Source: https://www.vialibri.net/years/1503/50
Timestamp: 2018-10-20 09:43:37+00:00

Document:
viaLibri ~ Rare Books from 1503 - Page 2
De Roma triumphante libri decem diligentissime castigati & ita suo nitori restituti: ut in iis plusque duo mille errores corrigantur. Habes etiam totius operis tabulas in quibus omnia cognitu necessaria miro ordine collecta comprehenduntur.
per Angelum Britannicum, 1503. In - folio (cm. 31), cc. (6) CLXXX. Lo spazio del primo capolettera arricchito da un piccola decorazione ms. coeva. Legatura cinquecentesca (coeva?) in piena pergamena floscia con unghie e tracce di leccetti di chiusura. Mancanza di pergamena al dorso, pagina di titolo un po' brunita e poche gore marginali, peraltro esemplare assai genuino, marginoso ed in ottimo stato di conservazione. Antica firma di possesso ms. al frontespizio. Bell'edizione di questo classico della storiografia antica italiana e da considerarsi fra gli scritti principali dello storico e filologo romagnolo (Forlì 1392 - Roma 1463). Cfr. Iccu.
Patria historia. Historia continente de l'origine di Milano tutti li gesti, fatti e dettagli preclari in fine al tempo di esso autore, con somma fedeltà in Idioma Italico composta con il Repertorio prontissimo.. Milano, apud Alexandrum Minutianum, 1503
Minuziano A, 1503. in - folio (mm. 394x265), ff. (6 prelim.), (+7 con il "Repertorium Chronicae" ristampato nel XVIII secolo), (422); solida leg. 700esca. p. pelle marrone chiaro, dorso a nervi con tassello e tit. oro, tagli rossi. Impresso con nitido car. romano. L'opera è così illustrata: una silografia a piena pag. (al v. del secondo f. prelim.) con la Virtù che sostiene 2 stemmi, l'uno dei Corio, l'altro degli Ascanio; due altre a piena pagina (al v. del quinto f. prelim. e ripetuta al f. aa1) raffig. l'autore seduto allo scrittoio con nella mano destra una penna, ai suoi piedi un cagnolino, in basso i due versi del Dolcino «Bernardine tibi Insubres debere fatentur/ non minus ac magno Roma superba Tito» ed in alto i motti «E' bello dopo il morire vivere anchora», «Amica veritas» e «Sustine et abstine» ; ed una silogr. a mezza pag. (recto di ff3) con la Virtù che sostiene lo stemma dei Corio. Queste silografie sono considerate ("Illustrazione del libro in Lombardia nel '400 e '500" a cura di SAMEK LUDOVICI, 1960) opera di un artista di cerchia leonardesca, pur presentando influssi ferraresi - mantegneschi; alcuni le dissero opera di Bernardino de' Conti, pittore di Pavia, autore anche di un ritratto (Parigi, Jacquemart - André) che si è presupposto essere quello del Corio; KRISTELLER, invece, le attribuisce al Maestro del Melchiorre da Parma (cfr. Lombardische Graphic, pp. 54 - 6 e 100 - 101). Edizione originale ed unica veramente completa, poiché molti passi furono soppressi nelle edizioni successive a causa di alcuni giudizi negativi sui Duchi milanesi, i quali ordinarono la distruzione degli esemplari impressi, e ciò ne spiega la grande rarità. L'opera, in sette parti, è la più importante storia di Milano, dalle origini alla fuga del Moro in Germania e la principale del Corio, che la iniziò nel 1485 pubblicandola a proprie spese coi tipi del Minuziano. La notevole rarità di quest'opera già nei secoli scorsi fece sì che la gran parte degli esemplari venisse completata con fogli di testo impressi con caratteri lievemente diversi e con le figure copiate su rame, insostituzione dei legni originali. Questa particolarità è difficilmente riscontrabile senza poter confrontare più esemplari tra loro, ed è quindi possibile che non sia stata evidenziata nelle descrizioni di bibliografie e cataloghi di vendita. Il Sander, ad esempio, cita equivocamente un esemplare di un cat. Rosenthal del 1927 "dans lequel le portrait n'est pas gravé sur bois, mais à l'eau - forte". In alcuni rarissimi esemplari, vennero aggiunte all'inizio sei carte con un utile indice, impresse dai fratelli da Legnano pochi anni più tardi; questo esempl. assai bello, a grandi margini, fu corredato al momento della rilegatura di un "Repertorio" ristampato nel XVIII secolo senza la bordura silografica (margine basso o esterno dei primi 16 ff. e dell'ultimo restaurato o rinforzato; lieve censura a penna sul f. a5; rare chiose di mano coeva nei margini). figure in legno (Virtù, al v. del secondo f. prelim, 2 ritratti di Corio, al v. del quinto f. prelim. e ripetuta al f. aa, e figura allegorica con stemma, al recto del f. ff3), la prima tiratura della dedica ; il Repertorio, senza la bordura, in tiratura del ?600, doppia versione del f. a4.
VIVALDUS Giov.Lud.
Aureum Opus de Veritate Contritionis. In quo mirifica documenta eterne salutis aperiuntur. (F. 158, v.:) Salutijs impressum.., Le Signerre fratres Rothomagenses, anno Salutis 1503, die prima Julij (Saluzzo, 1 Luglio 1503)
Le Signerre, 1503. in - folio (mm 299x210), ff. 158 (erroneamente numerati 160), ff. 28 n.n. d'Indici, legatura secentesca in pergamena semifloscia. Titolo silografico in grandi caratteri gotici, due imprese tipografiche (Kristeller 100) in fine, alcune grandi splendide iniziali istoriate con stemmi e scene sacre; nei margini centinaia di maniculae silogr. ad indicare i passi più importanti. Il volume è illustrato al r. del f. 2, da una magnifica silografia a piena pagina raffig. S. Gerolamo in penitenza, entro elaborata bordura con putti, fregi e stemmi di Saluzzo e della Marchesa Marguérite de Foix. Talvolta attribuita a Jacopo Bolognese, è certamente di ambito milanese e rimanda ad alcuni legni pubblicati dagli stessi Le Signerre a Milano. Secondo Lippmann (Art of wood - engraving in Italy, p.147). ''the effect produced is one of concentrated power''. Dedica di Bernardino Dardano a Ludovico II, Marchese di Saluzzo ed al verso della silografia altra del giurista Francesco Cavassa, Vicario in Asti. L'arrivo del Dardano da Parma come precettore dell'erede e del Vivaldi da Mondovì come confessore del Marchese rappresentò ''l'anello di congiungimento tra la cultura teologica e la cultura propriamente umanistica'' (Vinay, L'umanesimo subalpino, p.107). Il primo libro figurato impresso a Saluzzo, e prima edizione dell'opera principale del frate domenicano. Vi esamina a fondo il sacramento della confessione, i dieci comandamenti, tipi di peccato, le quattro virtù cardinali, i precetti della Chiesa. In fine un'epistola all'autore da parte del confratello Girolamo Cervi da Bellano, del quale segue il vastissimo indice. Lodovico II del Vasto (1438 - 1504) ebbe una buona cultura umanistica ed invitò i fratelli Le Signerre per una stabile attività tipografica; ma a causa della morte del Marchese cedettero i torchi ed i tipi a Giacomo de Circhis di S.Damiano d'Asti il quale stampò l'"Opus Regale" nel 1507. Bellissimo nel colophon è l'omaggio dei tipografi francesi alla città che li ospita: "Sors mea Salutias postquam me duxit ad arces qua fluit e Vesuli vertice lympha Padi" Edizione di straordinaria bellezza, importanza e rarità. Esemplare assai puro, a grandi margini (alone marginale agli ultimi 3 fogli). Malgrado non sia censita in SBN, figura in una decina di biblioteche piemontesi (alcuni esempl. mancanti della silografia).
PASI, Bartolomeo.
Tariffa de i pesi, e misure corrispondenti dal Levante al Ponente.Venice, per Paolo Gherardo (colophon: per Comin da Trino), 1557. 8vo (15.5 x 11 cm). With the title in a woodcut border of 4 matching parts, and with a crowned eagle device.18th-century half green morocco, gold-tooled spine.
BMC STC Italian, p. 491; ICCU CNCE 17269; Riccardi II, col. 251; Smith, Rara arithmetica, p. 77; cf. Adams P-374-P-375 (1503 & 1540 eds.); Kress 51 (1540 ed.). Fourth and last edition of a practical handbook for international merchants, giving information for the conversion of monetary units, weights and measures from various countries. It covers not only units from cities in the Italian states but also from Constantinople, Aleppo, Tripoli, Damascus, Cyprus, Corfu, Rhodes and Crete. Venice was at this time the centre of European trade with the Near and Middle East. Little is known about the author and this is his only published work. With the armorial owner's stamp of Count Ercole Silva (1756-1840) in Milan on the back of the title-page. In good condition, with only an occasional minor marginal spot or stain. The binding is somewhat tattered and if the marbled paper sides ever included bright colours, they have faded to shades of brown. A good copy.
Boniohannes de Messina [Pseudo Cyrillus]
Incipit:] Speculum sapientie beati Cirilli episcopi alias quadripartitus apologeticus vocatus. In cuius quidem prouerbijs omnis et totius sapientie speculum claret feliciter incipit.
