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Item Description: Venice, Aldus Manutius, 1 November 1495 - June 1498. With numerous woodcut floral and interlaced head-pieces and initials, large schematic woodcut diagram. 30 lines. Greek type (with some Roman). Folio (c. 310 x 210 mm). Late 19th- or early -20th century full calf. From the library of Walter Ashburner Florence (1864-1936), with his stamp mostly on title or on last leaf. Venice, Aldus Manutius, 1 November 1495 - June 1498, First edition of one of the greatest books ever printed, very scarce. These five volumes include all the then-known works attributed to Aristotle (384-322 B.C.), together with other texts associated with the Aristotelian corpus and including text of his most outstanding pupil Theophrastus. Among Aristotle's works the following are included: Part 1 (Organon): Porphyrius, Universalia; Categories; Hermeneutics; Prior Analytics; Posterior Analytics; Topics, Sophistici Elenchi, etc. 234 leaves. 1 November 1495. Part 2 (Natural Philosophy): Galen, Introduction to philosophy, (Physics); De caelo, De generatione et corruptione, (Meterology); Philon, De mondo; Theophrastus, De signis acquarum et ventorum (Wind, fire, and stones); De coelo; De mundo, etc. 300 leaves. February 1497. Part 3 (Natural Philosophy): 19 treatises by Aristotle, De historia animalium; De partibus animalium, De anima; De sensu et sensato; De motu animalium; De generatione animalium; De respiratione; De animalium incessu; De coloribus; 5 treatises by Theophratus, etc. 468 leaves. 29 January 1497. Part 4 (Natural Philosophy) imperfect (lacking only Theophrastus' texts on botany) Aphrodisiensis, Problems; Aristotle, Mechanics; Metaphysics, etc. and Theophrastus, Metaphysics. 228 to 520 leaves. 1 June 1497. Part 5 (Moral Philosophy): Nicomachus, Ethics; Politics; Economics; Magna Moralia; Eudemian, Ethics, etc. 330 leaves. June 1498. A very exquisite set of Aldus' monumental edition of Aristotle's works, the first major Greek text to be re-introduced to the Western world by the invention of the printing-press. It was the most ambitious printing project of the fifteenth century and Aldus's first major objective in his publishing programme. His task was enormous. More serious than the typographical difficulty was the lack of demand for Greek in sufficient quantity to make an edition pay. Knowledge of Greek was still restricted, and Latin translations could be printed instead in editions large enough to be profitable. The task of an editor at this date was also difficult. Manuscripts had to be obtained to serve as copy for typesetters, and if, as often happened, the text was corrupt, the editor might attempt either to amend it or find better manuscripts. Aldus's preface gives some indication of these hardships. In the introduction to one of the volumes of the Aristotle he tells us that in the whole of Italy he had been able to find only one copy of Theophrastus. Before the Aldine press was set up, the total number of volumes printed in Greek was scarcely more than a dozen, several of them grammars. For the quality as much as the quantity of his output, Aldus stands as the greatest scholar-publisher in printing history. The Aldine edition of Aristotle determined the text of these two authors until the nineteenth century, altough a Greek Opera edited by Erasmus was printed in Basel in 1531. The first two Aldine Greek types (146 and 114 mm), both represented here, were cut by Francesco Griffo and were apparently modelled on the hand of Immanuel Rhusotas; many accents were cast separately and set through vertical kerning (see N. Barker, Aldus Manutius and the Development of Greek Script and Type in the 15th Century). This Aldine Aristotle was, in terms of scholary enterprise and vision, the greatest printing project of its century, and is complete rarely found on the market, since Aldus sold the books also separately. The complete Freilich copy at the 2001 Sotheby's auction, not in a fine condition, brought USD 750'000 (or EUR 620'000 or CHF 950'000). The present set has been in a private library for many de. Bookseller Inventory # 32954-2705

