Source: https://www.vialibri.net/years/1511/50
Timestamp: 2018-06-20 21:09:06+00:00

Document:
Alexander Minutianus socer Probi grammatici in Bucolica: e Georgica interpretamenta eruditissima addidit. Apposuit quoque in suis locis Sulpitii Verulanii annotationes in sex prores Aeneidis libros. Tum Philippi Beroaldi Seruii: ut ipse inscripsit: errores: cum domitii Calderini in Juuenilia huius eminentissimi poete commentariis . Mediolani, impressum per Leonardum Vegium MDXI, die XXV Augusti, (Milano, Leonardo Vegio. 25 agosto 1511), - in-folio (mm 294x208), ff. (10), CCX (la numerazione del f. LXXVII è ripetuta; manca f. K7 tagliato), (20; mancano 4 ff. tagliati: AA6-8 e BB1 contenenti i seguenti opuscoli virgiliani: parte del ''De signis coelestibus'' ed interamente ''Quaedam Idillya'' e il ''Carmen ad Priapum'', cfr. Mombelli n. 118), segn.: 3a6, 3b4, A-I8, K10, L-O8, P6, Q-R8, S6, T-Z8, (* - 3*)8, 2a6, 2A-2C8. Legatura settecentesca (con piccoli difetti) in p. pelle, tassello e fregetti floreali in oro al dorso. Testo in carattere greco e romano su 23 linee per pagina, titolo in rosso in carattere gotico. La pagina del tit. è inoltre inquadrata da un'elegante bordura vegetale arricchita nel bas de page da due putti che sostengono una corona e da tre medaglioni posti ai due angoli inferiori e a quello superiore del foglio. Nei tondi compaiono le raffigurazioni di Amphion, Orpheus e Arion tratte dal Gafurius, Opus Musicae del 1508. Numerose iniziali vegetali ed figurate di dimensioni variabili segnano l'accesso alle sezioni del testo. Rarissima edizione (prima 1469) della raccolta delle opere virgiliane (Georgiche, Bucoliche, Eneide) con commento; precede il testo una Vita dell'autore. Dai torchi di Leonardo Vegio uscirono due edizioni di quest'opera probabilmente identiche: una falsamente datata 1500 e l'altra nel 1511; il Vegio fu infatti attivo solo tra 1507 e 1513: in quest'arco di tempo lavorò a Milano per suo suocero, Alessandro Minuziano, di cui usò i caratteri, e nel 1513 abbandonò l'attività tipografica, forse per ricoprire un incarico pubblico. Dell'edizione datata 1500 si conosce un solo esemplare censito alla Biblioteca Universitaria Alessandrina di Roma, mentre della presente edizione non si sono riscontrati esemplari in nessuna Biblioteca Italiana. Buon esempl. (lievi gore d'acqua nel margine inferiore di alcuni ff.) Mombelli n. 119. Graesse VII, 335. Sander, Suppl. III, 7655. Manca a STC, Adams, Le Cinquecentine della Trivulziana, Choix d'Olschki, ecc. [Attributes: Hard Cover]
POLLIO Giovanni
Opera noua della vita e morte della diua e seraphica S. Catharina da Siena.
(In fine:) Stampato in Venetia per Zorzi de Rusconi Milanese. A istantia de Nicolo Zopino, MCCCCCXI adi XIII Febraro, (Venezia,1511), - in-4, ff. (4), XXXIX, (1 bianco), legatura (''Bound by Lloyd'') in pieno marocchino verdone, filetto oro ai piatti, titolo e fregi oro al dorso a nervi, ricche dentelle interne. Prima edizione illustrata della Vita di Santa Caterina da Siena. Titolo entro elaborate bordure silografiche con S. Caterina che riceve le stimmate, Adamo ed Eva, S. Giovanni e cornici con elementi vegetali e putti: si tratta di una riduzione e di un'inversione dei legni dell'edizione del 1505; al f. IIII verso Crocifissione a piena pagina inquadrata da legni, tratta dall'edizione del San Bonaventura del 1497; al f. V recto la Vergine, il Bambino ed una serie di figure in adorazione, grande impresa dello stampatore al verso del f. 39. Per la prima volta il testo viene illustrato da una serie di 17 silografie con i passi salienti della vita della Santa. Seconda edizione (prima 1505) di questo poema ascetico in tre libri composto da Giovanni Pollio, detto anche Pollastrino Aretino, letterato, traduttore e canonico originario di Arezzo, vissuto nel sec. XVI. Il testo inizia con uno straordinario dialogo il cui acrostico forma la scritta "Sancta Catarina da Fontebranda ora per el Populo tuo Senese ad Dio nostro Signiore"; mentre è importante notare il fatto che il primo foglio di ogni segnatura riporta, insieme alla lettera del quaderno, il titolo "S.CATH.". E' questa una caratteristica che non abbiamo riscontrato in altre edizioni cinquecentesche, attuata per aiutare il compito del rilegatore affinché non mischiasse quaderni di opere diverse. Importante documento della diffusione del culto della Santa e della nascita di una iconografia della sua vita. Rarissima edizione, di cui un solo esemplare è conservato in biblioteche italiane. Buon esempl. (lievi ingialliture). Sander 5827. Essling 1746. Brunet IV, 785 (sbaglia considerando questa edizione una reimpressione di quella del 1505). [Attributes: Hard Cover]
Latina. Cum concordantijs veteris et novi testamenti et sacrorum canonum.
(In fine:) Venezia, Lucantonio Giunta, 28 maggio 1511, - in-4, ff. (24), 518, (31, mancando l'ult. bianco), leg. ottoc. p. perg. Testo su due colonne in car. gotico, grandi e piccole iniz. silogr. Titolo generale a stampa rossa e nera, con in alto vignetta raffig. S. Girolamo ed in basso giglio dei Giunta in rosso; alcuni titoli in rosso; i ff. 412v-415r. contengono le tavole delle concordanze dei Vangeli racchiuse in eleganti strutture architettoniche stilizzate, impresse in rosso. Nel testo 3 legni a piena pag. (i Sei giorni della Creazione, ripetuto due volte nei ff. prelim., e la stupenda Natività al verso del f. 410, tratti rispettivamente dall'ediz. del 1490, la famosa Bibbia di Malermi, e dal ''Decachordum christianum'' di Fano del 1507), un legno a 2/3 di pag. raffig. Salomone addormentato (al recto del f. 255) e 90 silografie a 1/3 di pag., entro belle bordure a fiori e frutti per il Vecchio Testamento e 23 vignette per il Nuovo. «E' la seconda edizione (la prima è del 1506) dell'opera curata dal veneziano Alberto da Castello o Castellano, religioso dell'Ordine dei Predicatori, che arricchì il testo di concordanze, varianti testuali, nonché di prologhi di S. Girolamo e di Sant'Eusebio di Cesarea e di Interpretationes nominum hebraicorum.» (La Bibbia da Gutenberg a Bodoni, n. 42). Buon esempl. di una tra le più belle Bibbie illustrate del XVI secolo, impressa in rosso e nero (strappi restaurati sull'ult. f., con perdita di porzione di testo; il primo quaderno più corto di margine). Camerini n. 147. Sander 999. Essling 142 (curiosamente queste 3 bibliografie errano il num. dei ff., i quali per altro recano al verso l'insolita numeraz. del f. che segue). Renouard, Notice, XXI. Adams B-987. STC 92. [Attributes: Hard Cover]
Post-Inkunabel, Strasbourg, Jura, aus Kurfürsten-Bibliothek - Stynna, Johannes de:
Speculator abbreviatus, alias Speculum abbreviatum: cum variis libellorum et instrumentorum tam in iudiciis quam in contractibus occurrentium aliorumque ad practicam utriusque iuris mirifice deservientium formis.
(Strassburg, Schott), 1511. - Fol. 199 num., 1 w. Bl., mit Holzschnitt-Titelbordüre von Hans Baldung Grien Blindgeprägtes Halb-Schweinsleder d. Zt. auf Holzdeckeln VD 16: J 805; Ritter, IV, 2243; Oldenburg, Hans Baldung Grien L 19; ADB XXXVII, 99: "Das Werk ist auf Grundlage des Speculum iuris des Durantis verfertigt, und zwar mit Gelehrsamkeit und eigenem Urteil. Es ist ein zum Zweck der Mitnahme auf Reisen, kur Exemplar der bayerischen Kurfürsten mit gestochenem Wappen-Exlibris von 1746. Am Ende ein schmaler Beiband entnommen. Dennoch dekorativer Holzdeckelband. [Attributes: Hard Cover]
Gregory IX, Pope; Bottoni, Bernardo
Decretalium Gregorii Noni Liber Accuratissime Emendatus...
1511. Handsome 1511 Basel Imprint of the Decretals of Gregory IX Gregory IX, Pope [1147?-1241]. [Bottoni, Bernardo (d. 1266), Glosses]. [Andrea, Giovanni d' (c. 1270-1348), Notes]. [Graf, Urs (c.1485-1528), Engraver]. Decretalium Gregorii Noni Liber Accuratissime Emendatus. Cum Concordantiis tum ad Ius Civile, tum ad Eius Interpretes Nuperrime Additis: [Cum] Annotationibus Plurib[us] ad Quecunq[ue] Facile Reperienda Accomodatissimis. [Et cum] Additione in Margine Litteraru, quo Minusculi Characteres Lineis Intercepti, Citius Appareant. Basel: [Johannes Amerbach, Johannes Petri, and Johann Froben, 31 May], 1511. [x], 336, [24] pp. Main text in parallel columns surrounded by linear gloss with side-notes. Full-page woodcut by Urs Graf depicting the presentation of the Decretals to Gregory IX by a group of clerics, woodcut tables of descent and consanguinity. Folio (16" x 11"). Contemporary blind-paneled pigskin over heavy beveled wooden boards, raised bands and somewhat later hand-lettered title to spine, clasps lacking, buckles present. Moderate rubbing and a few worm-holes, light scuffing and some minor stains to boards, minor chipping to foot of spine, two tiny gouges to center of spine, some worming to pastedowns near hinges, a few worm holes to text block. Printed throughout in red and black, large printer device to title page. Light toning to text, occasional faint dampspotting, spark burns to margins of a few leaves. Later annotations to front pastedown, interior otherwise clean. A handsome post-incunable imprint. * First printing by this association of notable Basel printers. "Decretals are letters containing a papal ruling, particularly one relating to canonical discipline, and most precisely a papal prescript in response to an appeal...the Decretals of Gregory IX is the first authentic general collection of papal decretals and constitutions, compiled by Raymond of Penaforte at the request of Pope Gregory IX in 1230-34 and promulgated in 1234. (...) It gave rise to a vast amount of commentaries and literature" (Walker). The most important commentary, which is included in our copy, is the gloss of Bernard of Botone, also known as Bernard of Parma (Bernardus Parmensis), who composed it shortly before 1263. It is knows as the "Ordinary Gloss
PTOLEMAEUS, Claudius and Bernardus SYLVANUS.