Impressum in civitate Lugrunnij per Arnaldus guillermus de Brocario, Anno domini M.ccccc.iij. die vij. mensis Junij. 1503 - [i.e. 1503].- "// [Para pedidos desde fuera de España, por favor, consulte las condiciones de venta y envío, tipo B. / For orders to be delivered outside Spain, please, let you see our sale and shipping terms, type B. / Pour les commandes à livrer hors d'Espagne, s'il vous plait, voyez les conditions de vente et de livraison, type B].- // 8º (124x86mm.); [88] h.; sign.: a-l8; colofón en l5; marca tipográfica de Brocar en l8.- // Falto de a1 (portada) y a8 (es decir, de la primera sábana del primer cuadernillo). Encuadernación en pergamino de época. Pergamino perdido en plano trasero. Mancha en corte superior junto al lomo que penetra en la punta superior interna de un tercio de las hojas. Algunas anotaciones manuscritas de diferentes épocas. Sobre el incipit, 'Expejo de sabiduria' en letra s. XVI. Algunas manchas. Buenos márgenes.- // Proc.: sin datos.- // Ejemplar perteneciente al segundo estado de la edición logroñense de Brocar, con la errata de su nombre corregida en el colofón (en folio l5), falto de la portada en la que el verso lleva un grabado de la crucifixión. El texto, impreso por primera vez en Strasbourg, en 1474, con gran éxito ya en el periodo incunable, es una enseñanza moral, una guía para la vida, organizada en torno a la exposición de las que Bonjohannes consideraba las cuatro virtudes fundamentales, la prudencia, la magnanimidad, la justicia y la humildad, y rematada con un alegato contra los que consideraba los tres ?pecados capitales?, la soberbia, la avaricia y la lujuria. Tanto para transmitir el beneficio de los comportamientos virtuosos, como el peligro que comportaba claudicar ante los vicios, acudió a presentar diferentes situaciones por medio de noventa y nueve fábulas que parecen originales salvo en el caso del libro primero, donde parte de ellas están tomadas de Esopo. Una de las peculiaridades que ofrecen sus fábulas es que no se ciñen a situaciones y conversaciones entre animales, sino que también se presentan conversaciones entre entre una calabaza y una palmera (lib. 3, cap. 13), nada menos que entre la tierra y el motor inmóvil (lib. 3, cáp. 21) o entre el agua, el aceite y el fuego (lib. 4, cáp. 6), acudiendo al conocido efecto de la paradójica llamarada que se produce si se arroja agua sobre aceite ardiendo, para prevenir contra dejarse llevar por el inmenso, pero fugaz, ardor de la pasión.- // Refs.: Marsà, Rioja, 9A; Martin Abad, Post-incunables, 411 ; Norton, 372; Palau, 54886. [Attributes: First Edition; Hard Cover]
Grandes Heures der Anna von der Bretagne - Signatur: Lat. 9474 - Biblioth&#138;que nationale de France (Paris, Frankreich)
M Moleiro Editor - Barcelona - Faksimile des Originals Grandes Heures der Anna von der Bretagne mit der Signatur Lat. 9474 - Biblioth&#138;que nationale de France (Paris, Frankreich), auch bekannt als Las Grandes Horas de Ana de Breta¤a Grandes Heures der Anna von der Bretagne Gran Libro d?Ore d?Anna di Bretagna Grandes Heures d?Anne de Bretagne Grandes Horas de Ana da Bretanha. *** Daten des Originals: 30.5 x 20.0 cm, 476 Seiten. Tours (Frankreich), 1503-1508. *** Buchschmuck: 49 ganzseitige Miniaturen und 337 Rahmenillustrationen mit Pflanzen, Insekten und kleinen S&#132;ugetieren. Die Grandes Heures der Anne de Bretagne wurde zwischen 1503 und 1508 von Jean Bourdichon angefertigt. Es ist das private Gebetbuch der Herzogin und ist mit fast 50 ganzseitigen Miniaturen geschm&#129;ckt. Die Bilder erinnern in ihrer Qualit&#132;t an groáe Tafelgem&#132;lde. Das Stundenbuch wird in der Kunstgeschichte als eine der bedeutendsten illuminierten Handschriften aller Zeiten betrachtet. *** Mit dem Werk verbundene Namen: Anne of Brittany (1477 - 1514), Miniaturist: Jean Bourdichon, Louis XIV; Napoleon III. Faksimile: 1 Band: Vollfaksimile des Originaldokuments (Umfang, Farbe und Gr"áe) *** Limitierung: 987 Exemplare. Braunes, gepr&#132;gtes Leder mit Buchschleiáen *** Kommentar: 1 Band (400 Seiten) von Marie-Pierre Laffitte (Curatoder in the department of Manuscripts, Biblioth&#138;que nationale de France) Anne of Brittany Georges Minois (Historian of Brittany) The plants in the Great Hours of Anne of Brittany Mich&#138;le Bilimoff und Carlos Mirunda Garc¡a-Tejedor Sprache: Spanisch. Alle Preise inkl. MwSt. Die AGB und Widerrufsbelehrung finden Sie unter ?Anbieter- & Zahlungsinformationen? # Besuchen Sie uns in der Altstadt von Regensburg # Wir bieten mehr als 300 verschiedene Faksimile-Ausgaben an. Bitte kontaktieren Sie uns bei Fragen oder W&#129;nschen - wir helfen gerne! [Attributes: Hard Cover]
Gregorius de Arimino (Ariminensis; Gregor von Rimini; Gregorio da Rimini).
Gregorius de Arimino in primo [et secundo] sententiaru[m] nuperrime impressus. Et q[uam] diligentissime sue integritati restitutus. Per venerabilem sacre theologie bacalariu[m] fratrem Paulu[m] de Genazano. 2 in einem Band.
Venedig, (Boneto Locatello in Bergamo für) Ottaviano Scoto Erben, 1503. Fol. Mit zahlr. tlw. figürl. Holzschn.-Initialen, einigen schemat. Textholzschnitten u. 2 Holzschn.-Verlegermarken am Ende. 163 num., 9 nn. Bll.; 118 num., 4 nn. Bll., Späterer Ldr.-Bd. (um 1750) a. 5 Bünden m. reicher Rückenverg., goldgepr. Rückenschild u. dreiseitig marmor. Schnitt. Erste vollständige Ausgabe mit beiden Bänden dieses Kommentars zu Petrus Lombardus‘ Sentenzen (der erste Band erschien zuvor 1482 und 1500; der zweite 1494); herausgegeben von Paolo da Genazzano. - Der Philosoph, Theologe und Mitglied der Augustinereremiten Gregor von Rimini (um 1300 in Rimini - Ende 1358 in Wien) „studierte nach grundständiger Ausbildung in Paris (von 1322/23 bis 1328/29). Als Dozent wirkte er in Bologna (bezeugt 1332, 1333, 1337), vermutlich in Padua, in Perugia und kam wohl zwischen 1340 und 1342 nach Paris, wo er seine Sentenzenkommentierung ausarbeitete und vermutlich 1343/44 vortrug. 1345 erwarb er den Grad des theologischen Magisters. 1346 war er in Rimini, 1347 in Padua bis 1351, woraufhin ihn das Basler Generalkapitel an das neu eingerichtete Studienzentrum in Rimini schickte. 1357 wurde er Ordensgeneral der Augustiner als Nachfolger des Thomas von Straßburg. Seine philosophisch-theologischen Werke verbinden Ideen Wilhelms von Ockham und Petrus\' Aureoli. Neben seinem Hauptwerk, dem Sentenzenkommentar, verfasste Gregor Schriftkommentare und Briefe als Ordensgeneral sowie mehrere Traktate [...]“ (Wikipedia). - Einband etw. beschabt u. bestoßen. Vorderdeckel m. Nummernschild. Innendeckel u. der erste Titel gestempelt (Titel zudem mir zwei alten Besitzvermerken). Der erste Titel u. das letzte Blatt mit alt hinterlegten Ausrissen (ohne Textverlust). Tlw. leicht gebräunt, fleckig bzw. wasserrandig. - Wie alle frühen Ausgaben des Gregorius de Arimino sehr selten. - Nicht im EDIT16; BM STC, Italian Books 313; vgl. Adams G 1084 (Ausgabe 1518). Versand D: 12,00 EUR Petrus Lombardus, Sentenzen, Sentenzenkommentar, Sententiarum, Gregorio da Rimini, Gregorius de Arimino (Gregor von Rimini), Gregorius de Arimino in primo [et secundo] sententiaru[m] nuperrime impressus, Paolo da Genazzano
Patria historia. Historia continente de l'origine di Milano tutti li gesti,
fatti e dettagli preclari in fine al tempo di esso autore, con somma fedeltà in Idioma Italico composta con il Repertorio prontissimo. Milano, apud Alexandrum Minutianum, 1503, - in-folio (mm. 394x265), ff. (6 prelim.), (+7 con il "Repertorium Chronicae" ristampato nel XVIII secolo), (422); solida leg. 700esca. p. pelle marrone chiaro, dorso a nervi con tassello e tit. oro, tagli rossi. Impresso con nitido car. romano. L'opera è così illustrata: una silografia a piena pag. (al v. del secondo f. prelim.) con la Virtù che sostiene 2 stemmi, l'uno dei Corio, l'altro degli Ascanio; due altre a piena pagina (al v. del quinto f. prelim. e ripetuta al f. aa1) raffig. l'autore seduto allo scrittoio con nella mano destra una penna, ai suoi piedi un cagnolino, in basso i due versi del Dolcino «Bernardine tibi Insubres debere fatentur/ non minus ac magno Roma superba Tito» ed in alto i motti «E' bello dopo il morire vivere anchora», «Amica veritas» e «Sustine et abstine» ; ed una silogr. a mezza pag. (recto di ff3) con la Virtù che sostiene lo stemma dei Corio. Queste silografie sono considerate ("Illustrazione del libro in Lombardia nel '400 e '500" a cura di SAMEK LUDOVICI, 1960) opera di un artista di cerchia leonardesca, pur presentando influssi ferraresi-mantegneschi; alcuni le dissero opera di Bernardino de' Conti, pittore di Pavia, autore anche di un ritratto (Parigi, Jacquemart-André) che si è presupposto essere quello del Corio; KRISTELLER, invece, le attribuisce al Maestro del Melchiorre da Parma (cfr. Lombardische Graphic, pp. 54-6 e 100-101). Edizione originale ed unica veramente completa, poiché molti passi furono soppressi nelle edizioni successive a causa di alcuni giudizi negativi sui Duchi milanesi, i quali ordinarono la distruzione degli esemplari impressi, e ciò ne spiega la grande rarità. L'opera, in sette parti, è la più importante storia di Milano, dalle origini alla fuga del Moro in Germania e la principale del Corio, che la iniziò nel 1485 pubblicandola a proprie spese coi tipi del Minuziano. La notevole rarità di quest'opera già nei secoli scorsi fece sì che la gran parte degli esemplari venisse completata con fogli di testo impressi con caratteri lievemente diversi e con le figure copiate su rame, insostituzione dei legni originali. Questa particolarità è difficilmente riscontrabile senza poter confrontare più esemplari tra loro, ed è quindi possibile che non sia stata evidenziata nelle descrizioni di bibliografie e cataloghi di vendita. Il Sander, ad esempio, cita equivocamente un esemplare di un cat. Rosenthal del 1927 "dans lequel le portrait n'est pas gravé sur bois, mais à l'eau-forte". In alcuni rarissimi esemplari, vennero aggiunte all'inizio sei carte con un utile indice, impresse dai fratelli da Legnano pochi anni più tardi; questo esempl. assai bello, a grandi margini, fu corredato al momento della rilegatura di un "Repertorio" ristampato nel XVIII secolo senza la bordura silografica (margine basso o esterno dei primi 16 ff. e dell'ultimo restaurato o rinforzato; lieve censura a penna sul f. a5; rare chiose di mano coeva nei margini). figure in legno (Virtù, al v. del secondo f. prelim, 2 ritratti di Corio, al v. del quinto f. prelim. e ripetuta al f. aa, e figura allegorica con stemma, al recto del f. ff3), la prima tiratura della dedica ; il Repertorio, senza la bordura, in tiratura del ?600, doppia versione del f. a4. Kristeller 116. Sander I, 2170: «Les 6 ff. premiers contenant le premier titre, l'avis au lecteur et le répertoire n'ont été publiés que plusieurs années après l'ouvrage et manquent souvent». Mortimer I, 137. Trivulziana 154. Predari 136. Cat. Hoepli 647. [Attributes: Hard Cover]
Venedig, (Boneto Locatello in Bergamo für) Ottaviano Scoto Erben, 1503. - Erste vollständige Ausgabe mit beiden Bänden dieses Kommentars zu Petrus Lombardus&#145; Sentenzen (der erste Band erschien zuvor 1482 und 1500; der zweite 1494); herausgegeben von Paolo da Genazzano. - Der Philosoph, Theologe und Mitglied der Augustinereremiten Gregor von Rimini (um 1300 in Rimini - Ende 1358 in Wien) &#132;studierte nach grundständiger Ausbildung in Paris (von 1322/23 bis 1328/29). Als Dozent wirkte er in Bologna (bezeugt 1332, 1333, 1337), vermutlich in Padua, in Perugia und kam wohl zwischen 1340 und 1342 nach Paris, wo er seine Sentenzenkommentierung ausarbeitete und vermutlich 1343/44 vortrug. 1345 erwarb er den Grad des theologischen Magisters. 1346 war er in Rimini, 1347 in Padua bis 1351, woraufhin ihn das Basler Generalkapitel an das neu eingerichtete Studienzentrum in Rimini schickte. 1357 wurde er Ordensgeneral der Augustiner als Nachfolger des Thomas von Straßburg. Seine philosophisch-theologischen Werke verbinden Ideen Wilhelms von Ockham und Petrus' Aureoli. Neben seinem Hauptwerk, dem Sentenzenkommentar, verfasste Gregor Schriftkommentare und Briefe als Ordensgeneral sowie mehrere Traktate [.]" (Wikipedia). - Einband etw. beschabt u. bestoßen. Vorderdeckel m. Nummernschild. Innendeckel u. der erste Titel gestempelt (Titel zudem mir zwei alten Besitzvermerken). Der erste Titel u. das letzte Blatt mit alt hinterlegten Ausrissen (ohne Textverlust). Tlw. leicht gebräunt, fleckig bzw. wasserrandig. - Wie alle frühen Ausgaben des Gregorius de Arimino sehr selten. - Nicht im EDIT16; BM STC, Italian Books 313; vgl. Adams G 1084 (Ausgabe 1518). la Gewicht in Gramm: 2000 Fol. Mit zahlr. tlw. figürl. Holzschn.-Initialen, einigen schemat. Textholzschnitten u. 2 Holzschn.-Verlegermarken am Ende. 163 num., 9 nn. Bll.; 118 num., 4 nn. Bll., Späterer Ldr.-Bd. (um 1750) a. 5 Bünden m. reicher Rückenverg., goldgepr. Rückenschild u. dreiseitig marmor. Schnitt. [Attributes: First Edition]
De laubidus sancte crucis. [Edited by J. Wimpheling]
Latin ms. on vellum.