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Item Description: Hard cover. Woodcut vignette on title, two engraved headpieces, five folding engraved plates, & woodcut diagrams in the text. 6 p.l., 210, [3] pp. Folio, early 19th-cent. half red morocco & red boards (minor browning), flat spine gilt. Toulouse: J. Pech, 1679. First edition, and now rare on the market; this copy belonged to Dominique François Jean Arago (1786-1853), the great French scientist who made important contributions to astronomy, electro-magnetism, and optics (see D.S.B., I, pp. 200-03). This book, Fermat’s only substantial publication apart from his edition of Diophantus (both prepared and published posthumously by his son), contains the majority of Fermat’s mathematical work. Included are Fermat’s important researches on analytic geometry, developed concurrently with, but independently of, Descartes, as well as his method of maxima and minima, based upon which some have proclaimed Fermat the true first discoverer of the differential calculus. It also includes the first printing of Fermat’s important correspondence with Pascal which founded the modern theory of probability. There is also correspondence with other contemporary mathematicians, including Mersenne, Roberval, Wallis, Digby, and Gassendi. Although Fermat published practically nothing during his lifetime, his work was freely communicated to others in correspondence and was profoundly influential. Descartes and Pascal notwithstanding, many scholars regard Fermat as the greatest of all 17th-century French mathematicians. Fermat (1601-65), was shy of publicity and reluctant to communicate his findings. As a result, his discoveries remained comparatively unappreciated until the 19th century when they catalyzed the development of modern algebra. The title-page is in Horblit’s second state (no preference), while leaves a2 and e2 are in his first state (no preference). The rare portrait of Fermat, not present here, was also not found in the Horblit, Honeyman, or Norman copies. A small minority of copies have the portrait; it was printed in a much larger format than the book and was probably intended only for large paper copies, of which a few survive (e.g. one of the two BL copies). A very good and crisp copy. With the signature of Arago on the title-page (his sale, Paris, 1854, lot 824 "in-f. dem. m. r.") and with a slightly later note of an English collector "From the Library of F. Arago, H.S." ? Dibner, Heralds of Science, 108–"The above, published after his death, first presented his work and correspondence." En Français dans le Texte 115. Evans, Exhibition of First Editions of Epochal Achievements in the History of Science (1934), 6. Horblit 30–"Fermat is considered the father of the modern theory of numbers, and herald of differential calculus and analytical geometry.". Bookseller Inventory # JHABES3105

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Opera Omnia [in Greek].

HIPPOCRATES.

Published by Venice, Aldine Press, May (1526)

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Item Description: Venice, Aldine Press, May, 1526. Folio, ff. [6], 233, [1], the Aldine device on title and verso of last leaf, Greek type; title with some very slight marginal dustsoiling; eighteenth-century French mottled calf, gilt spine, brown morocco label.a superb copy of the first edition in the original greek of the hippocratic corpus.Assembled in the third century B.C., this collection includes the Hippocratic Oath and many of the foundation texts of western medicine, traditionally attributed to the legendary physician and teacher Hippocrates of Cos. 'It is uncertain which of them, if any, are directly connected with the historical physician Hippocrates of Cos, who flourished in the latter half of the fifth century B.C. Through the writings attributed to him Hippocrates is credited with developing the first system of empirical medicine based on clinical experience, and the Hippocratic Oath has long been regarded as expressing the fundamental ethical and moral standards of the medical profession' (Grolier, Medicine p. 3). The text was edited by Francesco Torresani, using a fifteenth-century manuscript now in Paris (BNF MS gr. 2141), with corrections provided by a second manuscript which belonged to Cardinal Bessarion (Venice, Bibliotheca Marciana MS gr. 269). This edition, comprising 59 works, includes some that were not included in the Latin translation by Marco Fabio Calvo published the previous year in Rome. 'The Aldine Greek edition of Hippocrates marked a significant advance over Calvus's Latin translation. As Franciscus Asulanus [Francesco Torresani] pointed out in his notice to the reader, it repaired a considerable number of accidental omissions and one long repetition that Calvus . made because he followed only one manuscript. Moreover, by presenting the original text, it laid the necessary foundation for all further philological and medical study of the corpus' (ibid).Adams H563; Durling 2316; Grolier, Medicine 1B; Stillwell 405 (with a detailed listing of contents) and 656; Norman 1077; Osler 142; Wellcome 3173.S435. Bookseller Inventory # S435

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Opera Omnia

HIPPOCRATES

Published by Venice Aldine Press 1526. (1526)

Used Hardcover

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From: Martayan Lan, Inc (New York, NY, U.S.A.)