Persia] Quinta Asiae Tabula.
Jacobo Pentius de Leucho Venice 1511 - Woodcut printed in red and black on two leaves (sheet: 41 x 55 cm). Leaf split and re-joined, backed with japan on verso, trimmed into text at right margin, several small areas of loss skilfully infilled. One of the earliest examples of two colour printing: a scarce map showing the southern part of the Caspian Sea, from Assyria to Carmania and Hyrcania, now mostly provinces of Iran. From Bernardus Sylvanus's 'Claudii Ptholemaei Alexandrini liber Geographicae.', published in Venice in 1511. 'The editor - according to his apologia in the introduction - deliberately decided to amend the construction of Ptolemy's maps to take account of modern discoveries. This bold step, needless to say, met with only partial success principally because Sylvanus relied on already out-dated information, or felt unable to depart radically from long-standing geographical conceptions.
Venedig, J. Pentius de Leucho,, 1511 - Karrow, R.W. (16 c.) 75/54. - Frühe, in Rot und Schwarz gedruckte Holzschnittkarte von Ceylon (Sri Lanka). Aus der Ptolemaeus Ausgabe 'Claudii Ptholemaei Alexandrini liber Geographicae .' von Bernardus Sylvanus, auch bekannt als Bernardo Silvano von Eboli, welche 1511 in Venedig gedruckt wurde. Sylvanus schuf eine einzigartige Mischung aus klassischer und moderner Information in den Karten für seine Ptolemaeus Ausgabe, wobei er die Ptolemaeus Liste der Provinzen und Städten den modernen geographischen Umrissen der Küsten, Flüssen und Bergen anpasste. Die Karte ist in Rot und Schwarz gedruckt, einem der frühesten Beispiele für einen Zweifarbdruck. Rückseitig mit der rechten Hälfte der Indienkarte mit dem Chinesischen Meer und Südost Asien, betitelt 'Undecima Asiae Tabula'. - Auf zwei Blättern gedruckt und zusammengefügt, Kritzeleien von alter Hand in Tinte, sehr gutes Exemplar. - Early woodcut map of Ceylon / Sri Lanka printed in red and black. From Bernardus Sylvanus also known as Bernardo Silvano of Eboli Ptolemy edition 'Claudii Ptholemaei Alexandrini liber Geographicae.', printed 1511 in Venice. Sylvanus created a unique hybrid of Classical and modern information on his maps for his 1511 edition. He fitted Ptolemy's list of provinces, towns, as they existed in the Classical period to the modern geographical outline of the coasts, rivers, and mountains. The map have been printed in two colours - black and red, one of the earliest examples of two colour printing. Each of the map sheets of Sylvanus printed on both sides, so halves of two different maps are on the back side of this map. As a result, Sylvanus maps are very rare on the market and certain maps virtually never appear on the market, where they appeared on the verso of maps which were more heavily soughtafter by collectors. In this case, verso right half shows the map of India beyond the Ganges with the description of the Chinese Sea with Southeast Asia, titled 'Undecima Asiae Tabula'. - Printed on two leaves which have been rejoined, some scribble in ink by an old hand, very good conditions.
Bernado Sylvanus, Venice 1511 - This rare Ptolemaic map of Central Asia features the regions east of the Caspian Sea with northern India and western China. Includes Scythia, Tajikistan, Xinjiang Uygur Zizhiqu (China), Kyrgyzstan. Geographic features include the Ganges and the Himalayas. Relief is beautifully rendered pictorially with places and natural features labeled. The margin includes notes on climate and latitude. The unusual perspective of the geographical and topographical elements is the highlight of these great map and the rugged terrain is wonderfully suited to the medium of woodcutting. This map, one of the earliest obtainable maps of the region, was published in Sylvanus' "Claudii Ptholemaei Alexandrini liber Geographicae", and is one of the earliest to exhibit printed color. Claudius Ptolemy (90-168 CE) was a Roman geographer and mathematician living in Egypt, who compiled his knowledge and theories about the world's geography into one seminal work. Although his maps did not survive, his mathematical projections and location coordinates did. During the Renaissance revival of Greek and Roman works, "Geographia" was rediscovered by monks and based upon Ptolemy's detailed instructions, the maps were recreated. The first printed edition of "geographia" with maps was published in Bologna in 1477, and Sylvanus followed not long after with his own edition in 1490 and again in 1511. Sylvanus was the first publisher to include updated information to the original maps. This map is in very good condition. Originally printed on two sheets, here joined on verso. Minor foxing and offsetting with minor creasing in top margin over the centerfold. A beautiful example of this rare map. Map. Original woodcut print with printed color. Page measures 16 3/4" x 22". 1511.
[Paris]: Venundantur ab Ioanne Paruo & Iodoco Badio, 1511. Fine. Venundantur ab Ioanne Paruo & Iodoco Badio, [Paris] 1511, In Folio, (8) ff. clxxii. Sig : ã? ??, Aa-Zz?, AA? BB¹?, relié. - First edition of the philosophical works of Cicero who will know by the same publishers, several editions, including in 1531. Title page in red and black, adorned with an architectural framework. Brand printer at the center representing workers operating a press. Beautiful and large initials Renaissance head of each book. Brunet (II, 6) reports that it is the text of the edition of Milan in 1499 which was reproduced in Paris. Not referenced in Adams. Publication date on the back of the title page and the last page, the colophon. Edition shared Josse Badius and Jehan Petit; in most of the other editions, it is the mark of the printer Jehan Petit found, but not in this copy when in thumbnail representing a print, it says in red letters Presso Ascensiansi. Bound in full sheepskin brown XVIII, pastiche of a French Renaissance-bound frames; succession of box nets and friezes leading to a central rectangle. Back with nerves decorated with cold stars seeding. Good condition overall. Some spots. An accident in the upper jaw in the tail missing. Dubbed title page margins filled with shortages, lower corner doubled the next sheet, worm working in lower margin affecting the first six layers without damage to the text, handwritten notes XVI in conjunction with certain layers. Book particularly fresh. - [FRENCH VERSION FOLLOWS] Première édition de ces œuvres philosophiques de Cicéron qui connaîtront, par les mêmes éditeurs, plusieurs rééditions, notamment en 1531. Page de titre en rouge et noir, ornée d'un encadrement architectural. Marque de l'imprimeur au centre représentant des ouvriers actionnant une presse. Magnifiques et grandes lettrines Renaissance en tête de chaque livre. Brunet (II, 6) signale que c'est le texte de l'édition de Milan de 1499 qui a été reproduit à Paris. Non référencé dans Adams. Date de publication sur le verso de la page de titre et sur le dernier feuillet, au colophon. Edition partagée entre Josse Badius et Jehan Petit ; dans la plupart des autres éditions, c'est la marque de l'imprimeur Jehan Petit que l'on trouve, mais pas dans cet exemplaire où, dans la vignette représentant une imprimerie, on lit en lettres rouges Presso Ascensiansi. Reliure en pleine basane brune XVIIIème, pastiche d'une reliure Renaissance française à encadrements ; succession de filets d'encadrement et de frises aboutissant à un rectangle central. Dos à nerfs orné de semis d'étoiles à froid. Bon état d'ensemble. Quelques taches. Un accident au mors supérieur en queue avec manque. Page de titre doublée en marges avec manques comblés, angle inférieur doublé au feuillet suivant, un travail de ver en marge inférieure affectant les six premiers feuillets sans atteinte au texte, notes manuscrites du XVIème en marge de certains feuillets. Ouvrage particulièrement frais.
Gótico.] CHIVASSO, beato Angelo di.
SUMMA angelica de casibus co[n]scientiae correcta s[ecundu]m primum exemplar.
Imp. Nicolaum Wolff. Lugduni (Lyon), 1511 - . 20,7 cm. [15], CCCLXVIII hojas (sign. 2a-2b8, a-z8 [a-s8, t6, v10, x-z8], [et]8, [cum]8, [rum]8, A-U8). Letra gótica, texto a dos columnas. Friso xilográfico en hoja I, capitulares. Enc. en piel sobre tabla, deslucida y con pequeñas pérdidas en lomo y plano anterior, restos de antiguos cierres, cortes rotulados. Leve señal de óxido en margen interno, sin afectar al texto. Notas y señales marginales antiguas en algunas hojas. Ex-libris manuscrito de Francisco Díaz, capellán de San Luis de Villagarcía. Anotaciones manuscritas en guardas anterior y posterior. Ejemplar falto de la portada; las hojas 149-150 traspuestas entre las 146-147. * El impresor y la fecha constan en recto de h. CCCLXVIII. La portada, de la que nuestro ejemplar está falto, era a dos tintas y presentaba la marca tipográfica del editor, Jacques Huguetan (1505-1544) junto con una nota que aclaraba que la obra podía encontrarse en sus establecimientos de París y Lyon. Aunque la primera signatura que encontramos es 2a4, al comienzo sólo falta la portada, puesto que el cuaderno consta de siete páginas de las ocho que debería tener según el registro. Lo hemos corroborado consultando un ejemplar digitalizado de la Universidad Complutense de Madrid que presenta la misma particularidad en la signatura pero que además conserva la portada. Angelo Carletti (1411-1495), bautizado como Antonio cuando nació en Chivasso, en el Piamonte, fue un franciscano doctorado en derecho civil y canónico por la universidad de Bolonia. Ejerció como senador en su tierra antes de dedicarse por completo a la tarea evangelizadora. Dicen que en 1520 Lutero quemó, junto a la Summa de Santo Tomás, la Summa Angelica de Angelo de Chivasso por considerarla "más que diabólica". La "Suma de los casos" fue, junto a la Summa silvestrina de Silvestre de Prieras, el código medieval de derecho canónico que mayor presencia tuvo a lo largo del siglo XVI. Se enmarca en un género práctico (e influyente) del ámbito canónico que, aunque pueda parecer más religioso que jurídico, alcanzó una gran importancia en cuanto a la divulgación y la aplicación del ius commune. No en el catálogo online de la Biblioteca Nacional de Francia. derecho canónico, suma de casos [Attributes: Hard Cover]
GRATIANUS. - DECRETUM GRATIANI.
Decreti huius plenissimum argumentum (Decretum aureum). (3 Parts, Ministeria, Negotia, Sacramenta).