Rhineland, early 16th c. (after 1503). - 12mo (65 x 90 mm). 109 ff. (numbered i, 108 in pencil by a later hand); thus complete. Latin bastarda on vellum. With blue and red Lombardic initials throughout, a few (ff. 31r, 49r, 69r, 71v, 74v) with penwork decoration. Contemp. wooden boards (wants spine; lower cover cracked). A pretty, pocket-size prayer book, not classifiable as belonging to any known collection. Based on the unsophisticated penwork and the litany, it was probably created in the (northern) Rhineland. Title (fol. 1r): "Exhortacio salutaris terrorem iudicii ac timorem incutiens divinem ul[tionis]; incipit "Expergiscere o miserabilis homo" (for the beginning, but not the remainder of the text, cf. Nicolaus de Saliceto, Antidotarius animae). Contains numerous indulgences, including (fol. 80r/v) one by Pope Alexander VI in honour of Saint Anne (1494; she is also the first female Saint mentioned in the litany, fol. 38v). As the indulgence granted by Pope Sixtus IV for performing the prayer "Ave sanctissima virgo" was doubled by Pope Julius II (1503-13) (cf. fol. 67r), the date can be assumed with a high degree of certainty as after 1503. The penitential psalms (fol. 31r ff.) are followed by the kyrie and litany (37v-38v: with SS. Gereon and Odila); fols. 88r-97v contain prayers to the Saints (including SS. Rochus [fol. 93v], Odilia [fol. 95r], Gertrude [fol. 95v], Apollonia [fol. 96r], Mary Magdalene and Ursula [fol. 97r]). - Later quotation from Maleachi 4:2 in the margin of the first page ("orietur vobis timentibus Deum sol iustitiae"); the blank verso contains a longer note "Dum quis intrat Ecclesiam Auffer a nobis quis Domine cunctas iniquitates nostras" etc.; some additional early modern marginalia. Ownership "Co[.] Rabenau" (2nd half of 18th c.) on inside upper cover. Wooden boards show traces of a former calf binding, with the impression of an armorial stamp on the upper cover; lower cover split near the binding. Right edge of upper cover, as well as lower edge, show traces of gnawing (no loss to text). [Attributes: Hard Cover]
- (In fine: Impressum Venetijs, per Petrum de Quarengijs bergomensem anno domini 1503, die. 29. Ianuarij), in-folio, cartonatura ottocentesca, carte CXXXVII. Testo su due colonne, in caratteri gotici; iniziali xilografiche. Mancano le 2 cc. iniziali non numerate (p1, p2), e tre carte dell'ultimo fascicolo (r5, r6, r10); inoltre il primo fascicolo presente (a, 8 carte) e l'ultimo (r, 7 carte) sono stati rifilati allo specchio di stampa e poi rimarginati al tempo della legatura. La libreria Oreste Gozzini offre uno sconto del 10% su tutto il catalogo per un periodo limitato. Il prezzo originario del libro era 70 euro. [Attributes: Hard Cover]
Von der kint hait vnnsers heren iesu cri sti gena[n]t uita christi
[Augsburg]: Hans Froschauer. [1503]. "Small folio in 6s, ^2, a-q^6, r^4(-r4); 101 leaves; 68 woodblocks, 20 hand-colored, though only 1 with more than light detail; initials with maiblumen infils; a heavily repaired copy, particularly in the first half of the book, with loss to page edges which have been restored. A large portion of the title page is lost, but with all the text of the title preserved; repairs affecting text on 2, c2 verso, o2, and o6, while m2 is almost half perished; contemporary marginalia and underlining throughout, the marginalia being mostly citations; in a recent utilitarian binding of quarter brown faux leather over marbled boards. A fair copy at best, but rare. OCLC locates two copies only, both in Germany."
Text quattuor libro Meteororu Aristotelis philosophoru facile principis bene emedatus. Impressionu Ignee Aeree Aquee Terree docens principia exquisitissime. Lypzck in officina Melchiar Lotters exarati Anno M CCCCC III. qnto Id\' Mayas felicit cepere. Zinner 823; A 3497 & 107 704; München SB 2° A gr.b. 216/3, Prag UK, 5 B 33/2. Mit ursprünglicher Zuschrift auf Titelblatt. Text stellenweise mit Buntstiftbeschriftungen, Besitzerzeichnungen u. Marginalien versehen. Interim-Zubereitung (ohne Decken u. Rücken)
Leipzig: Melchiar Lotter 1503 Interim-Einband, [66 ff.], 4°, Titelblatt unscheinbar beschmutzt, Seiten am oberen Rand leicht beschnitten aber ohne Verlust, nur auf dem Titelblatt mit ganz kleinem Verlust, Einband leicht gelockert, eine Lage lose, Seiten stellenweise leicht wurmfraßspurig, sonst in besonders gutem Zustand, sehr selten, sehr guter Zustand.Alte Drucke, Postinkunabeln, Aristoteles
NOVISSIME HYSTORIARUM OMNIUM REPERCUSSIONES, NOVITER...EDITAE
Venice, 1503. Folio. Medieval vellum manuscript over boards, rebacked in vellum at an early date, manuscript spine label. Boards rubbed. Bookplate on front pastedown. Titlepage lightly soiled, with contemporary hand-coloring. Minor soiling and foxing to text, contemporary underlining and annotations throughout, sometimes trimmed closely with loss to annotations. Very good. An important, illustrated history of the world, containing in this edition some of the earliest published references to Columbus' voyage and the discovery of the New World. First published in 1486, this is the fifth illustrated edition to be published in Italy, but the first to contain any of the Columbus references. The original text, tracing world history from Adam, was written by Philip of Bergamo (1434-1520) and later brought up to date by other hands. The Columbian references, which occur on leaves 441-42, describe briefly the first voyage of Columbus and the lands he discovered for Spain. It places this work among the handful of texts to describe the discovery of the New World in the first decade after Columbus' return and the publication of his Letter in 1493. Besides the New World references, this work is a magnificent example of Italian woodcut printing, with four impressive full-page woodcuts of the Creation, Expulsion from Eden, the death of Abel, and the Tower of Babel. There are also ninety-five smaller woodcuts of city views, forty-seven of which are repetitions, but with larger views of Verona, Genoa, Rome, Milan, and Venice. Some of the blocks were used in earlier printings, but the four large cuts are unique to this edition. A rare, very early Americanum with notable illustrations.