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Item Description: Venice Aldine Press 1526., 1526. Hardcover. Book Condition: Fine. Folio, (6), 233, (1) ff., the Aldine device on title and verso of last leaf, Greek type. Bound in eighteenth-century French mottled calf, gilt spine, brown morocco label. Title with some very slight marginal dustsoiling, else excellent. A fine and fresh copy of the editio princeps of the Hippocratic corpus, a collection of texts assembled in the third century B.C., including the Hippocratic Oath and many of the foundation texts of western medicine, traditionally attributed to the legendary physician and teacher Hippocrates of Cos. "It is uncertain which of them, if any, are directly connected with the historical physician Hippocrates of Cos, who flourished in the latter half of the fifth century B.C. Through the writings attributed to him Hippocrates is credited with developing the first system of empirical medicine based on clinical experience, and the Hippocratic Oath has long been regarded as expressing the fundamental ethical and moral standards of the medical profession" (Grolier, Medicine p. 3). The text was edited by Francesco Torresani, using a fifteenth-century manuscript now in Paris (BNF MS gr. 2141), with corrections provided by a second manuscript which belonged to Cardinal Bessarion (Venice, Bibliotheca Marciana MS gr. 269). This edition, comprising 59 works, includes some that were not included in the Latin translation by Marco Fabio Calvo published the previous year in Rome. "The Aldine Greek edition of Hippocrates marked a significant advance over Calvus’s Latin translation. As Franciscus Asulanus [Francesco Torresani] pointed out in his notice to the reader, it repaired a considerable number of accidental omissions and one long repetition that Calvus. made because he followed only one manuscript. Moreover, by presenting the original text, it laid the necessary foundation for all further philological and medical study of the corpus" (ibid).* Adams H-563; Durling 2316; Grolier, Medicine 1B; Stillwell 405 (with a detailed listing of contents) and 656; Norman 1077; Osler 142; Wellcome 3173. Bookseller Inventory # 3111

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Varia Opera Mathematica

Fermat, Pierre de

Published by Toulouse: Jean Pech (1679)

Used Hardcover First Edition

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Item Description: Toulouse: Jean Pech, 1679. Hardcover. Book Condition: Near Fine. No Jacket. 1st Edition. EXTREMELY RARE FIRST EDITION of Fermat's Collected Works, containing the first publication of most of his work. PROVENANCE: the Inner Temple Library, with small ink stamp on title and a few other leaves; English mathematician Francis Maseres's (1731-1824) copy with his signature on front flyleaf and annotations in text. TOULOUSE: JEAN PECH, 1679. Folio, contemporary calf rebacked. With five engraved folding plates; engraved head and tailpieces, diagrams in text. Scarce portrait not present, as often. Occasional light browning and foxing. An excellent copy. Bookseller Inventory # ABE-10765366603

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Item Description: Brunet IV, 1439; Nixon, Broxbourne Library: styles and designs of bookbindings from the 12th to the 20th century (London 1956), 79; WorldCat (3 copies); not in Caillet; Houzeau-Lancaster. Rare first edition of the collected works of the eccentric Jacques Le Royer, sieur de la Blinière (1625-post 1678). He was a lawyer at the Parlement of Rouen, judge and self-styled counselor and adviser to King Louis XIV. For the present book, printed in his home city of Avranches, he had plates engraved in Paris for the embossing of the binding. The extraordinary binding is an integral part of the book. On pp. 9-14 in the preliminaries, 29 and 360-364, Le Royer gives detailed information about the sundials (and lunar dials), emblems, lettering and other elements of the binding (including the endpapers), as well as information about things he had hoped to include but could not. The covers proved too small to include a projected astrolabe and a table of the nineteen year cycle of the Julian calendar. He nevertheless managed to include altitude-based sundials, an equinoctial sundial, a graduated scale to measure the height of the sun, a volvelle for planetary aspects and a table of winds (the last 2 lacking in the present copy). These features, illustrating the text in an unusual and fascinating way, were embossed on the sheepskin of the binding using engraved intaglio plates.In very good condition, with only a tiny hole in the first few pages. The embossing, inherently delicate, has survived better than that in the Broxbourne copy, and there is no double impression, as there is on the front board of that copy. An extremely rare book in the extraordinary binding designed by the author himself. Bookseller Inventory # 14853

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Opera.

ARISTOTLE.