Paris, B. Rembolt, 1511. Large folio. (40x30 cm.). Contemp. full brown calf over wood, richly blindtooled covers. Later rebacking. 5 raised bands. Brass clasps and catches. Leather on clasps renewed. Brass edges on covers. Fol. 459,(27),46,(1). Lacking Folios in Index (Fol. 41-43). Title-page printed in red/black within woodcut border and with printers woodcut device. Text throughout printed in red/black. Large woodcut on Fol. 1 verso (biblical figures, church fathers and Gratian in the middle). Numerous figurative woodcut initials throughout. Internally very fine and clean, a few leaves with a faint dampstain to margins. On fine thick paper. On the renewed spine is with letters in gold printed 1507 (it should be 1511).. Scarce early edition of the famous collection of Canon Law. The Decretum Gratiani, also known as the Concordia discordantium canonum or Concordantia discordantium canonum, is a collection of Canon law compiled and written in the 12th century as a legal textbook by the jurist known as Gratian. It forms the first part of the collection of six legal texts, which together became known as the Corpus Juris Canonici. It was used by canonists of the Roman Catholic Church until Pentecost (May 19) 1918, when a revised Code of Canon Law (Codex Iuris Canonici) promulgated by Pope Benedict XV on 27 May 1917 obtained legal force. (Wikipedia).Adams
LICHTENBERG JOANNES
Pronosticatio in latino. Rara & prius non audita: quae exponit & declarat nonnullos coeli ifluxus: & inclinatione certarum constelationum magne videlicet coiunciois & eclipsis: quae fuerat istis annis.
N. & D. Sandro dal Jesu 1511 LIECHTENBERG JOANNES. Pronosticatio in latino. Rara & prius non audita: quae exponit & declarat nonnullos coeli ifluxus: & inclinatione certarum constelationum magne videlicet coiunciois & eclipsis: quae fuerat istis annis: quid boni malive hoc tempore & in futurum huic mundo portendant: durabit quae pluribus annis. (Colophon:) Explicit haec pronosticatio: quae durabit usque ad annum 1567. Impressum Venetiis die vero xxiii August. In - 4°, pieno marocchino cilindrato nero, dorso a nervi, riquadri a secco sui piani taglio dorato. 39 ff., 1 f. bianco. Car. romano con 45 silografie delle quali 3 a piena pagina. Bell' esemplare di questa rara edizione non citata nelle usuali bibliografie. Un' edizione contemporanea si trova elencata in Cantamessa, Astrologia, opere a stampa, 1472 - 1900, I, 2529.
Decretalium liber accuratissime emendatus.
Basel, J. Amerbach, J. Petri & J. Froben, 1511.. Folio. 10 nn. Bl., 336 num. Bl., 24 nn. Bl. (davon das 6. weiß). Mit großer Holzschnitt-Druckermarke auf dem Titel u. 3 großen Textholzschnitten. Blindgeprägter Schweinsleder d. Zt. über Holzdeckeln.. Sehr schöner und sauberer zweispaltiger Druck, durchgehend in rot und schwarz, wobei der Text durch die in etwas kleinerer Type gesetzten Kommentare eingerahmt wird. Die Basler Drucker-, Verlags- und Buchhandelsgemeinschaft Amerbach/Petri/Froben gab im selben Jahr und in gleicher Ausstattung auch das Decretum Gratiani, den Liber decretalium sextus Bonifatii VIII., die Constitutiones Clementinae und Extravagantes Johannis XXII. heraus und lieferte damit die erste vollständige und für längere Zeit letzte im deutschsprachigen Raum nach 1500 gedruckte Ausgabe des Corpus Iuris Canonici. Für den Druck waren Amerbach und Froben zuständig, während Petri sich vor allem um das Verlagsgeschäft kümmerte. Der mit Reuchlin befreundete Amerbach war einer der bedeutendsten frühen Buchdrucker nicht nur Basels. Von 1478 bis zu seinem Tode 1513 druckte er u.a. "glossierte lateinische Foliobibeln, wissenschaftliche Folioausgaben der Kirchenväter, der Scholastiker, antiker Klassiker und zeitgenössischer Humanisten in höchster Qualität" (LGB I, 77). - Mit der großartigen auf den Druckort Basel bezogenen Druckermarke des Monogrammisten 'Meister DS': das von einem Basilisken gehaltene Basler Stadtwappen (vgl. Grimm, Dt. Buchdruckersignete 190 ff u. Wendland, Signete 89). Zwei der drei Textholzschnitte mit schematischer Darstellung des Arbor consanguinitatis und affinitatis. Der dritte Holzschnitt stammt von Urs Graf (Monogramm an der Stirnseite des Baldachins) und zeigt Papst Gregor IX. bei der Entgegennahme des Liber decretalium aus den Händen seiner Rechtsgelehrten und Theologen. Er wurde auch für die anderen Teile des Corpus Iuris Canonici verwendet, wo derselbe Holzschnitt dann jeweils einen anderen Papst vorzustellen hat (vgl. Muther 1290 u. Taf. 220). - Beschabt und etwas fleckig, einige Wurmstiche, Schließen fehlen. Etwas gebräunt und stockfleckig, stellenw. mit leichtem Wasserrand im Kopfsteg. Vorderer Spiegel mit Besitzvermerken von (15)29 und 1543 sowie der Laßbergschen Bibliothekssigle. - VD 16, C 5183; nicht im BM STC u. bei Adams.
PLAUTUS, Titus Macchus; Ovid
1511. PLAUTUS, Titus Macchus. Comoediae. Commentary by Bernardus Saracenus and Giovanni Pietro Valla. 228, "189" [i.e., 89], [1 blank] ff. Text in roman type with commentary surround, a few passages in Greek type, title in gothic type within fine woodcut Renaissance border decorated with putti, grotesques, and a procession of classical sea figures, full-page woodcut of a theater, 316 small woodcut illustrations of scenes from the comedies, assembled from smaller blocks (including many repeats), the characters' names printed in roman type inset in banners in the block; a variety of fine white-on-black floriated initials and small border cuts. Venice: Lazarus de Soardis, 14 August 1511. BOUND WITH: OVIDIUS NASO, Publius. Epistolae Heroides. Commentary by Antonius Volscus and Ubertinus Clericus. Parma: Octavianus Saladus and Franciscus Ugoletus, 15 May 1517. Collation: aa6 a-m8 n10; [6], 106 ff. Text with commentary surrounding, title within fine woodcut border, large woodcut illustration of Ovid and the two commentators, 22 small woodcut illustrations in the text, each with three scenes, printer's sun device at end. Together 2 works in one volume, folio, 311 x 207 mm, bound in contemporary blind-tooled Italian brown calf over pasteboard, sides paneled with triple (two thin, one thick) fillets, two borders of different foliate rolls enclosing two squares each composed of a floral roll around a central lozenge, sewn on three double cords, spine tooled with triple fillets to a saltire design. An extremely fine composite volume bringing together two early Italian illustrated editions of classical texts, preserved in its original Italian blind-tooled binding. Plautus: First fully illustrated edition of Plautus' comedies, second edition with the commentaries of Saracenus and Valla. Lost during the Middle Ages, 20 comedies, plus one fragment, of the 150 plays attributed to Plautus were rediscovered during the Renaissance and widely translated, influencing Shakespeare and later Molière. Filled with jokes, puns, alliteration and often rowdy word-play, bordering on musical comedy with their consistent use of song and recitative, Plautus' plays were free adaptations from the slightly earlier Greek "New Comedy," a pure comedy of manners using stock characters and turns of plot. Plautus' "flow of wit and vigour of language" revived the genre and account for his "supreme popularity on the Roman stage" (Oxford Companion to the Theatre). His surviving plays still provide almost the only extant evidence for spoken Latin during the 3rd and 2nd century B.C. The illustrations of this edition provide some of the earliest visual testimony to Renaissance performance practice. Commissioned by the printer Lazzaro de'Soardi for his 1497 edition of Terence, the striking full-page woodcut of a "coliseum or theatre" unusually depicts the stage and circular seating area from the actors' point of view, showing on either side the curtained compartments from which the players emerge. Prince d'Essling, the eminent scholar of early Venetian book illustration, considered this woodcut among the finest work of the time. Showing from two to six characters, the charming text illustrations are composed of separate small blocks of figures, trees and the same curtained doorways as those depicted in the large theatre cut. This manner of assembling cuts was first used by the Strasbourg printer Johann Grüninger for his 1496 editions of Terence, and seems to be associated with theatre in early Italian book illustration. It is a graphic device that is particularly appropriate for Plautus, whose plays were built up from a variety of stock plots, incidents, scenes, characters and passages of dialogue taken from a hodge-podge of different sources. (Mortimer notes that "there was a certain amount of adjustment of blocks at press," and individual copies vary in the blocks used for the illustrations.) This copy has the first state of the title and its conjugate leaf (aa1.10): the title is found either in a longer version printed in Gothic type, as here, or in roman type and considerably shortened, as in the Hofer copy at Harvard. The editors' dedicatory epistles on the title verso also differ in the two states, and the conjugate aa10 was reset, with several variants of spelling, some described by Mortimer, who states that the "roman-title setting" is more accurate. Ovid: Rare and beautiful edition of Ovid's Heroides. Ovid's elegiac letters written from the heroines of legend and history to their lovers read like dramatic monologues, and the woodcut illustrations in this edition are similar to those of the Plautus in their three-part format, showing the characters of each poem engaged in different actions, as if scenes from a play. Like the cuts of the Plautus, the illustrations of this edition of Ovid exemplify the conservation and repeated reuse of woodblocks in the first century of printing, passed from one printer to another throughout several decades, for use in often unrelated editions. The text illustrations were previously used by the Venetian printer Tacuino's 1501 and 1512 editions of Ovid. The marvelous title border with stylized dolphins is one of the most attractive and frequently imitated woodcuts of the 16th-century book. First recorded in a 1511 edition of Vitruvius printed by Tacuino in Venice, it may have been used previously in editions now lost. "There are a number of variations on this dolphin composition, and… it was one of the most influential pieces of ornamentation of the sixteenth century" (Mortimer, p. 755). Countless copies, some close, as here, others either more crudely cut or diverging stylistically from the original model, appeared from presses all over Italy during the next few years, and its influence extended as far as France, Switzerland and Germany. This edition is exceptionally rare: other than the Modena copy listed by Sander we can trace only one other copy, at the Bibliothèque nationale de France. No copies are listed in RLIN, OCLC, COPAC, or Edit-16. PROVENANCE: contemporary inscriptions on lower endleaves [regarding binding?]. Petrus Buoninsegnus, Siena 1814, typographic booklabel (examples of this bookplate are known with different dates, e.g. 1802). Marginal dampstaining to first and last few leaves, some discreet paper repairs to outer page edges at end and occasionally elsewhere, tear in leaf i7 of the Ovid; binding rubbed in places and with a few small wormholes, otherwise a fresh copy. I. Adams P-1481; Essling 1724; Sander 5748; Harvard/Mortimer Italian 387. II. Sander 5279.
Aharonov, Y. and Bohm, D.