BOOK DESCRIPTION: DECORATED RENAISSANCE MANUSCRIPT IN LATIN AND AND ITALIAN WITH MUSICAL NOTATION ON VELLUM, Italy, Siena, after 1503-c. 1526, and c. 1539-51, 233 x 162 mm., 68 folios, complete (collation, i-iii8 iv10 v8 vi4 vii-ix6 x4), written by in a running gothico-antiqua script and in an upright gothic bookhand, later section in an italic script, square musical notation on red four- and three-line staves, red rubrics, six- to one-line red initials. BINDING: AN EXCEPTIONAL BLIND-STAMPED BINDING decorated WITH AN EARLY SIXTEENTH-CENTURY SIENESE PAINTING of the convent?'s patron, St. Mary Magdalene, in the manner of Siena?'s famous painted bindings from the Biccherna. On the back cover, a rectangular panel, measuring 210 x 90 mm., has been cut out from the leather covering, and a painting added on the wood of St. Mary Magdalene holding her jar of ointments; it is contemporary with the main text of the manuscript, i.e., c. 1503-1526; stylistically its draperies may be compared to works by Giacomo Pacchiarotti (1474-1539-40). There was a similar figure of Mary Magdalene also depicted full-length with one hand raised in blessing, the other holding the ointment jar, found in the Altarpiece in the Bichi Chapel in Sant?'Agostino painted by Luca Signorelli, ca. 1489-90. TEXT: This copy of the Constitutions and Ceremonial in Italian from St. Mary Magdalene in Siena sheds important light on the liturgical life of the convent; details concerning the chant, including noted passages, are of particular interest given the importance of music in Italian convents during the Renaissance: ff. 1-13v, Constitutiones monalium sancte marie magdalene de senis ordinis eremtiarum sancte augustini , twenty chapters related to the life of the Convent in Italian; ff. 14v-24v, Cerimoniale, describing the liturgy followed in the Convent, including the musical variations for the Kyrie, Gloria, Sanctus, Agnus dei, Ite misa est, Benedicamus, and Deo dicamus, with musical notation, for different types of feasts; ff. 25-45v, a Tonary; ff. 47-67v, a faithful copy of ff. 1-13v in an updated version. PROVENACE: Written in Siena, Italy at the Convent of the Nuns of St. Mary Magdalene of the Hermits of St. Augustine; the original section of the manuscript, ff. 1-46v, can be dated after 1503, since Pope Pius III, Pope from September 22-October 18, 1503, is mentioned on f. 4v. It seems likely that it dates before 1526, the year the Convent of St. Mary Magdalene was destroyed, and the Nuns were forced to re-locate within the city walls. The Constitutions, found on ff. 1-13v, were re-copied in an elegant italic script on ff. 47-67v, while Girolamo of Naples was the Vicar General of the Augustinians; this Girolamo can possibly be identified as Girolamo Seripando (1493-1563), and the time narrowed down to between 1539-41, when he visited all the Augustinian houses under his charge. The Convent of St. Mary Magdalene, or Maddalena, in Siena was founded in 1339; from c. 1507, Pandolfo Petrucci (1452-1512), was the community?'s powerful patron. The Convent was destroyed in 1526, and was rebuilt inside the city walls, and continued to be a place where the nobility sent their daughters. Belonged to Richard Bladworth Angus (1831-1922), the wealthy Canadian banker and philanthropist. Sold at Sotheby?'s, November 26, 1985, lot 99, possibly to H. P. Kraus, N.Y. Belonged to Martin Schøyen (b. 1940), Norway, and London; Schøyen Collection, MS 34. CONDITION: text is legible throughout, some staining and soiling, especially in lower margins, ff. 8v-9, stain within the text space, occasional words within the text, ff. 1-24v, faded, erasures bottom margin, f. 20v. (TM 470)
[Greek letters] Tragoedia septendecim
Venice: Aldus Manutius,, February 1503. 2 volumes in one, Aldine octavo (159 x 98 mm). Nineteenth-century brown morocco gilt. All 5 blanks preserved. Woodcut Aldine device on last leaf of both volumes. With the morocco bookplate of Henry Huth (his sale Sotheby's 3 June 1913, lot 2749); pencilled collated note of Bernard Quaritch Ltd (Max Prewitt, 4 June 1913). Slight rubbing to joints and extremities, very minor mostly marginal staining, blank upper margin of last leaf of first volume renewed, very good copies. Editio princeps of most of the 19 extant tragedies: four plays had been previously published at Florence c.1495, and the Electra is omitted from Aldus's edition (it was not printed until 1545). Along with the Latin classics, Dante, and Petrarch, Aldus published Greek editions of Homer and the tragedians in his new "portatile" octavo format, in which the texts, unencumbered by commentary, were designed to meet the needs of an educated but non-scholarly public. Part of the copy-text for this edition has been identified (BnF suppl. gr. 212 and 393). The manuscript is in the hand of a member of the Gregoropoulos family, possibly John Gregoropoulos, one of Aldus's editors, who is thought to have been chiefly responsible for establishing this edition. In his preface to Demetrius Chalcondylas, Aldus announces the imminent publication of the scholia to seven of the plays, but these were not printed until Giunta's edition of 1534. The Aldine edition remained the most important printed text of Euripides until the 18th century.
Opera dedicata a Diego Hurtado Mendoza. Testo latino. Cm.15,8x10,5. Pg.(16), 688 numerate solo al recto. Legatura in piena pergamena molle, con titoli manoscritti al dorso a due nervature. Al frontespizio e al verso dell'ultima carta marca tipografica in ovale, con due ancore unite da nastro e il motto "His suffulta", sovrastata da piccolo ovale con tre gigli e il motto "Sic inclita virtus". Alcuni capilettera ornati. Buoni margini esterni. Bartolomeo Carranza (Miranda sull'Ebro, 1503 - 1576), Arcivescovo domenicano di Toledo, fu inviato personalmente da Carlo V al Concilio di Trento. Confessore di Maria, moglie dell'Infante Filippo, fu acerrimo rivale di tutte le eresie, e nonostante la sua grande fama cadde in disgrazia al punto di finire i suoi giorni imprigionato. Il presente testo, studio fondamentale sulle dottrine conciliari, è il suo più importante, e fu più volte ristampato. In esso si espongono le eresie protestanti e si affrontano numerosi temi quali stregoneria, magia, superstizione, idolatria, etc.
. Kupferstich, um 1503, auf Bütten mit Wasserzeichen: Kleines Stadtwappen mit einem Spitzturm und zwei Zinnentürmen (vgl. Meder 275, um 1560/80). 18,5:12,1 cm. Literatur: Bartsch 100; Meder 97, f (von g). - Mit dem Monogramm in der Platte. Mit ca. 1 cm breitem Rändchen um die Plattenkante. - Guter, tiefschwarzer Abdruck mit feinen Kratzern, schwach fleckig und mit winziger Nadelspur. Dieser Kupferstich entstand in einer Zeit, in der sich Dürer ganz besonders in die Arbeit mit dem Grabstichel vertiefte und die unterschiedlichen Materialoberflächen zu gestalten suchte. Provenienz: Verso Sammlervermerk von 1861..
Opera. Bd. 1: Accipe candidissime lector opera Diui Joannis chrisostomi archiepiscopi constantinopolitani. Bd. 2: Que in secundo volumine continentur. 6 Tle. in 2 Bänden. Venedig, Bernardinus Stagninus & Gregorius de Gregoriis 9. Febr. 1503. Fol. 10 Bll., 62 num.Bll., 104 (recte 102) num. Bll., 140 num. Bll.; 16 Bll., 184 num. Bll., 117 num. Bll. (ohne 1 w. Bl. am Schluß?), 168 (recte 169) num. Bll., 1 w. Bl., mit zahlr. Holzschn.-Initialen u. einer Druckermarke (Kristeller 227) im 2. Bd.; die Kapitelüberschirft zum letzten Teil in Rot gedruckt, blindgepr. Kalbsldrbde. d. Zt. über Holzdeckeln.
. . Panzer VIII, 358, 163 - Graesse II, 151 ("4 part. en 2 vol." - "edition tres rare") - Van Praet VI, 156, 367bis (nur Bd. 1!).- Äußerst seltene, hier mit 6 Teilen in 2 Bänden vollständige, erste Gesamtausgabe der Werke des Heiligen Johannes Chrysostomos.- Norditalienische (venezianische?) rotbraune Kalbslederbände über Holzdeckeln auf 5 Bünden mit leicht variiertem Blinddekor u. ursprünglich 4 Schließen. Auf beiden Einbänden äußerer Rahmen aus einer Blattrankenrolle, innerer Rahmen aus aneinandergereihten kreuzförmigen Stäbchen bzw. geschweiften Vierecken mit Blüte, die Mittelfelder zeigen jeweils ein großes, auf einem Berg stehendes Kreuz, gebildet aus den geschweiften Vierecken bzw. aus den Kreuzstäbchen; aus ebendiesen Einzelstempeln verstreute Rahmenfüllungen u. Ornamente in den Rückenfeldern (des 1. Bandes); Hinterdeckel des 2. Bandes mit hs. Titelschild. Rücken u. eine Ecke des 2. Bdes modern ergänzt, am 2. Bd. nur noch eine Schließe vorhanden; stärker berieben und wurmstichig, mit kleineren Schäden. Unterschiedlich, stellenw. stärker, größtenteils jedoch nur unbedeutend gebräunt, wenige Bll. etw. feuchtfleckig. Das letzte Bl. des 1. Bdes. im Bug eingerissen, ein Bl. mit kl. Rasurschaden am unteren Rand. Tls. leicht bis mäßig wurmstichig. Einige Marginalien von zeitgenöss. bzw. v. späterer Hand.# Extremely rare, here in 6 parts in 2 volumes, first complete edition of the works of St. John Chrysostomos.-
Chronicle [In this booke is conteyned the names of ye baylifs custos mairs and sherefs of the cite of london from the tyme of richard the furst] S T C 782 Quarto
Antwerp: Printed by A. van Berhen, 1503. Contemporary vellum, loose in its binding, lacking 15 leaves, but Magna Charta, the Forest Charter and the Nut-Brown Maid all complete; the Taussig copy First edition of Arnold's famous work, containing much important legal content, foremost of which is the earliest printing of the full text of Magna Charta, and the Charter's first printing in English, together with the Charter of the Forest
Text quattuor libro Meteororu Aristotelis philosophoru facile principis bene emedatus. Impressionu Ignee Aeree Aquee Terree docens principia exquisitissime. Lypzck in officina Melchiar Lotters exarati Anno M CCCCC III. qnto Id Mayas felicit cepere. Zinner 823; A 3497 & 107 704; München SB 2° A gr.b. 216/3, Prag UK, 5 B 33/2. Mit ursprünglicher Zuschrift auf Titelblatt. Text stellenweise mit- Zeichenstiftbeschriftungen, Besitzerzeichnungen u. Marginalien versehen. Interim-Zubereitung (ohne Decken u. Rücken)
Lepzig, Melchiar Lotter 1503 - Interim-Einband, [66 ff.], 4°. Titelblatt minimal beschmutzt. Seiten auf oberem Rand wenig beschnitten aber mit keinem Verlust - nur auf Titelblatt mit kleinem Marginalienverlust. Einband leicht gelockert; eine Lage lose. Seiten stellenweise leicht wurmfraßspurig, sonst in besonders gutem Zustand. Sehr selten. sehr guter Zustand. * Our books are stored in our warehouse, not in the shop. If you want to visit us and see a specific book, please notify us in advance. Unsere Bücher werden nicht in unserem Geschäft, sondern in einem Lager am Stadtrand Prags verwahrt. Bitte teilen Sie uns vorher mit, wenn Sie uns besuchen und ein bestimmtes Buch ansehen wollen. * Book Language/s: la
SOLINUS Caius Julius
Parisiis, Iehan Petit, (1503). In-16 gr. (mm. 197x135), cartoncino rustico mod., 4 cc.nn. (frontesp. e indice), 44 cc.num.; al frontespizio grande vignetta silografata con la bellissima marca tipografica su fondo nero; al verso dedica del curatore Jodicus Badius e la data ?"ad idus iulias Anni. M.D.III.?" L?'opera è suddivisa in 65 capitoli.Giunta sino a noi col nome di "Collectanea rerum memorabilium" è nota anche col titolo di "Polyhistor" e "De memorabilibus mundis".?"L?'opera è una specie di descrizione della Terra o di corografia. Essa inizia con un?'introduzione (cap. I) che si può dividere in due parti: la prima dedicata a Roma e alla storia romana fino ad Augusto; la seconda all?'uomo (antropologia e fisiologia). Col 2° capitolo comincia la vera e propria descrizione: sono esaminate l'Italia, la Grecia, le regioni intorno al Mar Nero, la Germania, la Gallia, la Britannia, la Spagna, le province dell?'Africa, l'Arabia, l'Asia Minore, l'India e l'impero dei Parti.L?'opera non vuole essere rigorosamente scientifica, ma piuttosto una raccolta di ?'curiosità?', con speciale riferimento ai caratteri fisici e sociali dei popoli esotici, agli animali, ai vegetali e ai minerali. L?'autore si è proposto di scrivere un libro di piacevole lettura: ma in realtà lo stile è freddo e artificioso. Sebbene Solino non citi mai le fonti, i tre quarti del trattato appaiono desunti dai libri III-XIII e XXXVII della "Storia naturale" di Plinio il Vecchio. Oltre a Plinio il Solino ha tenuto presenti la "Corografia" di Pomponio Mela e altre opere perdute. Non mancano nei "Collectanea" notizie a noi altrimenti ignote; e perciò l?'opera ha ancora qualche importanza.Il trattato ebbe nel Medioevo, dal V al XV sec., grande fortuna. Di Caio Giulio Solino sono ignote la patria e l?'età in cui visse. Probabilmente nacque e dimorò a Roma e fiorì verso la metà del III sec. d.C.?". Così Enciclopedia Treccani,XXXII, pp. 77-78.Esemplare ben conservato, con antica firma di appartenenza al frontesp. Rara edizione.
