the title-page of the 1545 edition two hybrids appear next to the 'kings' of the animals (the eagle and the lion): the basiliks and a kind of Sea-wolf ... Interestingly, early modern zoology did not abandon the thoughts of the Medieval thinkers, but came into being a hype in the interest in monsters: the science of teratology developed and extensive treatises on monsters by, e.g. Paré, Aldrovandi or Liceti, were composed." (K. Enekel, in: Zoology in Early Modern Culture, Brill, 2014, p.112-14). Very Good.

      [Bookseller: Milestones of Science Books]
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         La Morte di Adone

      1545. Acquaforte, 1545-1547 circa. Da un soggetto di Luca Penni. Il mito di Adone, nei suoi diversi episodi, è molto caro all'iconografia rinascimentale, ed è ben rappresentato sia nella pittura che nell'arte incisoria. L'episodio finale del mito, con la morte del giovane, era affrescato, tra le altre scene, nella Galleria di Francesco I a Fontainebleau. Invenzione di Rosso Fiorentino, fu tradotta su rame da Antonio Fantuzzi, intorno al 1542-1543. Leon Davent incide due episodi del mito: Adone caccia il cinghiale calidonio, di formato ovale, e datato 1547, e La Morte di Adone. Lo stile delle due incisioni è molto simile, elemento che lascia presuppore che l'autore dei due soggetti sia il medesimo. Per la scena di caccia, l'attribuzione non è univoca, e sono stati avanzati i nomi del Primaticcio e/o di Luca Penni (c'è anche l'ipotesi più articolata per cui Davent avrebbe inciso da un disegno di Luca Penni a sua volta derivato dal Primaticcio). Anche per la morte di Adone, dunque, possiamo ipotizzare che l'invenzione del soggetto sia del Primaticcio, senza poter appurare, non essendosi conservato il modello, se Davent abbia inciso direttamente da un suo disegno preparatorio o attraverso la mediazione di Luca Penni. La scena, molto popolata, mostra in primo piano Adone, privo di vita, il cui corpo è sorretto dai suoi compagni dai volti affranti, mentre sulla sinistra si nota Venere in tutta la sua disperazione. Dietro di lei, si scorgono altre figure con le braccia aperte in segno di dolore. A destra, sullo sfondo, alcuni cacciatori uccidono il cinghiale calidonio. Buona prova, impressa su carta vergata coeva, irregolarmente rifilata ai margini, con parziale perdita dell'inciso nel margine inferiore, non risulta leggibile il monogramma LD posto sotto la punta della lancia poggiata a terra, sulla sinistra, alcuni restauri perfettamente eseguiti, nel complesso in buono stato di conservazione. Rarissima. Etching, 1545-1547 circa, after a subject by Luca Penni. The plate shows the death of Adonis: the dead body of the young man is supported by his companions while Venus expresses her despair on the left; in the background, on the right, hunters killing the boar. Leon Davent engraved two episodes of the Adonis myth: Adonis hunting the Calydonian boar, oval plate, dated 1547, and The death of Adonis. The style of the two engravings is very similar, this suggest that the inventor of the two subjects is the same. The hunting scene is attribued to Primaticcio or Luca Penni (there is also the more complex hypothesis that Davent engraved a drawing by Luca Penni in turn copied from Primaticcio). Therefore, we can assume that also The death of Adonis was an invention by Primaticcio, but we cannot prove if Davent engraved directly on his drawing or on a copy created by Luca Penni A good impression, printed on contemporary laid paper, irregularely trimmed insede the paltemark, a repaired paper fold in the middle center, some experte rapairs, generally in good condition. Zerner 1969 LD.70 ; Bartsch XVI.324.47 387 265

      [Bookseller: Libreria Antiquarius]
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         PHILIPPUS DECIUS IN TIT. REGULIS IURIS Cum additionibus D. HIERONYMI CUCHALON Hispanie. et CAROLI MOLINAEI Iusriconsulti Parisiensis.& DYNI MVXELLANI I. V.Doct Celebrimi Commentarius in REGULAS IURIS PONTIFICII Cum solitis additionibus D. NICOLAI BOERII . Burdegalensi