Significance of Electromagnetic Potentials in the Quantum Theory" AND "Further Considerations on Electromagnetic Potentials in the Quantum Theory" in Physical Review Volume 115 (3) Aug. 1, 1959, pp. 485-491 AND Volume 123 (4) August 15, 1961, pp. 1511-1524
- FIRST EDITION IN ORIGINAL WRAPS OF THE FIRST TWO PAPERS ON THE AHARANOV-BOHM EFFECT, the assertion that a that a magnetic field affects the quantum properties of an electron in a way that is forbidden by classical physics. In the first paper they write, "?contrary to the conclusions of classical mechanics, there exist effects of potentials on charged particles, even in the region where all the fields (and therefore the forces on the particles) vanish" (PR 115, 1959).The American physicist David Bohm, and his Israeli graduate student Yakir Aharonov discovered "a quantum phenomenon in which a particle is effected by electromagnetic fields even when traveling through a region of space in which both electric and magnetic field are zero" (Kregar, Aharonov-Bohm, 1). More specifically, their work demonstrated that "an electrically charged particle is affected by an electromagnetic field, despite being confined to a region in which both the magnetic field and electric field are zero. The underlying mechanism is the coupling of the electromagnetic potential with the complex phase of a charged particle's wavefunction" (Wikipedia).In the 1961 paper, Aharonov and Bohm extended their prediction to include the sources of potentials quantum-mechanically, and confirm the results obtained in their first paper. CONDITION & DETAILS: Two first editions, both in original wraps. Lancaster: American Physical Society. Slight wear and light creasing at the edges of the wraps. Very good condition.
Pope Boniface VIII (Benedetto Caetani); Pope Clement V (Raymond Bertrand de Got); Pope John XXII (Jacques Dueze)
Boniface VIII, Pope, 1235?-1303 - Sexti libri materia cum capitulorum numero. - Paris: Thielman Kerver for Jean Petit & Jean Cabiller, Sept 24, 1511 - 4to, - Bound with: Clement V. Clementinarum materia cum capitulorum & titulorum numero. Paris: Thielman Kerver for Jean Petit & Jean Cabiller, Nov 1511. And: John XXII. Extravagantes XX. Paris: Thielman Kerver for Jean Petit & Jean Cabiller, Nov 1511. And: Extravagantes communes. Paris: Thielman Kerver for Jean Petit & Jean Cabiller, 30 Nov 1511
Paris: Thielman Kerver for Petit & Cabiller. 1511. Hardcover. Very Good. 1511. 4 titles bound in a single volume. Hardcover, thick 4to., contemporary embossed leather, spine repaired - Gothic types; historiated criblee initials; presentation woodcut in first 2 items; cut of the Arbor consanguinitatis in the first; Kerver's mark in all 4. Editions parisiennes 1511-20, Nos 53, 54, 58, 55. The same compilation sold at Sotheby?'s in 1991 for $2750 (in contemporary pigskin & wooden boards). Our copy now housed in custom cloth chemise. Digital images available upon request.
PTOLEMAEUS, Claudius - SYLVANUS, Bernadus.
Pakistan] Nona Asiae Tabula.
Venice Jacobo Pentius de Leucho 1511 - Woodcut printed in red and black on two leaves, leaf split and re-joined, backed with japan on verso. Dimensions (sheet): 410 by 550mm. (16 by 21.75 inches). Scarce. One of the earliest examples of two colour printing. From Bernardus Sylvanus's 'Claudii Ptholemaei Alexandrini liber Geographicae.', published in Venice in 1511. 'The editor - according to his apologia in the introduction - deliberately decided to amend the construction of Ptolemy's maps to take account of modern discoveries. This bold step, needless to say, met with only partial success principally because Sylvanus relied on already out-dated information, or felt unable to depart radically from long-standing geographical conceptions.
Corvinus Maximus Bruni
Oratio maximi Corvini parthenopei. episcopi esernien. sanctiss. Iulio. II. Pontifici Maxi. Dicta
Senza note tipografiche ma (Roma 1511) - [Roma-Napoli] (cm.19,8) bella legatura d' amatore in mz. marocchino rosso recente, con nervi e sguardie antiche. -- cc. 4 nn. Stemma papale al frontis, carattere rotondo. Rarissimo, il Census Iccu registra solo 4 copie nelle biblioteche italiane (Biblioteca Universitaria di Bologna). opuscolo molto importante che costituisce un documento ufficiale del Pontificio di Giulio II. Circa il tipografo, l' opera è descritta negli annali del Tinto "Eucarco e Marcello Silber" stampata in società con J. Beplin, E. Nani ed E. Guillery; nonchè dal Barbieri "Tipografi Romani del '500". Lo stemma di Giulio II al frontis, è riprodotto a tav. XII degli Annali del Tinto (Tipo 1). Per notizie biografiche sull' autore napoletano, Corvino Massimo, morto nel 1522 vedi: Minieri-Riccio "Scrittori di Napoli" 1844 p. 109; Tafuri "Istoria.Regno di Napoli" 1744 III 128; Toppi "Biblioteca Napoletana" 1678 p. 212. Bell' esemplare fresco e nitido. * Tinto n° 107; * Barbieri p.49; * Ascarelli "Cinquecentine Romane" p. 78 registra solo l' esemplare della Vaticana e di Londra; Bm. Stc. 201.[f68] [Attributes: Hard Cover]
In hoc volumine continentur infrascripta opera Xenophontis: Paediae Cyri persarum regi, De venatione, De Re publica & De legibus Lacedaemoniorum, De regis Agesilae Lacedaemoniorum laudibus, Apologia pro Socrate, Opusculum de tyrannide
expensis honesti viri Bartholomei Trot 1511 (al colophon), [Lione] - Legatura antica in piena pergamena con titolo oro su tassello dipinto al ds. Frontis. stampato in rosso e nero (giglio in rosso), controfondato e con bruniture dovute a cancellazione di firme. Seconda carta con minimo danno al testo. Poche altre bruniture, ma buon esemplare nel complesso. Si tratta di una rara ristampa della prima edizione in questo formato (senza luogo né data, ma Lione, 1505 ca.). Graesse, VII, p. 488; Brunet, V, 1497; Br. Libr., 448; Adams, X42; Ceresoli, 480: Edizione rarissima della traduzione latina del Filelfo, di Leonardo Aretino e di Ognibono Leoniceno . 8vo (cm. 16,6), 220 cc.nn.
Ioannes de Cereto de Tridino alias Tacuinus, Venise 1511 - Ovide [Publius Ovidius Naso] (-43 ~ -17) De tristibus ~ [P. Ouidii Nasonis Libri de tristibus cum luculentissimis commentariis : Reuerendissimi domini Bartholomei Merulae apostolici protonotarii et aliis additionibus nouis nuper in lucem emissis aptissimisque figuris ornati : necnon castigatissima tabula que omnia vocabula : omnesque historias.] Venetiis : Impressit. Ioannes de Cereto de Tridino alias Tacuinus, Anno 1511 die 25 Iunii In-fol., vélin, 69, [3] feuillets (sig. A-M6), iIllustré de 5 lettrines et de 5 gravures sur bois. En l'an 8 après J.-C., pour des raisons opaques, Ovide, le poète de l'Art d'aimer et des Métamorphoses, est exilé par l'empereur Auguste à Tomes (actuelle Constantza roumaine) sur les bords de la Mer Noire. Il y meurt neuf ans plus tard sans avoir revu Rome. C'est là-bas qu'il écrit des lettres fameuses à ses amis, les Tristes puis les Pontiques, dans lesquelles il conte et plaint son exil et l'observation des "barbares", mais aussi la prescience d'un monde qui va disparaître. Ovide sent déjà la fin de Rome. Il est aux confins. Dans une lettre, il explique à son ami Maxime qu'il a cherché à lui faire un cadeau ; mais là-bas il n'y a pas d'or, pas d'artisanat, "les femmes de Tomes ne savent pas filer", "les quelques fruits qui poussent ont le goût du pays/amer", etc. Et finalement il lui envoie un carquois et des flèches : "les voici Maxime/les plumes de ce pays/voici ses livres/voici la muse qui règne ici." Ces flèches, ce carquois, cette lettre, ça me serre la gorge." [Attributes: Hard Cover]
Emiliano, Francesco Giovanni, Gouverneur von Sibenik in Dalmatien (fl. um 1510).
Eigenh. Berichtschreiben mit U.
Sibenik, 15. VIII. 1511. - ½ S. Italienische und lateinische Renaissance-Kursive in brauner Tinte auf feinem Bütten (Anrede lateinisch, Text italienisch mit lat. Einsprengseln). Wasserzeichen einem Hammer mit Amboß ähnlich. Rückseitig Adresse und papiergedecktes Siegel Venedigs (Markuslöwe). Folio (320 x 220 mm). Als "Capitano" von Sebenico an den Rat der Zehn von Venedig, unter dessen Herrschaft die dalmatinische Stadt seit 1412 stand, zur Abfassungszeit im Spannungsfeld zwischen Ungarn und Osmanen. Emilianus sieht eine lokale Revolte ("scandalo") aufziehen, über die er dem Rat bereits berichtet habe. Sein "cancellier" ermittle "con ogni dexterita e secretezza". Er hoffe auf Unterstützung des weisesten Rates, "perche altramente io credo la total ruina, e desolatione di questa terra, ne si trova alcun che veramente mi tema, perche i vede io non haver forza alcuna". Die "insolenti" hätten "l'animo de dir e far quel li piace". Dies mißfalle zwar "assai homeni da ben", keiner aber wolle "contrastare cum questi che sono facti quodamodo signori di questa cita". Alle sähen voraus, daß ein Funken das Pulver zur Explosion bringen würde: "el piccol mala da principio col tempo si fa irremediabile, nec plura". - Tatsächlich gelang es dem Rebellenführer Juraj Prokic nur Tage später, die Stadt Sibenik einzunehmen. Der gegen die venezianische Adelsherrschaft gerichtete Bürgeraufstand, bereits im Vorjahr unter der Führung von Matija Ivanic auf der Insel Hvar ausgebrochen, wurde 1512 von Sebastian Zustignan (Giustiniani) grausam niedergeschlagen; Ende 1514 beendete eine Flotte von 15 venezianischen Kriegsgaleeren die kroatische Bürgererhebung endgültig. - In den Falten und Rändern etwas gebräunt bzw. angestaubt, sonst wohlerhalten. Volltranskription beiliegend.
India] Decima Asiae Tabula.
Jacobo Pentius de Leucho Venice 1511 - Woodcut printed in red and black on two leaves (sheet: 41 x 55 cm). Leaf split and re-joined, backed with japan on verso, trimmed into text at right margin, several small areas of loss skilfully infilled. Scarce. One of the earliest examples of two colour printing, showing the southern part of the Caspian Sea. From Bernardus Sylvanus's 'Claudii Ptholemaei Alexandrini liber Geographicae.', published in Venice in 1511. 'The editor - according to his apologia in the introduction - deliberately decided to amend the construction of Ptolemy's maps to take account of modern discoveries. This bold step, needless to say, met with only partial success principally because Sylvanus relied on already out-dated information, or felt unable to depart radically from long-standing geographical conceptions.