de Córdoba Alfonso
Venice: Petrus Liechtenstein, 1503. First Edition. Hardcover (Half Leather). Good Condition. 19th century half calf over marbled boards. Slight occasional toning, scattered marginal annotations in an early hand, one table with 4 columns of manuscript additions, old bookseller stamp to title and final page, scattered minor stains and toning, tiny wormhole for a number of pages touching some letters. Lacking the final leaf with a final table, colophon and the printer's mark (facsimile laid in). 51 of 52 leaves, with the proper blank at B8.A version of the 14th century Alfonsine Tables (first printed in 1483 and so named for Alfonso X of Leon and Castile who encouraged the translation of Arbaic astronomical tables into Castilian) produced here by Alfonso de Córdoba to honor Queen Isabella I. Copernicus had learned to work with similar tables when he was at the University of Krakow from 1491-95. Brunet E961, Adams 2622 Size: Quarto (4to). Quantity Available: 1. Shipped Weight: 1-2 kilos. Inventory No: 044637.
Venice: A. Vercellenius, 1503.. 452,[9] leaves. Folio. Medieval vellum manuscript over boards; rebacked at an early date with vellum, manuscript spine label. Boards rubbed. Bookplate on front pastedown. Titlepage lightly soiled, with contemporary handcoloring. Minor soiling and foxing to text, contemporary underlining and annotations throughout, sometimes trimmed closely with loss to annotations. Very good. An important, illustrated history of the world, containing in this edition some of the earliest published references to Columbus&#39; voyage and the discovery of the New World. First published in 1486, this is the fifth illustrated edition to be published in Italy, but the first to contain any of the Columbus references. The original text, tracing world history from Adam, was written by Philip of Bergamo (1434- 1520) and later brought up to date by other hands. The Columbian references, which occur on leaves 441-42, describe briefly the first voyage of Columbus and the lands he discovered for Spain. It places this work among the handful of texts to describe the discovery of the New World in the first decade after Columbus&#39; return and the publication of his Letter in 1493. Besides the New World references, this work is a magnificent example of Italian woodcut printing, with four impressive full- page woodcuts of the Creation, Expulsion from Eden, the death of Abel, and the Tower of Babel. There are also ninety-five smaller woodcuts of city views, forty-seven of which are repetitions, but with larger views of Verona, Genoa, Rome, Milan, and Venice. Some of the blocks were used in earlier printings, but the four large cuts are unique to this edition. A rare, very early Americanum with notable illustrations. EUROPEAN AMERICANA 503/2. MORTIMER 195. SABIN 25083. HARRISSE ADDITIONS 11. JCB (3)I:36. PROCTER 12387. ADAMS F748.
ARCHIMEDES / BOETHIUS / CAMPANO DA NOVARA / GAURICO, Luca, ed.
Tetragonismus id est circuli quadratura per Cãpanu, Archimede Syracusanu atqz boetium mathematicae perspicacissimos adinuenta.
Venice Ioan. Bapti. Sessa 1503. - First Latin edition of De Mensura Circuli and De Quadratura Parabolae, containing Archimedes&#146; application of the method of exhaustion (the early form of integration) and the earliest theoretical calculation of pi; apart from Valla&#146;s excerpts of 1501, the first printed Latin texts of Archimedes (Rose, p. 50). [Attributes: First Edition; Hard Cover]
Comico Carmine.
J. Grüninger,, Strassburg, 1503 - Strassburg, J. Grüninger, 1503. Folio. 158 numerierte (recte 156) Bl. Mit Titelholzschnitt, 6 ganzseitigen und 142 kleinen Holzschnitten im Text. Violetter Maroquinband anfangs des 20. Jahrhunderts mit mehrfacher blindgeprägter Deckelfiletierung, vergoldeten Eckfleurons, goldgeprägtem Titel und Ganzgoldschnitt. Adams D 304. - Proctor 9889. - Ritter 2284. - Sehr frühe illustrierte Terenz-Ausgabe zusammen mit den Kommentaren des Aelius Donatus. Die 6 blattgrossen Holzschnitte wurden zuerst in den Ausgaben von 1496-1499 beim gleichen Verleger verwendet. Die kleinen Holzschnitte, die meist aus verschiedenen Blöcken zusammengesetzt wurden, sind hier erstmals abgedruckt. Das Titelblatt mit dem ganzseitigen Holzschnitt, mit der phantansievollen Darstellung eines Theaters. Unser Exemplar auf den ersten 100 Blättern mit sehr reichen sauberen zeitgenössischen Annotationen. Ein Blatt mit alt hinterlegtem Einriss. Die Randannotationen hin und wieder leicht beschnitten. Das letzte Blatt etwas angestaubt, sonst sehr sauberes Exemplar. - Einband mit kleineren Kratzspuren auf den Deckeln. Sprache: N Violetter Maroquinband anfangs des 20. Jahrhunderts mit mehrfacher blindgeprägter Deckelfiletierung, vergoldeten Eckfleurons, goldgeprägtem Titel und Ganzgoldschnitt. [Attributes: Hard Cover]
(GREEK ANTHOLOGY.)
Florilegium diversorum epigrammatum in septem libros, in Greek
Venice: Aldus Manutius, November, 1503. Edited by Aldus Manutius. Aldine octavo (149 Ã— 93 mm). 19th-century French red straight-grained morocco by Thouvenin, covers panelled with gilt fillets and blind foliate tooling, gilt spine, gilt edges, green silk marker. Collation as Ahmanson-Murphy. Woodcut device on title, repeated on final verso. Greek type 4:79 (text), roman 10:82 (title, register and colophon only). Extremities lightly rubbed, occasional very light browning at head, an excellent copy. First Aldine edition, a handsome copy. Based on the 1494 editio princeps edited by Janus Lascaris, this was the second edition of the anthology assembled by the early 14th century Constantinopolitan monk Planudes, with additions including the editio princeps of the 6th-century Byzantine poem "In Thermas Pythias et aquarum miracula" by Paulos Silentiarius. Planudes&#39; recension of the Anthology was the only collection of ancient Greek epigrams known to the west until the discovery of the Palatine codex in 1606. The Anthology is based on the lost compilation of Meleager of Gadara (1st century BCE), whose title, The Garland, reflected the common comparison of small beautiful poems to flowers; hence the Greek anthologia ("flower-gathering"; Latin florilegium), which metaphoric use led to the modern sense of the English "anthology".
Albrecht Durer, 1503. AN EXQUISITE WOODCUT FROM ALBRECHT DURER&#39;S GROUNDBREAKING LIFE OF THE VIRGIN SERIES Woodcut ca. 1503 Literature: Bartsch, Le peintre graveur, 89; Meder, DÃ¼rer-Katalog, 201, after text; Troyen, Life of the Virgin This exquisite woodcut entitled, "Flight into Egypt," was originally produced for Albrecht DÃ¼rer&#39;s famed Life of the Virgin cycle. DÃ¼rer began assembling the works for the series in 1501, publishing the first complete edition of it in 1511. Life of the Virgin ultimately contained 19 woodcuts by DÃ¼rer and a Latin text supplied by Benedictus Chelidonius. The series as a whole and this woodcut in particular marvelously demonstrate DÃ¼rer&#39;s unparalleled skills as a graphic artist. Indeed, this lush work, which remains in superb condition, beautifully demonstrates DÃ¼rer&#39;s exemplary and crisp modeling skills, keen awareness of human psychology, and consummate understanding of the Italianate one-point perspective system. . Book.
Novissime historiarum omnium repercussiones, noviter...edite: que Supplementum Cronicarum nuncupantur. Incipiendo ab exordio mundi usque in annum salutis MCCCCCIII. (Colophon:)
impressum per Albertinum De Lissona Vercellensem 1503 BERGOMENSIS, Jacobus Philippus. Novissime historiarum omnium repercussiones, noviter...edite: que Supplementum Cronicarum nuncupantur. Incipiendo ab exordio mundi usque in annum salutis MCCCCCIII. (Colophon:) Venetiis, impressum per Albertinum De Lissona Vercellensem, 1503, die 4 Maii. In - folio, pergamena settecentesca, dorso a 4 nervi, titolo calligrafato. 452, (10 ff. - l' ultimo bianco). Sotto il titolo, grande stemma del Cardinale Pallavicini entro riquadro inciso in legno, al foglio 7 un mappamondo, al verso del foglio 8 una bella silografia a piena pagina raffigurante Adamo ed Eva cacciati dal paradiso, al foglio 10 altra grande figura di Caino che uccide Abele, al foglio 16, altra figura della torre di Babele a piena pagina, e 89 illustrazioni di città, una delle quali rappresenta Milano. Nei ff. 441 - 42 si trova l' importante riferimento alla lettera di Cristoforo Colombo del 1493 con l' annuncio della scoperta dell' isola chiamata Hyspagnola. Bell' esemplare con insignificanti tracce marginali di umidità nei primi ed ultimi fogli. Edizione di grande rarità. Essling, 346. Sander, 920. Harrisse, Bibliotheca americana vetustissima, p. 87: The first edition containing the chapter relating to Columbus and his voyages. Idem Additions, p. 15.
Hschn.- Karte, ohne Titel aus Foresti, J. F. da Bergamo, Supplementum ..,.
. 1503, 8,6 x 13 ( Druckplatte ). Shirley, Mapping of the World, Nr. 1 (!) und Abb. Plate 2 in der EinfÃ¼hrung (Introduction, Page XX). - Bei der vorliegenden Holzschnittkarte handelt es sich um eine der spÃ¤teren "T-O" Karten, die erstmals im Jahr 1472 durch Isidorus Hispalensis verÃ¶ffentlicht wurde. Hier vorliegend mit der ganzen Textseite (Auf Blatt IIII). Neben der "T-O" Karte befindet sich eine weitere kleine Karte (im Rund), die die Klimazonen der Erde zeigt. - Tadellos erhalten.