Used Hardcover First Edition

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Item Description: Hard cover. Trans. by Joannes Argyropylus, Leonardo Bruni, Georgio Valla & others. 508 leaves (including leaf 62, a blank). 44 lines, Roman type, woodcut capitals. 351 woodcut diagrams in the text and a fine & large woodcut device of Fontana on final leaf. Thick small folio (312 x 209 mm.), a contemporary Erfurt binding of pigskin over wooden boards (see below for further description of binding), clasps & portions of catches gone. Venice: J. & G. de Gregoriis, de Forlivio, for Benedictus Fontana, 13 July 1496. A handsome copy in original state of the first humanist edition of the works of Aristotle; it contains most of his works on natural science, including a number which had never appeared in separate editions. It begins with a letter of Democritus to Fontana in praise of his enterprise in publishing Aristotle, followed by an address to the reader summarizing the ten years’ exclusive privilege of printing and selling Aristotle’s works granted to Fontana on 26 March 1496. This edition contains Aristotle’s Physica, Metaphysica, De Caelo et Mundo, De Anima, Ethica Nicomachea (Tr: Johannes Argyropoulos); Liber de Moribus (= Leonardus Brunus Aretinus: Isagogicon); Praedicamenta, De Interpretatione, Analytica priora, Analytica posteriora (Tr: Johannes Argyropoulos); Topica, Sophistici elenchi (Tr: Boethius); Politica, Oeconomica (Tr: Leonardus Brunus Aretinus); De Sensu et Sensato, De Memoria et Reminiscentia, De Somno et Vigilia, De Motu Animalium, De Longitudine et Brevitate Vitae, De Iuventute et Senectute, De Respiratione et Inspiratione, De Vita et Morte (Tr: Guilelmus de Moerbeka); Physiognomia (Tr: Bartholomaeus de Messana); De Bona Fortuna (extracts of Magna Moralia and Ethica Eudemia); De Coloribus (Tr: Bartholomaeus de Messana); De Plantis (Tr: Alfredus de Sareshel); De Lineis Indivisibilibus (Tr: Robertus Grosseteste?); De Inundatione Nili, De Proprietatibus Elementorum (Tr: Gerardus Cremonensis); De Pomo (Tr: Manfredus); De Intelligentia (Tr: Jacobus Veneticus); De Mundo (Tr: Nicolaus Siculus); De Causis (Tr: Gerardus Cremonensis?); and Magna Moralia (Tr: Georgius Valla). Binding: this is an excellent contemporary Erfurt binding of pigskin over wooden boards, covers blindstamped with triple rosette, quatrefoil, pierced heart, and dog (Schwenke-Sammlung, Hund 19, Herz 95). The inner hinges have been reinforced at the time of first binding with vellum MS. fragments of a German 11th-century Bible commentary. Minor dampstaining and worming but a nice copy in original state with wide margins (many outer edges uncut). With the signature of Ernest Schulz (scholar and consultant to Jacques Rosenthal, the bookseller at Münich), dated 1937. ? F.E. Cranz, "Editions of the Latin Aristotle," in Philosophy and Humanism. Renaissance Essays in Honor of Paul Oskar Kristeller (E.P. Mahoney, ed.), Leyden, 1976, pp. 116-28. GKW 2341. Goff A-966. Klebs 82.7. Bookseller Inventory # JHABES2995

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Opera d'Architettura ossia progetto sul foro che doveva esegursi in Milano

ANTOLINI, Giovanni (1756-1841) - SANQUIRICO, Alessandro (1777-1849).

Published by Milan: Fratelli Bettalli, [1814]. (1814)