Sri Lanka] Duodecima et Ultima Asiae Tabula.
Venice Jacobo Pentius de Leucho 1511 - Woodcut printed in red and black on two leaves, leaf split and re-joined, backed with japan on verso, several areas of loss, skilfully infilled. Dimensions (sheet): 410 by 550mm. (16 by 21.75 inches). Scarce. One of the earliest examples of two colour printing. From Bernardus Sylvanus's 'Claudii Ptholemaei Alexandrini liber Geographicae.', published in Venice in 1511. 'The editor - according to his apologia in the introduction - deliberately decided to amend the construction of Ptolemy's maps to take account of modern discoveries. This bold step, needless to say, met with only partial success principally because Sylvanus relied on already out-dated information, or felt unable to depart radically from long-standing geographical conceptions.
Joss. Badius, Paris 1511 - Historia de bello Judaico, sceptri sublatione, Judaeorum dispersione, et Hierosolimitano excidio. (Translated) S. Ambrosius, Ed. Jacques Lefèvre d'Etaples, Michael Hummelberg et Josse Bade ~ A Paris, J. Badius Ascensius, 1510-1511 ~ In-fol., post-incunable, LXXVII feuillets chiffrés, 10 feuillets non chiffrés. Reliure plein vélin estampé richement orné, première édition très rare. Colophon fol. LXXVII Liber V (Finis Rurfus Inedibus Afcenfianisad Calendas Ianuarias M.D.XI.). Selon Renouard, « cette adaptation latine du « De Bello Judaico » de Flavius Josephe (c.37-c.100) fut faite vers 367-374 par un auteur anonyme. Une erreur du copiste qui a sans doute confondu Josippus et Hegesippus est à l¿origine du nom. » Cette version fut très peu diffusée car elle donne le peuple juif responsable de la mort du Christ, mort qu¿il paiera par la destruction de Jérusalem. Badius donnera une nouvelle édition 2 ans plus tard (30 décembre 1511 ¿ Renouard, Badius, II, 488) et une autre en 1524. Cette première édition de 1510 se trouve, en France, à la Mazarine et à la bibliothèque de Chartres, d¿après Renouard, et aussi Deventer, Gand, Genève. (décompte 1908) ¿ Autres exemplaires localisés à ce jour (2009) : BM Toulouse ¿ Poitiers ¿ Besançon. Friedlaender library, part II, 2001, n°343. Adams H-144. Moreau, Inventaire chronologique des éditions parisiennes du XVIe siècle, I, 1510, 97. D¿abord élevé chez les frères de la vie commune à Gand, Josse Bade poursuivit ses études à Louvain puis en Italie, où il fut l¿élève de Battista Guarino et brièvement de Philippe Béroalde l¿ancien. Il enseigna à Valence et à Lyon et commença à publier (notamment ses Sylvae morales) chez le libraire Jean Treschel, dont il devint le correcteur puis l¿associé. En 1499, il s¿installa à Paris et à partir de 1503 à son propre compte sans doute avec l¿aide du libraire Jean Petit. Il poursuivit ses activités d¿éditeur scientifique tout en imprimant. Son atelier était le rendez-vous des humanistes. Gravitait autour de son atelier tout un cercle de collaborateurs (Bérauld, Dubois), les Ascensiani. Il entretenait par ailleurs des relations avec la plupart des grands humanistes européens. Josse Bade édita durant toute sa vie les classiques latins, en fournissant des commentaires. Dès 1500, parurent ses commentaires familiers sur les épîtres, les satires et l¿art poétique d¿Horace dont des fragments avaient déjà paru dans les Sylvae morales, la première édition des épîtres date d¿octobre, celle des satires a dû la précéder. L¿ensemble de ces commentaires d¿Horace est réuni en 1503 (avec ceux d¿Antonio Mancinelli). On trouve déjà dans les éditions de Josse Bade, outre les gloses d¿Acron, Porphyrion et Mancinelli, des annotations d¿Alde Manuce, et de M. Bonfini (dans l¿édition de1519). En 1543, sont ajoutées les annotations d¿Henri Glarean, en 1546, celles de Parrhasius, d¿Erasme, Politien, Sabellicus, de Cælius Rhodiginus, de Pio, de Crinitus, de Robortello, etc., dans une sorte de processus additionnel qui réunit l¿aréopage humaniste le plus large et le plus européen. L¿anticaire Suisse Daniel Good attribue ce livre à Hegesippus (¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿) (c. 110 ¿ c. April 7, 180 AD[1]), was a Christian chronicler of the early Church who may have been a Jewish convert and certainly wrote against heresies of the Gnostics and of Marcion. The date of Hegesippus is insecurely fixed by the statement of Eusebius that the death and apotheosis of Antinous (130) occurred in Hegesippus' lifetime and that he came to Rome under Pope St. Anicetus (Bishop of Rome, ca 175-189) and wrote in the time of Pope St. Eleuterus. Eusebius says that St. Hegesippus was a convert from Judaism, learned in the Semitic languages and conversant with the oral tradition and customs of the Jews, for he quoted from the Hebrew, was acquainted with the Gospel of the Hebrews[8] and with a Syriac Gospel, and he also cited unwritten traditions of the Jews. [A1] [Attributes: First Edition; Hard Cover]
Claudii Ptholemaei Alexandrini liber Geographiae cum tabulis et universali figura
Venice: Jacobus Pentius de Leucho, 1511. THE FIRST CORDIFORM MAP AND ONLY THE SECOND WORLD MAP TO DEPICT AMERICA Folio, first Venetian edition, translated by Jacobus Angelus, edited by Bernardus Sylvanus of Eboli, title printed in red text (in double column) and 28 full-sheet woodcut maps printed in red and black, all but the last printed on both recto and verso, the last being the world map by Sylvanus, woodcut diagrams in the text, spaces for initials with guide letters. Nineteenth-century limp vellum, in modern cloth chemese and morocco-backed slipcase Provenance: Tross; Samuel Latham Mitchell Barlow, bookplate; long autograph inscription by Henry Harrisse (who acted as Barlow&#39;s bibliographical advisor) References: Lloyd Arnold Brown, The World Encompassed, exh. cat. (Baltimore, 1952), n. 55; Rodney W. Shirley, The Mapping of the World (London, 1983), n. 32. The celebrated 1511 edition of Ptolemy&#39;s Geography represents a major stride in the intertwined histories of cartography and of printing technology. Bernardus Sylvanus was one of the first to produce a version of the Geography that sought to bring Ptolemy up to date rather than simply to reconstruct the ancient scholars maps. His Venice edition of Ptolemy was, therefore, the first to sound a rallying cry that would ultimately inspire later mapmakers to bring the science of cartography into the modern era. Sylvanus&#39;s version consists of twenty-eight maps as opposed to the canonical twenty-seven described by Ptolemy, the additional item being his "modern" representation of the world. The maps are among the earliest known examples of two-color printing in cartography, with the major place names in red, lesser ones in black. The large cordiform (or heart-shaped) map of the world is the earliest of its kind, and it was only the second map included in an edition of Ptolemy to show America, after Ruysch (see above, n. 3). Sylvanus, however, was less thorough in his nomenclature than his predecessor, identifying, for example, only three names on continental Europe ("magna germa," "Italia," "dalma") and labeling the New World as "Terra Sanctae Crucis" but signaling no additional place-names. The summary nature of Sylvanus&#39;s map also extends to the other side of the world, as the eastern coastline of Asia is left largely open and thus hypothetical. At the same time, Sylvanus&#39;s map is particularly striking aesthetically in light of its unusual chromatic contrasts, the curvilinear projection with flamboyantly undulating lines of longitude and latitude, the graphic prominence of rivers and stylized mountain ranges, as well as decorative elements including the wind-heads that surround the borders. When Sylvanus published his Ptolemy edition, Venetian printers had not yet begun to compete with their counterparts in Florence and northern Europe in the production of cartographic material, despite the fact that Venice was then the dominant European commercial port. Sylvanus&#39;s Ptolemy remained an early and isolated signal of the prominence that Venetian publishers would eventually claim much later in the sixteenth century.. Book.
1511 - Venice, 1511. Woodcut on two sheets conjoined, printed area 370 x 480mm. A rare map of Germany, from Sylvanus's edition of Ptolemy's Geography. Having many names printed in red makes it one of the first examples of two-colour printing, achieved by printing the sheet twice. It is also what Shirley calls 'an isolated example of Venetian cartographic enterprise', forty years before Gastaldi's version of Ptolemy. It was never reissued. As the maps were printed on both sides of the sheet, this has half of the two maps of Austria and France on the reverse.
Die Kleine Passion. Mit den Gedichten der Erstausgabe von 1511 von Benedictus Chelidonius Musophilus in lateinisch mit deutscher Übertragung. Verona, Officina Bodoni 1971. 4to. 220 S. Mit 37 Holzschnitten. Brauner Orig.-Halbschweinslederbd. mit goldenem Deckelsignet u. Kopfgoldschnitt. In Orig.-Schuber.
. . Die Ausgabe der Kleinen Passion erscheint in einem hervorragenden Neuschnitt des namhaften Meister-Xylographen Leonardo Farina. Mit 37 Holzschnitten ist sie die umfangreichste von Dürers Passionen. In 115 numerierten Exemplaren auf Magnanipapier gedruckt. Tadellos erhalten. - Schmoller 172.
[Corpus iuris civilis - Institutiones]. Institutiones imp[er]iales cum casibus longis noviter eme[n]datus [...].
Lyon, (Jean de Vingle für) Etienne Gueynard, 20. V. 1511.. (16), CCCLXVI Bll., 2 w. Bll. (a-z, A-Z8). Durchgehend in rot und schwarz gedruckt. Mit vierteiliger Titelbordüre in Holzschnitt, großer Holzschnittinitiale am Titel und ganzseitigem Holzschnitt am Schluß der Vorstücke (am letzten bedr. Bl. verso wdh.). Dunkelbrauner Lederband der Zeit über Holzdeckeln. Reste von Schließen. 8vo.. Bibliographisch nicht nachweisbare Lyonnaiser Institutionenausgabe im handlichen Kleinformat, der Text von der Glosse umflossen. Der hübsche ganzseitige Holzschnitt zeigt den Kaiser auf dem Thron inmitten seines Hofstaats, am Boden vor ihm zwei spielende Hunde. Nur ein Exemplar in USA (Harvard Law School). - Einband berieben und mit Fehlstellen; Kapitale defekt. Etwas gebräunt bzw. wasserrandig; Titel mit kl. Wurmspur in der Bordüre. Am Schluß der Vorstücke zeitgenöss. (dat. 1514) hs. Besitz- und Kaufvermerk eines polnischen Beamten Clemens Selerianus (?); am ersten weißen Schlußblatt hs. Besitzvermerk (mit Bibelvers Matthäus 7:21) des ungarischen Magnaten Nikolaus Thuroczy (datiert 1557), wohl Sohn des gleichnamigen kgl. ungarischen Protonotarius und Locumtenens von Banska Bystrica. - OCLC 78637228. Vgl. Adams J 620 (o. J.; abw. Kollation). Nicht bei BM-STC French.