Savona: Francesco Silva, 1503. <p>Nani Mirabelli, Domenico (ca. 1455 &#150; after 1528). Polyanthea opus suavissimis floribus exornatum . . . Folio. [12], CCCXXXIX, [1]ff. Title-page and dedication printed in red. Hand-colored woodcut on first leaf of text showing the author surrounded by important religious and secular figures; decorative initials, the first printed in red and hand-illuminated; rubrication and flourishes through leaf LXXX. Savona: Francesco Silva, 1503. 297 x 207 mm. 19th century full vellum gilt, all edges gilt, front cover a bit warped. Occasional faint dampstains, but a very good copy.</p><p>First Edition of this enormously popular encyclopedic work, one of the first general reference works produced for the printed-book market. &#147;The conception of the reference work compiled from a neutral stance, for the common good, to cater to a wide range of interests, and by multiple contributors working collaboratively at one time and over time was honed in early modern Latin reference works like the Polyanthea&#148; (Blair, Too Much to Know: Managing Scholarly Information before the Modern Age [2010], p. 172). The work&#146;s compiler, Domenico Nani Mirabelli, was a rector of schools, archpriest of the cathedral in Savona, and also served as papal secretary.</p><p> The Polyanthea contains selections from the writings of over 150 authors from Aristotle to Dante, arranged in alphabetical order and covering subjects in the fields of classical antiquity, medieval history, natural history and medicine. In the preface to the work Nani Mirabelli </p><p>"boasted that he had selected the best of literature, appropriate for the moral edification of young and old and of both sexes, and desired it to &#147;be useful to as many people as possible&#148; . . . He listed 163 authors excerpted and acknowledged that some of these had mocked the Holy Scriptures and taken positions contrary to the Catholic truth. But thanks to his careful selection, Nani promised safe passage through the shoals of pagan literature&#151;both the raciness of Ovid or Horace and the obscurity of Aristotle&#151;for the moral edification of Christians . . . At the same time as he played up the religious themes, Nani identified his principal audience as young people studying rhetoric. For them especially, Nani was proud to offer definitions and descriptions; Latin translations of all Greek expressions; sentences of philosophers, historians, and poets in Latin and Greek; and a tabular outline of the larger topics. The early Polyanthea served in part as a dictionary of hard words, offering in addition to the major articles, many very short ones, with just a definition, a Greek etymology, and one or even no quotation as an example" (Blair, pp. 177-178).</p><p>The Polyanthea went through at least 41 editions between 1503 and 1681, nearly all of which were revised and expanded by their successive editors. Like other popular reference works of the early modern period, the Florilegia tended to suffer hard usage and copies of the first edition, especially in good condition, are now scarce. Blair was able to locate 20 copies of the first edition cited in online library catalogues; most of these copies are in Italy. OCLC records 10 copies, three of which (Newberry Library, Harvard and U. Chicago) are in the United States. Collinson, Encyclopedias: Their History Throughout the Ages (1964). </p>
Venice: Petrus Liechtenstein, 1503. Venice: Petrus Liechtenstein, 1503. First Edition. First Edition. 19th century half calf over marbled boards. Slight occasional toning, scattered marginal annotations in an early hand, one table with 4 columns of manuscript additions, old bookseller stamp to title and final page, scattered minor stains and toning, tiny wormhole for a number of pages touching some letters. Lacking the final leaf with a final table, colophon and the printer&#39;s mark (facsimile laid in). 51 of 52 leaves, with the proper blank at B8.& & A version of the 14th century Alfonsine Tables (first printed in 1483 and so named for Alfonso X of Leon and Castile who encouraged the translation of Arbaic astronomical tables into Castilian) produced here by Alfonso de Córdoba to honor Queen Isabella I. Copernicus had learned to work with similar tables when he was at the University of Krakow from 1491-95. Brunet E961, Adams 2622 Size: Quarto (4to). Quantity Available: 1. Shipped Weight: 1-2 kilos. Inventory No: 044637.
[Hutten, Ulrich von, Humanist (1488-1523)]. - Frowin von Hutten (Huttens Vetter und Förderer, gest. 1528).
Eigenh. Brief mit U. ("Frowin von Hutten").
[Landshut (?)], [16. XII.] 1503.. 1 S. 4to. Mit eh. Adresse (Faltbrief).. An Graf Wilhelm IV. von Henneberg-Schleusingen betr. eines diplomatischen Auftrages, geschrieben am Vorabend des Landshuter Erbfolgekrieges mit Erwähnung der Söldnerwerbung für Herzog Albrecht IV. von Bayern: "[...] ewer gnad haben mir Hans Fuxen halb schreiben laßsen | in aller unthertenigkeit hab ich gelesen und wil den jhen schreiben mit den ich solcher bestellung halb geredt hab | daß ich mich genzlich vorsehe | sie werden ein fyrzehn dag ein beiddungen haben | wie wol ich weiß daß etlich von Herzogs Albrechts wegen umb dienst ersucht sein | die dann noch auff mein anbringen kein zu sagung gethan haben | deß halb gnediger Herr ist an ewer gnad mein underdenig fleißige bit daß ewer gnad gemelten Hans Fuxen sonderlich schreiben lasßen | weß hie zu mein meinung ist [...] | wollen ewer furstlich gnad mein schreiben gnediglich und baß bedenken [...]". - Zwei Wochen vor diesem Schreiben war Herzog Georg der Reiche von Bayern-Landshut verstorben, um dessen Erbe dann der Landshuter Erbfolgekrieg (1503 bis 05) zwischen Albrecht IV. und Ruprecht von der Pfalz entbrennen sollte; dessen Ergebnis war die Vereinigung von Ober- und Niederbayern. - Am 13. Dezember war in Landshut der noch von Georg einberufene Landtag eröffnet worden; Wilhelm von Henneberg gehörte zur pfälzischen Kriegspartei, die er auch mit eigenen Truppen unterstützte. - Papierbedingt etwas gebräunt, die Adreßseite mit kleinen Siegel- und Montagespuren, insgesamt sehr wohlerhalten. Von größter Seltenheit.
Strassburg, J. Grüninger, 1503.. Folio. 158 nummerierte (recte 156) Bl. Mit Titelholzschnitt, 6 ganzseitigen und 142 kleinen Holzschnitten im Text. Violetter Maroquinband anfangs des 20. Jahrhunderts mit mehrfacher blindgeprägter Deckelfiletierung, vergoldeten Eckfleurons, goldgeprägtem Titel und Ganzgoldschnitt.. Adams D 304. - Proctor 9889. - Ritter 2284. - Sehr frühe illustrierte Terenz-Ausgabe zusammen mit den Kommentaren des Aelius Donatus. Die 6 blattgrossen Holzschnitte wurden zuerst in den Ausgaben von 1496-1499 beim gleichen Verleger verwendet. Die kleinen Holzschnitte, die meist aus verschiedenen Blöcken zusammengesetzt wurden, sind hier erstmals abgedruckt. Das Titelblatt mit dem ganzseitigen Holzschnitt, mit der phantansievollen Darstellung eines Theaters. Unser Exemplar auf den ersten 100 Blättern mit sehr reichen sauberen zeitgenössischen Annotationen. Ein Blatt mit alt hinterlegtem Einriss. Die Randannotationen hin und wieder leicht beschnitten. Das letzte Blatt etwas angestaubt, sonst sehr sauberes Exemplar. - Einband mit kleineren Kratzspuren auf den Deckeln. (Sprache: Lateinisch / Latin)
Hrabanus Maurus.
De laudibus sanctae crucis opus [...].
Pforzheim, Thomas Anshelm, 1503.. (7 [statt 10]), 57 (statt LIX; ohne fol. I und VIII), (1), XIV, (1) Bll. Durchgehend in rot und schwarz gedruckt. Mit 27 (statt 30) ganzseitigen, in Akrostichen angeordneten, teils figürlichen "Bildergedichten" in Holzschnitt und zahlr. roten Initialen (ohne die beiden ganzseitigen Dedikations-Holzschnitte). Flexibler Pergamentband der Zeit auf 4 durchzogenen Bünden. Folio.. Erste, von Jakob Wimpheling herausgegebene Druckausgabe der Anfang des 9. Jahrhunderts im Kloster Fulda entstandenen berühmten Bildergedichte, eine drucktechnische Meisterleistung ihrer Zeit. Zugleich einer der frühesten Pforzheimer Drucke. "Die carmina figurata sollten es nach dem Willen ihres Autors dem Leser, der ihre dunkle Botschaft zu entziffern verstand, ermöglichen, Zugang 'zur Liebe des Kreuzes' zu finden. Sie sollten zu den geheimen Beziehungen, die zwischen den Zahlen, den Monaten und den Elementen bestehen, noch die göttliche Gnade offenbaren. Die Figurationen erfüllen eine etwas zweideutige Aufgabe. Indem sie mit ihrer Form den Text in den 'Hintergrund' drängen, stellen sie den Leser auf zwei Ebenen, auf eine irdische und eine übernatürliche. In der Tat erscheint der Buchstabe durch das geschickte Spiel seiner Anordnung in einem Gitter zum erstenmal isoliert und deutet so, obwohl unfreiwillig, die Zertrümmerung des Wortes an" (Massin). - Vorderer fliegender Vorsatz mit Wurmspur, hinterer fehlt. Etwas gebräunt bzw. fleckig. Aus der Bibliothek des Geistlichen Johann Stadler aus Hall bei Innsbruck (sein eh. Besitzvermerk, dat. 1588, am Titel; sein gest. Exlibris mit eh. Besitzvermerk und Datierung 1612 am vorderen Innendeckel). Hernach, wie durch ein um 1700 angebrachtes gest. Exlibris nachgewiesen, in der Haller Ritter-Waldauf-Bibliothek. Der kaiserliche Protonotar Florian Waldauf (auch: Baldauf; um 1450-1510; 1495 in Antwerpen Gegenzeichner des Vorvertrags zur habsburgisch-spanischen Doppelhochzeit) und seine Frau Barbara hatten 1501 der Pfarrkirche in Hall eine Marienkapelle, eine Reliquiensammlung und ein Predigtamt gestiftet. Die Stadt Hall als Verwalterin der Waldauf-Stiftung hatte dafür zu sorgen, "das alle jar etliche puecher nach anzaigen des predigers zum predigambt gekauft und in der heiligen capellen liberei an ketten gehangen und versorgt werden"; ferner sollten der Bibliothek Bücher aus den Nachlässen der Prediger und Meßkapläne zukommen. Entgegen der Anordnung Waldaufs wurde die Bibliothek kaum durch gezielte Ankäufe vermehrt, sondern größtenteils durch die zufällige Übernahme von Büchern und Schenkungen, hauptsächlich von Geistlichen, Stiften und Schülern. Der bekannteste Vorbesitzer ist Johannes Eck. "Nach 400 Jahren ihres Bestehens und nur fallweisem Zuwachs schien das Interesse am Fortbestand der Ritter-Waldauf-Bibliothek als geschlossener Sammlung verlorenzugehen. Obendrein war das Stiftungsvermögen im Ersten Weltkrieg vollends untergegangen. Während des Zweiten Weltkriegs wurde eine unbekannte Anzahl wertvoller Handschriften und Drucke an Privatpersonen in Hall und Umgebung ausgehändigt, um sie vor der Beschlagnahmung durch die Nationalsozialisten zu sichern. Nach Kriegsende wurde jedoch keines dieser Bücher rückerstattet" (Hdb. der hist. Buchbestände in Dtl.). - VD 16, H 5271. BM-STC German 420. Adams R 3. Fairfax Murray 350. Panzer VIII, 227, 2. Proctor 11747. Ritter (Straßburg) 1769a. Massin 161.