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Item Description: Milan: Fratelli Bettalli, [1814]., 1814. Folio (20 6/8 x 17 inches). Engraved vignette of the Foro Bonaparte on the title-page, 14 MAGNIFICENT double-page sepia aquatints plates by Antolinini, Sanquirico and others, and 10 uncoloured double-page engraved plans and aquatints. Contemporary marbled paper boards (rebacked with blue cloth in the 19th-century, worn). Provenance: acquired from Marlborough Rare Books, 1973 by Arthur and Charlotte Vershbow, their sale, Christie's 19th June 2014, lot 113. First edition, issued by subscription. A superb collection of Antolini's designs for the Foro Bonaparte, a grandiose plan to modernise the Castello Sforza, Piazza del Castello, Piazza d'Armi during Napoleon's occupation of Italy. Napoleon had first entered Milan on May 15 1796, by the end of June, the ancient Castello Sforza was under French rule. Napoleon decided to restore and improve the old fortress in spite of local Milanese opposition who wished to see the remains of old tyranny destroyed. In April 1799, Milan was back under Austrian and Russian rule, but on June 14 1800, Napoleon defeated the Austrian army in Marengo, and Milan was proclaimed capital of the Cisalpine Republic. Again, "the castle was used as a barracks and was further damaged. The Ducal Chapel was transformed into a stable, the Ducal Apartments used as a dormitory and the frescos painted during the Sforza period were covered in lime. At the beginning of the 19th century, the population exulted as the old Spanish ramparts were demolished. Great architects such as Luigi Canonica and Giovanni Antolini were called in to redesign the big area in front of the deteriorated Sforza Castle. Antolini designed a circular square with a diameter of about 570 meters. In it were classic-design public buildings (e.g. the Pantheon, the National Museum). Around it were arcades with warehouses, stores and private buildings. This square was named Foro Bonaparte. In the middle of the Foro survived the Sforza Castle, which became the residence of the Government. On one side, the Foro Bonaparte faced the city. The other side opened on a big square in the way to Parco Sempione and Paris. However, after April 1801, the project was set aside and the whole area underwent gradual changes, which led to transform it into a vast square (700x700 meters) called Piazza d'Armi" (Castello Sforzesco online). The extraordinary aquatints include images of the entire square, the Foro Bonaparte, the Faciata Princepale, Barriera Sempione, Faciata del Terme, Spaccato dei Bagni, Spaccato delle Sala delle Terme, the Facciata del Pantheon, Teatro, Borsa, et Museo, the Spaccato del Pantheon, Spaccato per is lungo del Teatro, Spaccato dell Borsa - Facciata posteriore, Spaccato del Musea, Spaccato della Logaria, Facciata, e Spaccato di una delle S. Sale di Publica Istruzione, and the "Monumento decretato dalla commissione provisoria di Governo li 5. Messidoro an.o 8° era francese, per eternare la memoria dell'eroe Bonaparte ; scelto dalla commissione degli artisti istituita per il giudicio del concorso ; e destinato da erigersi nel Foro-Bonaparte in Milano". Antolini is best remembered for his work in the Piazza San Marco, Venice. Berlin Kat. 2649. The first of the large double-page aquatints is an early example of the work of Allessandro Sanquirico, architect, decorator, restorer, inventor, and practiced artist of perspective and lighting, and the chief scenic artist and stage designer at La Scala from 1817 to 1832. While there he instigated a new aesthetic of stage design that was to become indissolubly associated with the art of 19th-century grand opera, and which continued to influence operatic set dressing well into the 20th-century. Sanquirico recorded all of his major stage designs in a series of meticulous aquatint engravings and disseminated them throughout Europe. They were often copied, and so were a major vehicle of his influence, which extended even to fashions in furniture, interior decoration, and clothing. For more information about thi. Bookseller Inventory # 72lib1182

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Opera Medicinalia.]

MESUE, Johannes (Yuhannah ibn Masawaih).

Published by [Colophon:] Impressa Venetiis [Venice:] per Bonetum Locatellum?impensis?Octaviani Scoti? 1495. (1495)

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Item Description: [Colophon:] Impressa Venetiis [Venice:] per Bonetum Locatellum?impensis?Octaviani Scoti? 1495., 1495. Folio (318 x 217 mm.), 332 unnumbered leaves. Gothic type, printed in double columns, 66 lines, floriated woodcut white-on-black initials, numerous initials supplied in red or blue, headings underlined in red, large publisher?s woodcut device at end. Contemporary blind-tooled half pigskin over beech boards, lettered in manuscript on upper cover. Upper joint just cracking, one upper corner chipped, old and almost imperceptible repair to fore-edge of upper board, clasps missing, wormtrack in lower inner blank corner of first dozen leaves then diminishing, otherwise a fine copy in a very well preserved contemporary binding. Old armorial bookplate on upper cover, two later bookplates on front pastedown. Penultimate and most complete of the incunable editions, and the first to include (as listed on the title-page) the commentary of St. John de Armand on the Antidotarium of Nicolas of Salerno, together with his text, one of the most widely recogniszed pharmacopoeias of the Middle Ages. Also included is the Complementum practicae of Francescus Pedemontanus; a commentary on the Canones of Mesuë by Mundinus, Expositio super canones universales; the Expositio super Antidotarium Mesue by Christophorus de Honestis; the Additiones ad practicam of Petrus de Abano on tumours of the breast and diseases of the stomach and liver; and the Compendium aromatariorum of Saladinus of Ascoli, generally considered the first really modern pharmacopoeia. ?The Grabadin [here called the Antidotarium] of Mesuë junior was for centuries the authority on the composition of medicaments. The book was not only in use in practically every European pharmacy but in addition became the basis of the later official pharmacopoeias. The Grabadin is, as Sudhof calls it, ?the pharmacological quintessence of Arabian therapeutics? and contains the entire armamentarium of compounded medicines which we owe to the Arabians. The arrangement is like that of the later pharmacopoeias. The compounded medicines are divided into groups according to their forms ? confections, juleps, syrups, etc. ? the monographs containing directions for the preparation of the respective products and also notes on their medicinal uses? (Kremers & Urdang, History of Pharmacy, pp. 21?22). Klebs 680.14. BMC V, 444. See Garrison, p. 133. Hagelin, Old and Rare Books on Materia Medica, p. 18 (later edition). Bookseller Inventory # 1832