Der Cronicken der Eingesetzten Orden des Heyligen Vatters Francisci... zusamen getragen und in portugalischer Sprach beschriben durch Marcum von Lißbona. Und an ietzo in unser Teutsche Sprach gebracht durch Herrn Carl Kurtzen von Senfftenaw. 2 Tle. in 1 Band. Konstanz, N. Kalt 1604. 25 Bll., 672 S., 1 Bl.; 1 Bl., 520 S., 1 Bl., mit gest. Titel, 1 Holzschn. u. 1 (ganzs.) Wappen-Holzsch.-Druckermarke, blindgepr. Schweinsldr. d. Zt. über Holzdeckeln mit 1 (v.2) Messingschließen.
. . VD 17 3:301440R - LThK VI, 959 - Streit I, 274.- Erste u. einzige deutsche Ausgabe, selten.- Verfaßt vom portugiesischen Franziskaner Marcos de Lisboa (1511-1591); er war von 1581 bis zu seinem Tode Bischof von Porto.- Der erste Band widmet sich dem Leben des hl. Franziskus, die zehn Kapitel des zweiten Bandes behandeln die Frühzeit des Ordens und seine Verbreitung. Enthält auch zahlreiche Missionsnachrichten, da der Autor selber u.a. Missionar in Mexico und auf den Philippinen war. "Die erste größere Chronik des Franziskanerordens, die von den späteren Chronisten vielfach ihren Darstellungen zugrunde gelegt wurde und das mit Recht, denn dem Verfasser standen sie ursprünglichen Quellen zur Verfügung." (Streit).- Der Übersetzer Carl Kurtz von Senfentau war "Rath und Vogt der Herrschaft Feldkirch".- Gest. Titel mit Randausschnitt u. hinterlegtem Einriss, etw. gebräunt u. braunfleckig, im 2. Tl. auch wasserrandig, wenige kl. Randläsuren, 3 Bll. mit Eckabriss, letzte Bl. v. 1. Teil mit Battweiserausriß, wenige kl. Wurmgänge im Rand, Ebd. stärker berieben, hinterer Deckel mit Brandspuren.
Venedig, J. Pentius de Leucho, 1511. 37,5 : 37,5 cm.. Karrow, R.W. (16 c.) 75/54. - Frühe, in Rot und Schwarz gedruckte Holzschnittkarte von Ceylon (Sri Lanka). Aus der Ptolemaeus Ausgabe 'Claudii Ptholemaei Alexandrini liber Geographicae ...' von Bernardus Sylvanus, auch bekannt als Bernardo Silvano von Eboli, welche 1511 in Venedig gedruckt wurde. Sylvanus schuf eine einzigartige Mischung aus klassischer und moderner Information in den Karten für seine Ptolemaeus Ausgabe, wobei er die Ptolemaeus Liste der Provinzen und Städten den modernen geographischen Umrissen der Küsten, Flüssen und Bergen anpasste. Die Karte ist in Rot und Schwarz gedruckt, einem der frühesten Beispiele für einen Zweifarbdruck. Rückseitig mit der rechten Hälfte der Indienkarte mit dem Chinesischen Meer und Südost Asien, betitelt 'Undecima Asiae Tabula'. - Auf zwei Blättern gedruckt und zusammengefügt, Kritzeleien von alter Hand in Tinte, sehr gutes Exemplar. - Early woodcut map of Ceylon / Sri Lanka printed in red and black. From Bernardus Sylvanus also known as Bernardo Silvano of Eboli Ptolemy edition 'Claudii Ptholemaei Alexandrini liber Geographicae...', printed 1511 in Venice. Sylvanus created a unique hybrid of Classical and modern information on his maps for his 1511 edition. He fitted Ptolemy's list of provinces, towns, as they existed in the Classical period to the modern geographical outline of the coasts, rivers, and mountains. The map have been printed in two colours - black and red, one of the earliest examples of two colour printing. Each of the map sheets of Sylvanus printed on both sides, so halves of two different maps are on the back side of this map. As a result, Sylvanus maps are very rare on the market and certain maps virtually never appear on the market, where they appeared on the verso of maps which were more heavily soughtafter by collectors. In this case, verso right half shows the map of India beyond the Ganges with the description of the Chinese Sea with Southeast Asia, titled 'Undecima Asiae Tabula'. - Printed on two leaves which have been rejoined, some scribble in ink by an old hand, very good conditions.
(Wien, Hieronymus Vietor & Johann Singriener für Leonhard & Lucas Alantsee, 23. Juli - 13. Sept. 1511).. 2 Teile in einem Band. (14), LX, (50) Bll. (Vorgebunden) II: Arator. Arator poeta christianissimus in actus apostoloru[m]. [Leipzig, Melchior Lotter d. Ä., um 1512]. 58 (statt 60) Bll. (das letzte weiß). (Beigebunden) III: Sallustius Crispus, Caius. C. Crispi Salustii bellum Catilinarum. Item. Bellum Iugurthinum eiusdem. Item. Variae rationes ex libris eiusdem historiarum exceptae. Item. C. Crispi Salustii Vita. (Straßburg, Matthias Schürer, August 1512). 95 (statt 94!) röm. gez. Bll. (Beigebunden) IV: Vergilius, Polydorus. Proverbiorum liber, quo paroemiae insigniores omiu[m] fere scriptorum luculentissima enarratione explicantur. (Ebd., November 1511). (6), XLVII, (1) Bll. (Beigebunden) V: Ders. De inventoribus rerum libri tres. M. Antonii Sabellici de artium inventoribus ad Bassam carmen elegantissimum. [...] Ex secunda recognitione. (Ebd., Juni 1512). Holzdeckelband der Zeit mit hübsch blindgepr. Schweinslederrücken (ergänzte Fehlstelle am Hinterdeckel). Schließen fehlen. 4to.. I: Hübsch gedruckte, von Johann Camers besorgte Ausgabe; nur zwei Tage nach Cuspinians (häufigerer) Wiener Edition (bei J. Winterburger) erschienen. - Mit Widmung der Verleger an Francesco II. Sforza, über "ars illa imprimendi". "Noch ist eine Anrede der Drucker an die Studierenden angehängt, in welcher sie ihren Florus empfehlen. Er ist auch in der That mit der schönsten grossen Schrift gedruckt. Daß nur die vielen Abbreviaturen nicht wären!" (Denis) Der zweite Teil enthält die Annotationes, von denen Camers sagt, er habe sie "in der Zeit eines Monats aufgesetzet. Sie bestehen meistentheils aus Citaten andrer alten Schriftsteller, die von eben dem Gegenstande handeln, und machen der Belesenheiten unsers Minoriten Ehre" (ebd.). Zur Erklärung der kuriosen Gleichzeitigkeit der beiden Wiener Florus-Editionen mutmaßt Denis, dies müsse auf eine Eifersucht zwischen den beiden Herausgebern zurückgehen. - Etwas gebräunt und fingerfleckig. Mit zahlreichen Marginalien und Interlinearnotizen von zeitgenöss. Humanistenhand. Die Blattränder teils eingeschnitten; über den Beschnitt hinausstehende Marginalien eingefaltet. - II: Zweite Ausgabe des 16. Jhs. Epische Umdichtung der Apostelgeschichte, die "mit kühnen Allegorien und Zahlenmystik den tieferen Sinn der Erzählungen zu deuten sucht" (Tusculum Lex. Lit. 35). Der christliche lateinische Dichter Arator aus Ligurien, Schüler des Bischofs Ennodius, erhielt um 540 von Papst Vigilius ein Subdiakonat in Rom. Das "vollständig erhaltene, im Mittelalter hochgeschätzte Werk [ist] eine Schilderung des Hauptinhalts der Apostelgeschichte und des Martyriums des Paulus und Petrus in 2326 Hexametern mit den gesuchtesten Ausdeutungen des Bibeltextes, insbesondere der Zahlen und Namen. Vigilius, dem Arator sein Werk gewidmet hat, ließ es 544 in der Kirche Petri ad vincula an vier Tagen unter großem Beifall der Hörer verlesen" (Bautz, BBKL I, 204). - Erste Lage verbunden (A1, 5, 2, 6); es fehlen die Bll. A3-4. Durchgehend wasserrandig. Titel und Anfang mit teils unterlegten Randläsuren. Mit zahlreichen Marginalien und Interlinearnotizen von zeitgenöss. Humanistenhand. Die Blattränder teils eingeschnitten; über den Beschnitt hinausstehende Marginalien eingefaltet. - III: Seltene Straßburger Sallust-Ausgabe. Vor dem letzten Blatt mit der Kurzvita des Autors und dem Impressum ist noch ein Blatt aus Schürers Sallust-Ausgabe von 1513 (VD 16, S 1368) eingebunden, das eine andere Sallust-Vita sowie das Impressum jener anderen Ausgabe enthält. - Titel etwas fleckig. Mehrere hübsche eingedruckte Fingerweiser im Rand; bis Bl. XXVIII eng mit Marginalien von zeitgenöss. Humanistenhand versehen (ebenfalls am letzten Bl. verso). - IV: Das Erstlingswerk des italienisch-englischen Humanisten (EA 1498). Gemeinsam mit den "Adagia" seines Freundes Erasmus bildete es eine der beliebtesten Sprichwörtersammlungen der Renaissance. - Etwas gebräunt u. fleckig, teils auch wasserrandig. Einige Stellen in griechischer Type. - V: Frühe Ausgabe des vielfach aufgelegten Hauptwerks des italienisch-englischen Gelehrten: Ein enzyklopädisches Werk humanistischer Gedächtniskultur, das die Ursprünge der Philosophie, Medizin, Astrologie, Pharmazie, Magie etc. behandelt. "Veritable encyclopedie, remplie de details et d'anecdotes curieuses" (Caillet III, 675). - Etwas gebräunt bzw. wasserrandig; letztes Bl. fachmännisch angerändert. Insgesamt schöner Sammelband zur klassischen wie auch neulateinischen Literatur und Geschichtsschreibung in einem Holzdeckeleinband der Zeit; der abgebrochene Außenrand des Hinterdeckels fachmännisch ergänzt. - I: VD 16, F 1685. Denis 55 a, b. Graesse II, 604. BNH F 303, C 157. Nicht bei Adams oder BM-STC German. - II: VD 16, A 3185. BM-STC German 39. Nicht bei Adams. - III: VD 16, ZV 13683. Muller II, 184, 87. Ritter 2060. Schmidt 82. Nicht bei Adams oder BM-STC German.- IV: VD 16, V 770. Muller II, 181, 61. Ritter 2396. Schmidt 58. Nicht bei Adams oder BM-STC German.- V: VD 16, V 745. Adams V 425. Muller II, 184, 90. Ritter 2397. Schmidt 74. Nicht bei BM-STC German.