A VELLUM MANUSCRIPT CONTINUOUS BIFOLIUM FROM PSEUDO-SERAPION THE YOUNGER&#39;S "AGGREGATUS IN MEDICINIS SIMPLICIBUS."
TEXT FROM CHAPTERS 457-61
Italy, ca. early, 1300. Hardcover. From the Principal Medieval TextOn the Medicinal Properties of Natural Substances. 292 x 394 mm (11 1/2 x 15 1/2"). Double column, 55 lines in a rounded gothic script. Rubrics in red, paragraph marks in red and blue, four two-line initials in red or blue with contrasting penwork. Recovered from a binding, so with one side rubbed and quite browned (perhaps half the script on one of the four pages illegible), the bifolium bisected horizontally (with loss of one line of text) and reattached with four small pieces of clear tape, some significant stains and perhaps half a dozen tiny wormholes, but still a useful specimen of a desirable text, the lines on three of the four pages generally very legible. This leaf comes from the principal Medieval text on the medicinal properties of natural substances, commonly attributed to Serapion, but probably by Ali Ibn al-Husain Ibn al-Wafid, an 11th century pharmacologist and physician from Toledo known in Latin as Abenguefit. Our author was said to have extracted more than 500 medicinal substances from various plants. Present here in the translation of Simon of Genoa and Abraham the Jew of Tortosa, "De Medicamentis Simplicibus" was printed more than 50 times in Latin. Our text is from chapters 457 (on milk and butter), 458 (on dried meat), 459 (on animal skin), 460 (on bone marrow), and 461 (on lard and fat), corresponding to folios 165v-167r of the Venice edition of 1503.
DE MEMORABILIBUS MUNDI. Diligenter annotatus & indicio alphabetico prenotatus.
Iehan Petit (1503). In-16 gr. (mm. 197x135), cartoncino rustico mod., 4 ccnn. (frontesp. e indice), 44 cc.num.; al frontespizio grande vignetta silografata con la bellissima marca tipografica su fondo nero; al verso dedica del curatore Jodicus Badius e la data ?ad idus iulias Anni. M.D.III.? L?opera è suddivisa in 65 capitoli. Giunta sino a noi col nome di "Collectanea rerum memorabilium" è nota anche col titolo di "Polyhistor" e "De memorabilibus mundis". ?L?opera è una specie di descrizione della Terra o di corografia. Essa inizia con un?introduzione (cap. I) che si può dividere in due parti: la prima dedicata a Roma e alla storia romana fino ad Augusto; la seconda all?uomo (antropologia e fisiologia). Col 2° capitolo comincia la vera e propria descrizione: sono esaminate l'Italia, la Grecia, le regioni intorno al Mar Nero, la Germania, la Gallia, la Britannia, la Spagna, le province dell?Africa, l'Arabia, l'Asia Minore, l'India e l'impero dei Parti. L?opera non vuole essere rigorosamente scientifica, ma piuttosto una raccolta di ?curiosità?, con speciale riferimento ai caratteri fisici e sociali dei popoli esotici, agli animali, ai vegetali e ai minerali. L?autore si è proposto di scrivere un libro di piacevole lettura: ma in realtà lo stile è freddo e artificioso. Sebbene Solino non citi mai le fonti, i tre quarti del trattato appaiono desunti dai libri III-XIII e XXXVII della "Storia naturale" di Plinio il Vecchio. Oltre a Plinio il Solino ha tenuto presenti la "Corografia" di Pomponio Mela e altre opere perdute. Non mancano nei "Collectanea" notizie a noi altrimenti ignote; e perciò l?opera ha ancora qualche importanza. Il trattato ebbe nel Medioevo, dal V al XV sec., grande fortuna. Di Caio Giulio Solino sono ignote la patria e l?età in cui visse. Probabilmente nacque e dimorò a Roma e fiorì verso la metà del III sec. d.C.?. Così Enciclopedia Treccani,XXXII, pp. 77-78. Esemplare ben conservato, con antica firma di appartenenza al frontesp. Rara edizione.
BOOK OF HOURS of Jean le Sauvage and Jacqueline de Boulogne (Use of Rome) Twenty miniatures by Jean Markant (active Bruges and Lille, 1489-1532/1534)
ILLUMINATED MANUSCRIPT ON VELLUM in Latin and French, French Flanders, Tournai or Lille, dated 1503, 150 x 107 mm., 177 ff., (collation: i4 ii-iii6 iv9 (8+1, 1, a singleton) v7 [6+1, 1, a singleton], vi2 vii9 [8+1, 1, a singleton] viii9 [8+1, 5, a singleton] ix8 x11 [10+1, 1, a singleton] xi2 xii-xiii8 xiv2 xv8 [-1 and 2, + 1, with current 6 a singleton] xvi9 [8+1, 2, a singleton] xvii6 xviii10 xix-xx6 xxi-xxii8 xxiii5 [6-1, missing 1, likely cancelled, no loss text] xxiv-xxv8 xxvi4), written in a littera cursiva in 3 hands, ff. 5-157, by Jean Markant who signed the colophon on f. 157, illustrations (donor&#39;s portraits), ff. 2 and 4, are the work of another, unidentified, artist, FIFTEEN LARGE (12 full-page, 3 half-page) and FIVE SMALL MNIATURES, folios facing the miniatures with marginal decoration, two and four-line initials (acanthus-like and painted on a golden background), liquid gold one-line initials on colored grounds, larger miniatures with Ghent/Bruges border decoration. BINDING: modern tooled brown leather. TEXT: Of capital importance for the history of miniature painting in the region of Lille and Tournai, this is the very manuscript around which the career of its artist-scribe, Jean Markant, is reconstructed. Considered lost, the reappearance of this manuscript known as the Le Sauvage Hours, signed and dated by colophon and with portraits and coats of arms of the donors, prompts a reconsideration of the artist and his place in the evolution of manuscript illumination in the southern Low Countries at the beginning of the sixteenth century. Part I added (before 1518): f. 1-1v, blank; ff. 2-3v, prayer, &#147;Stabat Mater Dolorosa," in French. Original part (1502): ff. 5-16v, Calendar in French; ff. 17v - 35, Short Hours of the Cross and Hours of the Holy Spirit&#148;; ff. 35v-95v, Hours of the Virgin, use of Rome; ff. 95v-99v, prayers; ff. 100v-117v, Seven Penitential Psalms, litanies and prayers; ff. 117v-123, various prayers including Obsecro te (masculine use); ff. 123-130v, Suffrages; ff. 131-157, Office of the Dead (three lessons and responses), f. 157, Colophon (see below); Part II added (16th century): ff. 158-176, Fifteen &#147;O&#39;s&#148; attributed to St. Bridget; f. 177v, blank with added ownership notes: &#147;Ces presentes heures ont esté a dame Jaqueline de Boulogne et depuys son trepas a Franchoise le Sauvaige,&#148; and &#147;Ce superbe manuscrit faisoit l&#146;ornement de la Bibliothèque de l&#146;Abbaye de Saint-Adrien à Grammont et fut possédé ensuite par Dom Norbert de Schamphelere [1741-1805], religieux supprimé de la ditte abbaye, qui au lit de la mort en a gratifié Albert Spitaels le 11 juillet 1805, quatre jours avant son trépas, R.I.P.&#148; ILLLUSTRATION: f. 4, Donors in Prayer with their Patron Saints before the Virgin and Child; f. 17v, Crucifixion; f. 26v, Pentecost; f. 35v, Annunciation; f. 48v, Garden of Gethsemane; f. 61v, Christ before Pilate; f. 66v, Way to Calvary; f. 72v, Christ Nailed to the Cross;f. 77v, Crucifixion; f. 82v, Lamentation; f. 91v, Entombment; f. 97v, Mass of St. Gregory; f. 100v, King David in Prayer; f. 124v, St. Jerome Penitent; f. 126v, Holy Family, Virgin and Child with Saints Anne and Joachim; Five small miniatures: f. 2, Crucifixion (f. 2); f. 123, St. John the Baptist (f. 123); f. 124, St. James; f. 127v, St. Margaret; f. 128, St. Apollonia. Illuminated border: f. 131, Donors approached by death, with a scull in the margin, and a French &#147;memento mori&#148; verse in the lower margin. PROVENANCE: Written and illuminated by Jean Markant, f. 157: &#147;Ces heures furent escriptes et illuminees par moy a toujours indigne serviteur Jennin Markant, L&#146;an 1502. Le premier jour de mars&#148; [March 1, 1503 (n.st.)] for Jean le Sauvage, and his wife Jacqueline de Boulogne, shown praying on f. 4, and then by François le Sauvage; private Dutch collection, 1991. CONDITION: traces of use, a few miniatures slightly rubbed, offset of a pilgrim&#146;s badge on f. 177. Full description and photographs available (BOH 59).
Tetragonismus id est circuli quadratura per Cãpanu, Archimede Syracusanu atqz boetium mathematicae perspicacissimos adinuenta
Venice: Ioan. Bapti. Sessa, 1503. First Latin edition of De Mensura Circuli and De Quadratura Parabolae, containing Archimedes? application of the method of exhaustion (the early form of integration) and the earliest theoretical calculation of pi; apart from Valla?s excerpts of 1501, the first printed Latin texts of Archimedes (Rose, p. 50).