      Frellon 1545 - 1545, Lugduni Sub Scuto Coloniensi, 2 Volumes in-8 reliés ensemble et édités chez Frellon frères. Cf. p. avant titre. Reliure plein veau à la cire (niellée), dos à cinq nerfs et petits fleurons, premier plat titrés aux fers dorés des deux Auteurs et d’un ornement central à la cire, encadré d’un double filet d’encadrement et fleurons dorés aux écoinçons. - Premier Volume pour l’Ouvrage de DECIUS : Commenté par CUCHALON et Du MOULIN, 1 f. de garde, p. de titre avec une jolie vignette au crabe et au papillon et restauration de papier sans manque de texte, 1 f. sur Charles Du Moulin, 24 ff. pour l’index, un feuillet pour les droits et privilèges daté de 1545, 3 ff. pour l’index legum et paragraphum, 431 pages ; 1 p. avec l’indication de l’Editeur Frellon. - Second Volume pour l’Ouvrage de DYNI commenté par BOERIUS et Du MOULIN, p. de titre avec la jolie vignette au crabe et au papillon, 1f. pour la note sur Charles du Moulin, 15 ff. pour l’Index, 285 pages avec l’indication de l’exécution d’imprimerie de jean et francis Frellon. - Philippus DECIUS, Juriste Italien, (1454–1535) [Attributes: First Edition; Hard Cover]

      [Bookseller: LIBRAIRIE ANCIENNE BERNARD MARIE ROLIN]
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         Tafel der Lender/ darin der Apostel Paulus geprediget hat

      Artist: Bünting Heinrich ( - 1606 ) Hannover; issued in: Hanover; date: 1580 1545 - - technic: Wood engraving; colorit: original colored; condition: Right and left margin perfectly replaced; size in cm : 30 x 37,5 - description: Map shows the eastern Mediterranean sea with north Africa, Turkey, Greece, Cyprus and south Italy - Vita of the artist: "Heinrich Bünting (1545 ? 1606) was a Protestant pastor and theologian. He is best known for his book of woodcut maps titled Itinerarium Sacrae Scripturae (Travel book through Holy Scripture) first published in 1581.Bünting was born in Hannover, Germany, in 1545. He studied theology at the University of Wittenberg graduating in 1569 and became a Protestant pastor in Lemgo. He was dismissed in 1575 and moved to Gronau an der Leine. In 1591 he was appointed superintendent in Goslar. When a dispute arose over his teachings in 1600 he was dismissed and retired from the ministry. He spent the rest of his life as a private citizen in Hannover.His book of woodcut maps, Itinerarium Sacrae Scripturae, first published in Magdeburg in 1581, was a very popular book in its day. It was reprinted and translated several times. The book provided the most complete summary of biblical geography available and described the Holy Land by following the travels of various notable people from the Old and New Testaments. In addition to conventional maps, the book also contained three figurative maps; the world depicted using a cloverleaf design thought to possibly represent the Trinity with Jerusalem in the center, Europe in the form of a crowned and robed woman, and Asia as the winged horse Pegasus."

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Le Décaméron, nouvellement traduict d'Italien en Francoys par Maistre Anthoine le Maçon.

      1545 - Edition originale de l'illustre traduction du Décaméron faite par Le Maçon à la demande de la reine de Navarre, l'un des livres majeurs de la Renaissance française. Paris, Estienne Roffet, 1545.In-folio de (8) ff., 254 ff. Relié en plein maroquin rouge à grain long, ovale feuillagé doré au centre des plats, dos à nerfs orné du même motif répété dans les caissons, double-filet or sur les coupes, large roulette intérieure dorée, tranches dorées sur marbrures. Reliure signée de Mercier. 338 x 214 mm. / First edition of the illustrious translation of The Decameron made by Le Maçon on the request of the Queen of Navarre, one of the most important books of the French Renaissance. Paris, Estienne Roffet, 1545.Folio [338 x 214 mm] of (8) ll., 254 ll. Bound in full long-grained red morocco, gilt oval foliage on the center of the covers, spine ribbed and decorated with the same pattern repeated on the panels, large gilt inner border, gilt over marbled edges. Binding signed by Mercier. [Attributes: Hard Cover]

      [Bookseller: Librairie Camille Sourget]
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