Sibenik, 15. VIII. 1511.. ½ S. Italienische und lateinische Renaissance-Kursive in brauner Tinte auf feinem Bütten (Anrede lateinisch, Text italienisch mit lat. Einsprengseln). Wasserzeichen einem Hammer mit Amboß ähnlich. Rückseitig Adresse und papiergedecktes Siegel Venedigs (Markuslöwe). Folio (320 x 220 mm).. Als "Capitano" von Sebenico an den Rat der Zehn von Venedig, unter dessen Herrschaft die dalmatinische Stadt seit 1412 stand, zur Abfassungszeit im Spannungsfeld zwischen Ungarn und Osmanen. Emilianus sieht eine lokale Revolte ("scandalo") aufziehen, über die er dem Rat bereits berichtet habe. Sein "cancellier" ermittle "con ogni dexterita e secretezza". Er hoffe auf Unterstützung des weisesten Rates, "perche altramente io credo la total ruina, e desolatione di questa terra, ne si trova alcun che veramente mi tema, perche i vede io non haver forza alcuna". Die "insolenti" hätten "l'animo de dir e far quel li piace". Dies mißfalle zwar "assai homeni da ben", keiner aber wolle "contrastare cum questi che sono facti quodamodo signori di questa cita". Alle sähen voraus, daß ein Funken das Pulver zur Explosion bringen würde: "el piccol mala da principio col tempo si fa irremediabile, nec plura". - Tatsächlich gelang es dem Rebellenführer Juraj Prokic nur Tage später, die Stadt Sibenik einzunehmen. Der gegen die venezianische Adelsherrschaft gerichtete Bürgeraufstand, bereits im Vorjahr unter der Führung von Matija Ivanic auf der Insel Hvar ausgebrochen, wurde 1512 von Sebastian Zustignan (Giustiniani) grausam niedergeschlagen; Ende 1514 beendete eine Flotte von 15 venezianischen Kriegsgaleeren die kroatische Bürgererhebung endgültig. - In den Falten und Rändern etwas gebräunt bzw. angestaubt, sonst wohlerhalten. Volltranskription beiliegend.
KARL von Österreich, Markgraf von Burgau (1560-1618), Sohn v. Ehg. Ferdinand II. und Philippine Welser
Kanzleibrief mit Unterschrift ("Carl"), 1 Seite, in-4, Schloss Ambras, 25. 12. 1600.
. In Geldangelegenheiten an den Bankier Marx (Marcus) Fugger, Freiherr zu Kirchberg und Weißenhorn, in Augsburg. "Von Gottes genaden Carl Marggraff des hey: Rö: Reichs Zu Burgaw, Landtgraue Zu Nellenburg ... Wie Wir Euch, wegen das Ir Vnns auf dißmal mit dem begerten anlehen niht wilfahren künden, so wol der von Euch in Euerem schreiben an Vnnß vom 26. pass. eingefüerten, alß auch von dem Vessten unserm Pfleger zu Vilß undt liben getreuen Hannß Thomasen von Triembach, Vnnß gehorsam angefüegten erheblichen Vrsachen, Zu genüegen für entschuldigt halten. Alß thun Wir Vnnß auch gegen Euch der auf Wechsel angebotenen sechs in siben tausent gulden ganz g[nedig]l[ich] bedanckhen, daran Wir Zwar aniezo nicht bedürfftig, Da Wir aber derselbigen khünfftig behüffen werden, wollen Wir Euch dessen Zeitlich erinneren, vndt Vnnß diser offerta vnserm Zu Euch gesezten ganz g[nedig]l[ichen] vertrauen nach praevaliern ... ". Adressblatt mit gedecktem Siegel. Oben geringfügig beschnitten, Schrift etwas blass.. Bemerkenswerter Beleg für die enge Verflechtung zwischen den Habsburgern und den Fuggern, denen bereits Kaiser Maximilian ausgedehnte Landstriche in Vorderösterreich verpfändet hatte und die hier auch Herrschaftsrechte beanspruchten. 1511 wurde die Familie in den Adelsstand erhoben; sie ermöglichte Karl V. 1519 seine Wahl zum Kaiser, doch konnte dieser seine immensen Schulden nur teilweise zurückzahlen und brachte damit das bedeutendste Bankhaus des Frühkapitalismus in erhebliche Schwierigkeiten; erst Marx Fugger (1564-1614), dem 1598 die Geschäftsführung der Gesellschaft übertragen wurde und der auch kaiserlicher Rat sowie Präsident des Reichskammergerichtes zu Speyer war, konnte das Unternehmen wieder konsolidieren. Karl, der letzte Markgraf von Burgau, lebte seit 1597 auf Ambras, später in Günzburg; er war mit den von seinem Vater Ferdinand II. angehäuften Schulden erheblich belastet. Zehn Wochen nach der Abfassung unseres Briefes heiratete er Sibylle von Jülich-Kleve-Berg, die jüngste Tochter Herzog Wilhelm V. des Reichen.
Die Beschneidung Christi" (The Circumcision of Christ)
(Germany, c. 1511). Woodcut measures 12 1/4 by 9 inches, in a handsome 18 1/2 by 15 1/4-inch frame. This original woodcut print by one of the masters of the Northern Renaissance is part of a series of illustrations depicting scenes from The Life of the Virgin. According to Meder, this separate print was made after the 1511 Latin text edition of The Life of the Virgin. The print&#146;s paper bears the fischblase (fish bladder) watermark, which indicates that the print dates to the sixteenth century; this is Meder&#39;s state e. In &#147;The Circumcision,&#148; a sorrowful Mary watches as Christ, her child, undergoes the sacred rite. A man carrying a tall, braided candle stands on the left side, while Mary and the crowd of people in attendance fill the right side of the temple nave. Dürer&#146;s signature monogram is incorporated into the design, located on a slate in the bottom right of the scene. Dürer is known for his masterful, detailed wood engraving, and is recognized as one of the first European landscape artists. A few faint crease marks present. A rare, extremely fine example of the artist&#146;s virtuosic technique.
Decretum Aureum
Lyon, Fr., 1511. No Binding. Good. 8vo -8.125"x6. Book 43 leaves only, #&#39;s 420-428, 430-434, 436-464; printed by Nicholas de Benedictis, Lyon Fr, 1511; Decretum Aureum by Benedictis is famous for the high quality of the printing, and the first use of multicolor, red and black printing. Pg size, 8.1/8"x6", condition good; To see picture, click to next;
Hortulus anime cum aliis quam plurimis orationibus pristine impressioni superadditis: vt tabulam in huius calce annexam intuenti patentissimum erit. [Druckvermerk auf Blatt 240 vo: Hortulus anime impensis probi viri Johannis Koberger ciuis Nurebergen. impressus: finem optatum sortitus est Lugduni arte et industria Johannis Clein chalcographi. Anno domini. M.ccccc.xj. ... mit Cleins Druckermarke]
Lyon, Clein 1511. 14 cm. (20), 240, (4) Bl., rot und schwarz gedruckt, mit Titelholzschnitt, 69 teils ganzseit. Holzschnitten, 2 Kalender-Holzschnitten (Sonne und Mond), 14 kleinen Holzschnitten, zahlreichen Initialen und Druckermarke am Schluß, 5 Blatt als kunstvolle Federzeichnungen des 19. Jh. ersetzt, Blindgeprägter Kalblederband der Zeit über Holzdeckeln mit Messingschließen und dreiseitigem gepunztem Goldschnitt - BM STC French 1470 232 - Oldenbourg, Hortulus L 38 und S. 100 - Bohatta, Livre d&#39;h. 30 - Hase, Koberger S. 459 - Kobergers erste lateinische Ausgabe, Druck vom 3. (recte 5.) Juli 1511 mit 69 Holzschnitten der sog. "Lyoner Serie", die hier erstmals verwendet werden (Oldenbourg). Die Holzschnitte mit seitlichen Bordüren. "Weist doch die erste, dem Koberger-Verlag eigene Folge von Hortulus-Illustrationen ... so deutlich die Merkmale Straßburger Stilrichtung auf, daß man glauben möchte, sie sei am Oberrhein entstanden ..." (Oldenbourg S. 100). Die Blätter a1, d4, d5, h1, m1 als feine Federzeichnungen auf Papier des 16. Jh. kaum erkennbar im 19. Jh. ersetzt. Diese sind von solcher Präzision, daß sie selbst schon wieder Kunstwerke sind. Die Blindprägung des Vorderdeckels mit Kruzifix und den Initialen "IHS" im Strahlenkranz, die des hinteren Deckels zeigt Maria im Strahlenkranz. Provenienz: Exlibris "Alfred Trapnell" (Sotheby&#39;s 6. April 1910); Eckmans Boksammling (Branner / Bruun Rasmussen Kopenhagen 1965 Nr. 22); Nils Bonnier (Norden Sale 1997 Nr. 22). Rücken alt restauriert, 1 Schließband erneuert, stellenweise leicht gebräunt, Titel und einzelne Blatt am Rand stock- bzw. braunfleckig, im Kalendarium zeitgenössische handschriftliche Notiz. - Sprache / Language: Lateinisch / Latin -
DURER, ALBRECHT (Nuremburg 1472-1528)
1511. Woodcut. One of the plates from the set of 16 illustrations of the Apocalypse of Saint John. Fine impression of the only state with the latin text on the verso. 1511. With 1/4" margins 390 x 279 (15 3/8 x 11) Meder 175, B. 74, Pan.294, K. 117, T. 137. Watermark: Flower with a triangle (M. Watermark #127). Printers crease in upper left corner, some glue stains on verso right border, not noticeable from the front. Otherwise in fine condition
Plautus, Titus Macchus [and] Ovidius Naso Publius
Comoediae. Commentary by Bernardus Saracenus and Giovanni Pietro Valla. [Bound With] Epistolae Heroides. Commentary by Antonius Volscus and Ubertinus Clericus
Venice [and] Parma: Lazarus de Soardis [and] Octavianus Saladus and Franciscus Ugoletus, 14 August 1511 [and] 15 May 1517. First fully illustrated edition of Plautus&#39; comedies, second edition with the commentaries of Saracenus and Valla. A rare and beautiful edition of Ovid&#39;s Heroides, other than the Modena copy listed by Sander we can trace only one other copy, at the Bibliothèque nationale de France. The Plautus with text in roman type with commentary surround, a few passages in Greek type, title in gothic type within fine woodcut Renaissance border decorated with putti, grotesques, and a procession of classical sea figures, full-page woodcut of a theater, 316 small woodcut illustrations of scenes from the comedies, assembled from smaller blocks (including many repeats), the characters&#39; names printed in roman type inset in banners in the block; a variety of fine white-on-black floriated initials and small border cuts. The Ovid text with commentary surrounding, title within fine woodcut border, large woodcut illustration of Ovid and the two commentators, 22 small woodcut illustrations in the text, each with three scenes, printer&#39;s sun device at end. folio, (311 x 207 mm) , bound in contemporary blind-tooled Italian brown calf over pasteboard, sides paneled with triple (two thin, one thick) fillets, two borders of different foliate rolls enclosing two squares each composed of a floral roll around a central lozenge, sewn on three double cords, spine tooled with triple fillets to a saltire design. 