Large printer&#39;s mark, printed in red & black on verso of final leaf. Two parts in one vol. [52] leaves (incl. the blank B8). Small 4to, early 19th cent. calf, triple gilt fillet round sides, spine gilt, red & green leather lettering pieces on spine, a.e.g. Venice: Petrus Liechtenstein, 1503. First edition of this rare set of astronomical tables which were prepared for Isabella I (1451-1504), the Queen of Castile and Aragon. The book is divided into two parts: the first includes a dedication to Isabella and Ferdinand (who, most famously, sent Columbus on his voyage to discover a route to the East Indies) and a set of canons in sixty chapters explaining the use of the tables, with several examples. The second part contains the tables. In the Commentariolus, Copernicus&#39; first draft of his planetary theory, which remained unpublished until the late 19th century, he refers to the length of the year. Copernicus mentions the values given by four astronomers: three of whom are well-known predecessors, Hipparchus, Ptolemy, and al-Battani. The fourth was referred to as "Hispalensis." Thanks to the researches of L. Birkenmajer in the early 20th century, "Hispalensis" has been identified as Alfonso de Córdoba, a contemporary of Copernicus. He was a Spanish astronomer, a doctor of arts and medicine, and probably born in 1458 in Seville. In the beginning of the 16th century, Alfonso de Córdoba lived in Rome and was employed by the powerful Borgia family, serving as physician to Cardinal Cesar Borgia (1475-1507) and was also working for Cesar&#39;s father, Rodrigo Borgia (1431-1503), who was Pope Alexander VI. Copernicus spent most of the period from 1496 to 1503 in Italy, and it is likely that he was aware of publications on astronomy that appeared at the time. Apart from the present book, Alfonso edited the 1502 edition of the Almanach Perpetuum by Abraham Zacut (1452-1515), the most celebrated astronomer in the Iberian Peninsula of his time, and a short treatise in Latin on an instrument for determining the positions of the planets. This treatise is entitled Lumen caeli, sive Expositio instrumenti astronomici a se excogitati (Rome: J. Besicken, 28 May 1498). "As was true for almost all European astronomers at the time, Alfonso de Córdoba faithfully adhered to the Alfonsine Tables and followed a tradition in the framework of Ptolemy&#39;s astronomy to the point that several of his tables are taken, whether directly or not, from Ptolemy&#39;s Almagest. Among the material used by Alfonso de Córdoba we have identified the editio princeps (1483) of the Alfonsine Tables... "However, Alfonso de Córdoba did not limit himself to reproducing the tables in the 1483 edition adapting them for the time of Queen Isabella, for there are significant changes in presentation; indeed, several of his tables have very different formats from the standard ones, indicating that he had real insights into astronomy and was able to compute competently using tables. Moreover, he constructed some tables adapted to the latitude of his city, Seville, and this bears witness to his considerable computational skill. In fact, Alfonso de Córdoba&#39;s Tabule astronomice Elisabeth Regine may be regarded as another form of presenting the Alfonsine Tables without departing from its underlying astronomical content... "The analysis of Tabule astronomice Elisabeth Regine shows that they cannot simply be reduced to a mere example of flattery, and that Alfonso de Córdoba produced astronomy at a level similar to that of the best astronomers of his time. This is probably why his tables were used by astronomers in the 1520s, notably, an unnamed author whose work is preserved in Vienna, MS 5303, and Nicholas Copernicus."-José Chabas, "Astronomy for the Court in the Early Sixteenth Century. Alfonso de Córdoba and his Tabule Astronomice Elisabeth Regine" in Archive for History of Exact Sciences, Vol. 58, No. 3 (2004), pp. 183-217-(& see the entire article for a detailed description of the book, its contents, and importance). Fine copy. Bookplate of Paul Helbronner. &#10087; Houzeau & Lancaster 12712. Lalande, p. 31. Palau 61824. .
Patria Historia. -
(Colophon:) Milano, Minutianum, 1503.In-folio. Pelle del '700, piatti con fregi oro, dorso con titolo e fregi oro; cerniere e cuffie restaurate. Una tav. f.t. che mostra il Corio al suo scrittoio ed una illus. n.t. con le armi dei Corio; ambedue le silogr., di ottima fattura, sono attribuite al pittore pavese Bernardino de' Conti. 426 (di 428) ff.; manca il secondo foglio al principio che ha sul verso l'effige della Virtù, ed il foglio aa1 su cui è ripetuta la raffigurazione del Corio allo scrittoio; esemplare altrimenti fresco e marginoso, con alcune antiche e nitide postille a penna. Prima edizione e «l'unica veramente completa, perchè molti luoghi furono tolti nelle ristampe; si crede comunemente che la nobiltà e i Duchi stessi che vedevano in troppi punti compromesso il loro prestigio e il loro buon nome, ordinarono queste soppressioni e in parte la distruzione dell'ed. già uscita, onde molti bibliogr. spiegano la grande rarità del libro» (Hoepli, Milano, 647). «Corio, storico (milanese)... caro agli Sforza... Lodovico il Moro lo incaricò di scrivere una storia di Milano... E' la prima scritta in Italiano... per i tempi più recenti, specialmente dai comuni in qua, è ampia, minuziosa, diligente, evidentemente condotta su fonti d'archivio... Nei sec. XVI e XVII l'opera fu ritenuta dai Milanesi una gloria nazionale, e faceva testo nelle questioni di precedenza, di nobiltà e simili» (Treccani XI, 411-412). Fossati-Bellani II, 1919. Brunet II, 273. Sander I, 2170. Adams C-2632. Mortimer, Harvard, 137.
DE HONESTE VOLUPTATE ET VALITUDINE. Vel de obsoniis e arte coquinaria libri decem.
Giovanni Tacuino da Trino 1503 in-4 antico, ccnn 87 (compresa l?ultima bianca), bella leg. ottocentesca p. pelle blu con tit. oro al d. e filetto in oro ai piatti, dentelles. Risguardi in carta marmorizz. Tagli dorati. Graziosi e gr. capilett. in legno. Pregevole edizione e la prima cinquecentesca di uno dei più noti e ricercati testi di gastronomia dell?A.(1421-1481) originario di Piadena, vicino a Cremona, e che per molti anni soggiornò a Roma al seguito di Francesco Gonzaga a Roma. Tratta della qualità dei cibi, delle proprietà di alcuni, esponendo anche le ricette e abbinando le vivande ai condimenti nelle diverse occasioni. Per la prima volta compaiono abbinamenti con spezie particoli e dal gusto forte, il cinnamonio, il coriandolo, il ginger. Nei 10 capitoli tratta dei formaggi, olii e aceti, frutti e verdure, farine e derivati, pesci, carni, con ricette per frittelle, torte, etc... Nel capitolo finale capitolo tratta anche dei vini. Iccu 34375 registra solo 3 esemplari di questa edizione nelle biblioteche italiane. Paleari, 381. Manca a Bing, Simon, Vicaire e Westbury. Oberlè p. 48 segg. per notizie sull?A., non cita questa ediz. Ottimo esempl., marginoso e fresco: unica menda la pagine di tit. legg. sporca. [389]
SCOT (SCOTUS), Michael (ca. 1175-1235). -
Liber Phisionomie. - (Colophon:)
Venezia, Sessa, 1503.In-4. Bella legatura coeva in pelle impressa a secco, dorso e margini restaurati. Marca tipografica sul frontespizio sotto una grande vignetta, due graziose iniziali e una diversa marca tipografica in fine. (32) ff.; i fogli nel quaderno C posposti; buon esemplare, accuratamente rinfrescato. Rara edizione del fortunato e importante trattato medico (prima ediz.: 1477). E? l?unico testo sicuramente attribuibile allo Scoto, uno dei maggiori eruditi del ?200 che, dopo aver studiato a Oxford, Parigi e Toledo, si trasferì in Sicilia alla corte di Federico II di cui divenne il consigliere scientifico. L?opera, forse scritta come dono di nozze per l?imperatore, è divisa in tre parti: la prima tratta la generazione, con informazioni di anatomia, fisiologia, e ostetricia; la seconda esamina i segni del carattere; la terza si occupa di fisionomia e include uno studio del corpo umano, dai capelli ai piedi, inclusi i denti. Cf. DSB IX, 361 e Thorndike II, 307-337. Essling, 1597, Sander, 6908 e Durling, 4163 citano un?edizione di Sessa del 1508 con le stesse silografie; non in BL STC, Adams, Wellcome, Waller, etc. Very rare edition of a noteworthy book in the history of science (first edn.: 1477). It is the only treatise which can be definitely ascribed to the Scottish philosopher, alchemist and astrologer. He was one of the great scholars of the 13th century and scientific adviser to Emperor Frederick II. The first section contains a detailed treatise on the process of generation with anatomical and physiological information on obstetrics and sexual behaviour. Books II and III contain the Physionomia proper, the signs of complexion and the meaning of every detail of the human body, from hair to feet, including the teeth. Large woodcut on title, 2 woodcut initials and printer's device at beginning and end. Neatly washed and leaves in quire C misbound but an attractive copy bound in contemp. blind-stamped calf, rebacked and extremities repaired.
Folio. 158 numerierte (recte 156) Bl. Mit Titelholzschnitt, 6 ganzseitigen und 142 kleinen Holzschnitten im Text. Violetter Maroquinband anfangs des 20. Jahrhunderts mit mehrfacher blindgeprägter Deckelfiletierung, vergoldeten Eckfleurons, goldgeprägtem Titel und Ganzgoldschnitt. Adams D 304. - Proctor 9889. - Ritter 2284. - Sehr frühe illustrierte Terenz-Ausgabe zusammen mit den Kommentaren des Aelius Donatus. Die 6 blattgrossen Holzschnitte wurden zuerst in den Ausgaben von 1496-1499 beim gleichen Verleger verwendet. Die kleinen Holzschnitte, die meist aus verschiedenen Blöcken zusammengesetzt wurden, sind hier erstmals abgedruckt. Das Titelblatt mit dem ganzseitigen Holzschnitt, mit der phantansievollen Darstellung eines Theaters. Unser Exemplar auf den ersten 100 Blättern mit sehr reichen sauberen zeitgenössischen Annotationen. Ein Blatt mit alt hinterlegtem Einriss. Die Randannotationen hin und wieder leicht beschnitten. Das letzte Blatt etwas angestaubt, sonst sehr sauberes Exemplar. - Einband mit kleineren Kratzspuren auf den Deckeln. [3 Warenabbildungen bei antiquariat.de]
[Title in Greek] ... EURIPIDIS TRAG&#140;DIÆ SEPTENDECIM, EX QUIB QUÆDAM HABENT COMMENTARIA
Venetiis: Apvd Aldvm, February 1503.. Two volumes bound in one. [268;190] leaves. Thick octavo (165 x 98 mm). Full red morocco, spine heavily gilt extra, gilt Aldine anchor device on each board, a.e.g. (unsigned). Italic (preface) and Greek letter. Aldine anchor device at end of each volume. Small shallow discoloration at extreme lower edge of 11 leaves in the second volume, occasional traces of foxing, minor rubbing at crown of spine, otherwise about fine. Cloth slipcase and chemise. First collected edition of the Greek texts of the tragedies of Euripides, preceded only by an edition of four of the plays printed in Florence in 1496. Although the title lists seventeen plays, Aldus added an eighteenth, the HERCULES FURENS, and in his prefatory dedication to Demetrius Chalcondylas, a distinguished professor of Greek at Padua, Aldus indicates the edition consisted of one thousand copies. Euripides was the last of the trio of great classic Greek tragedians, and although he is known to have written a significantly larger body of plays than are preserved here, many of the others are known only through incomplete fragments. The other titles included here include some of the masterpieces of classic drama, including MEDEA, HECUBA, ORESTES, IPHIGENIA IN TAURUS, ALECESTE, BACCHAE, etc. With the bookplates of Arthur Atherley and George Warren Vernon. "...recherchée, et les beaux exemplaires se trouvent difficilement" - Brunet. A small number of copies were printed on vellum. BM (ITALIAN), P.239. RENOUARD 43:10. GOLDSMID 63. ADAMS E1030. BRUNET II:1095.

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