228, "189" [i.e., 89], [1 blank] ff.; Collation: aa6 a-m8 n10; [6], 106 ff. Marginal dampstaining to first and last few leaves, some discreet paper repairs to outer page edges at end and occasionally elsewhere, tear in leaf i7 of the Ovid; binding rubbed in places and with a few small wormholes, otherwise a fresh copy. An extremely fine composite volume bringing together two early Italian illustrated editions of classical texts, preserved in its original Italian blind-tooled binding. Plautus: First fully illustrated edition of Plautus&#39; comedies, second edition with the commentaries of Saracenus and Valla. Lost during the Middle Ages, 20 comedies, plus one fragment, of the 150 plays attributed to Plautus were rediscovered during the Renaissance and widely translated, influencing Shakespeare and later Molière. Filled with jokes, puns, alliteration and often rowdy word-play, bordering on musical comedy with their consistent use of song and recitative, Plautus&#39; plays were free adaptations from the slightly earlier Greek "New Comedy," a pure comedy of manners using stock characters and turns of plot. Plautus&#39; "flow of wit and vigour of language" revived the genre and account for his "supreme popularity on the Roman stage" (Oxford Companion to the Theatre). His surviving plays still provide almost the only extant evidence for spoken Latin during the 3rd and 2nd century B.C. The illustrations of this edition provide some of the earliest visual testimony to Renaissance performance practice. Commissioned by the printer Lazzaro de&#39;Soardi for his 1497 edition of Terence, the striking full-page woodcut of a "coliseum or theatre" unusually depicts the stage and circular seating area from the actors&#39; point of view, showing on either side the curtained compartments from which the players emerge. Prince d&#39;Essling, the eminent scholar of early Venetian book illustration, considered this woodcut among the finest work of the time. Showing from two to six characters, the charming text illustrations are composed of separate small blocks of figures, trees and the same curtained doorways as those depicted in the large theatre cut. This manner of assembling cuts was first used by the Strasbourg printer Johann Grüninger for his 1496 editions of Terence, and seems to be associated with theatre in early Italian book illustration. It is a graphic device that is particularly appropriate for Plautus, whose plays were built up from a variety of stock plots, incidents, scenes, characters and passages of dialogue taken from a hodge-podge of different sources. (Mortimer notes that "there was a certain amount of adjustment of blocks at press," and individual copies vary in the blocks used for the illustrations.) This copy has the first state of the title and its conjugate leaf (aa1.10): the title is found either in a longer version printed in Gothic type, as here, or in roman type and considerably shortened, as in the Hofer copy at Harvard. The editors&#39; dedicatory epistles on the title verso also differ in the two states, and the conjugate aa10 was reset, with several variants of spelling, some described by Mortimer, who states that the "roman-title setting" is more accurate. Ovid: Rare and beautiful edition of Ovid&#39;s Heroides. Ovid&#39;s elegiac letters written from the heroines of legend and history to their lovers read like dramatic monologues, and the woodcut illustrations in this edition are similar to those of the Plautus in their three-part format, showing the characters of each poem engaged in different actions, as if scenes from a play. Like the cuts of the Plautus, the illustrations of this edition of Ovid exemplify the conservation and repeated reuse of woodblocks in the first century of printing, passed from one printer to another throughout several decades, for use in often unrelated editions. The text illustrations were previously used by the Venetian printer Tacuino&#39;s 1501 and 1512 editions of Ovid. The marvelous title border with stylized dolphins is one of the most attractive and frequently imitated woodcuts of the 16th-century book. First recorded in a 1511 edition of Vitruvius printed by Tacuino in Venice, it may have been used previously in editions now lost. "There are a number of variations on this dolphin composition, and&#133; it was one of the most influential pieces of ornamentation of the sixteenth century" (Mortimer, p. 755). Countless copies, some close, as here, others either more crudely cut or diverging stylistically from the original model, appeared from presses all over Italy during the next few years, and its influence extended as far as France, Switzerland and Germany. This edition is exceptionally rare: other than the Modena copy listed by Sander we can trace only one other copy, at the Bibliothèque nationale de France. No copies are listed in RLIN, OCLC, COPAC, or Edit-16. PROVENANCE: contemporary inscriptions on lower endleaves [regarding binding?]. Petrus Buoninsegnus, Siena 1814, typographic booklabel (examples of this bookplate are known with different dates, e.g. 1802).
Justinianus I, Emperor, 483-565. Chappuis, Jean
Institutiones Imperiales. Ordinate Glosis Textuales Divisiones Habentur. Patescit Grecum Utile Cum Expositione Succincta
Parisiusm [Paris]: Bertholdu Rembolt. 1511. 8vo - over 7¾" - 9¾" tall. H Hard Cover. Good. ... Univerversi Tituli Alphabetico Ordine Ponuntur, Sumaria Rubra Multis Adjectis Sunt Textibus Immixta. In Latin. Includes double-page folding woodcut, additional full-page woodcut with acrostic of the translator&#39;s name below, woodcut initials throughout, printer&#39;s device and other small woodcuts on title page with lions and shield tinted red, text in black and red throughout. Later full calf binding, most likely late eighteenth century, with dual black spine labels and elaborate blind-stamped design on both covers, all edges gilt, [32], 412 pages [CCVI pages numbered on recto only], pages 24.5 cm tall with good margins that are not excessively trimmed. Covers rubbed with neatly made but unfortunate reinforcement to the joints through use of three parallel horizontal strips of brown binder&#39;s tape, hinges also reinforced with binder&#39;s tape, text block sound, occasional and fairly faint dampstains throughout much of the second half of the book, somewhat expert repair to insect damage on final leaf with some very minor loss of text. Armorial bookplate of Sheffield Grace, Esq., L.L.D., F.S.A., 1829, on front pastedown, some elaborate marginalia in a sixteenth century hand throughout, including miniature hands with fingers pointing to pertinent passages.
Xilografia, circa 1511, senza il monogramma. Magnifica prova, secondo il Meder nel secondo stato di due, dalla prima edizione della Grande Passione con il testo latino, impressa su carta vergata con filigrana ?fiore con triangolo? (Briquet 6485 databile 1471-1524), due piccole macchiette di inchiostro nella scritta latina in basso al di fuori dell?immagine, per il resto in ottimo stato di conservazione. La serie della Grande Passione è composta dal titolo e suite di undici tavole realizzate tra il 1406 ed il 1511, anno della prima edizione latina. Sette delle dodici xilografie di questa serie, sono state disegnate prima del 1500, le restanti quattro nel 1510. Già le prime sette tavole, mostrano una profonda innovazione stilistica rispetto alla contemporanea produzione grafica in Germania alla fine del quindicesimo secolo. Questo nuovo modo di disegnare e modellare, con il quale il Durer interpreta i drammatici eventi finali della vita di Cristo, ha rivoluzionato lo sviluppo della xilografia nel sedicesimo secolo. Tornando dal suo secondo viaggio in Italia (1507), influenzato dagli artisti Italiani di quel periodo, il Durer sviluppò ulteriormente e significativamente il suo modo di disegnare. Egli cominciò a concepire le forme come contrasti di luce ed ombre, e sostituì all?esagerato vigore delle linee la delicatezza del segno. Le ultime quattro tavole della Grande Passione risultano quindi stilisticamente molto differenti da quelle disegnate prima del 1500. L?armonia nelle composizioni che riuscì ad esprimere in queste, è frutto di molti anni di studio della teoria Rinascimentale di prospettiva e proporzione. Al verso timbro di collezione di K.F.F. von Nagler (Lugt 2529), del Gabinetto delle Stampe di Berlino (Lugt 1606), e timbro duplicato del The Art Institute of Chicago. Bibliogrfaia: Bartsch 4. Dimensioni 275x395.
In-4 p. (mm. 304x202), legat. in mz. pelle coeva (restaur.) con piatti in legno (manca il fermaglio in pelle), dorso a cordoni, 4 cc.nn., CCVI cc.num., incluso il frontesp. stampato in rosso e nero entro bella cornice ornamentale tratteggiata; testo inquadrato dal commento (in carattere tondo), ornato da pregevoli grandi capilettera per lo più su fondo nero, e con 10 bellissime vignette nel t., tutto xilografato. Cfr. Essling,854: ?Bois de l?édition 4 juin 1511 avec les différences suivantes: Livre III, Combat devant Dyrrachium / Livre VII, Soldates assaillis par des serpents? - Sander,II,4021 - Adams,L-1566 - Choix de Olschki,IV,4757. ?La "Farsalia", poema epico di Marco Anneo Lucano (Cordova 39 d.C. - Roma 65 d.C.) in dieci libri, è rimasto incompiuto. L?argomento dei primi 8 libri è la guerra tra Cesare e Pompeo, negli ultimi due v?è il racconto delle imprese d?Africa e d?Egitto.. Più che di Cesare, che egli dipinge uomo settario, avido di guerre e stragi, Lucano è fervido ammiratore di Pompeo che eleva a simbolo della libertà repubblicana. Nei suoi ottomila versi la "Farsalia" riesce opera a vero carattere storico.. e vi attinsero anche storici posteriori, tanto più che le decadi di Livio corrispondenti a questa guerra civile sono oggi perdute?. Così Diz. Opere Bompiani,III, p. 301. Ultima c. restaur. per strappi e picc. manc. (non di testo); con uniformi arross. più o meno lievi e fiorit. ma complessivam. un discreto esemplare.
(Germany, c. 1511). Woodcut measures 12 1/4 by 9 inches, in a handsome 18 1/2 by 15 1/4-inch frame. This original woodcut print by one of the masters of the Northern Renaissance is part of a series of illustrations depicting scenes from The Life of the Virgin. According to Meder, this separate print was made after the 1511 Latin text edition of The Life of the Virgin. The print&#146;s paper bears the fischblase (fish bladder) watermark, which indicates that the print dates to the sixteenth century; this is Meder's state e. In &#147;The Circumcision,&#148; a sorrowful Mary watches as Christ, her child, undergoes the sacred rite. A man carrying a tall, braided candle stands on the left side, while Mary and the crowd of people in attendance fill the right side of the temple nave. Dürer&#146;s signature monogram is incorporated into the design, located on a slate in the bottom right of the scene. Dürer is known for his masterful, detailed wood engraving, and is recognized as one of the first European landscape artists. A few faint crease marks present. A rare, extremely fine example of the artist&#146;s virtuosic technique.

References: In fine
In fine
in fine
in fine
in fine
in fine
in fine