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Item Description: Bernardinus Bindonus, Venice, 1537. First edition. Very rare editio princeps of Apollonius’ Conics, the basic treatise on the subject, "which recognized and named the ellipse, parabola, and hyperbola" (Horblit 4, on the later edition of 1566). This is one of the three greatest mathematical treatises of antiquity, alongside those of Euclid and Archimedes. This first edition is very rare, preceding by 29 years the Commandino edition of the same four books canonized by Horblit (and taken over by Dibner and Norman), and this first edition is known to have been used by Tartaglia, Benedetti and, however critically, Maurolico (see Rose). Books I-IV were the only ones to survive in the original Greek; Borelli discovered Arabic versions of books V-VII and published them, in Latin translation, in 1661. "Apollonius (ca. 245-190 BC) was the last of the great Greek mathematicians, whose treatise on conic sections represents the final flowering of Greek mathematics" (Hutchinson’s DSB, p. 16).Apollonius synthesized the work of his predecessors as well as contributing new methods and techniques of his own. "For a modern reader, the Conics is among the most difficult mathematical works of antiquity. Both form and content are far from tractable. The author’s rigorous rhetorical exposition is wearing for those used to modern symbolism. Apollonius has, in a way, suffered from his own success: his treatise became canonical and eliminated its predecessors, so that we cannot judge by direct comparison its superiority to them in mathematical rigor, consistency and generality. But the work amply repays closer study; and the attention paid to it by some of the most eminent mathematicians of the seventeenth century (one need only mention Fermat, Newton and Halley) reinforces the verdict of Apollonius’ contemporaries, who, according to Geminus, in admiration for his Conics gave him the title of The Great Geometer. "The first real impulse towards advances in mathematics given by the study of the works of Apollonius occurred in Europe in the sixteenth and early seventeenth centuries. It is hard to underestimate the effect of Apollonius on the brilliant French mathematicians of the seventeenth century, Descartes, Mersenne, Fermat, and even Desargues and Pascal, despite their very different approach. Newton’s notorious predilection for the study of conics, using Apollonian methods, was not a chance personal taste. It was not until Poncelet’s work in the early nineteenth century. revived the study of projective geometry that the relevance of much of Apollonius’ work to some basic modern theory was realized. "Hipparchus and Ptolemy absorbed his work and improved on it. The result, the Ptolemaic system, is one of the most impressive monuments of ancient science (and certainly the longest-lived), and Apollonius’ work contributed some of its essential parts" (DSB I 97-99). The text was passed down by Eutocius, a Byzantine mathematician of the Justinian period, and translated from the Greek by Giovanni Battista Memo (1466-1536), Public Professor of Mathematics at Venice. A patrician who held a number of important government posts, he was instrumental in establishing the mathematical chair of which he became the first occupant in 1530. This is his principal work, published just a year after his death by his nephew. The Greek manuscript he employed is unknown, though Rose suggests it might have been the one which once belonged to the family of the present work’s dedicatee, Cardinal Marino Grimani. Rose groups Memo with the successors of Valla, Zamberti and Gaurico, who applied the new philology to Greek scientific treatises, especially mathematics. Only five copies located in America (Harvard, Louisville, MIT, UNC, Yale). Brunet I.347; Essling II.667-8; Riccardi I 247 (‘raro libro’); Sander 480; Stillwell II.139; not in Adams; Heath, T.R., Apollonius of Perga: Treatise on Conic Sections (Oxford, 1896); Horblit 4, Dibner 101 and Norman 57 for the Commandino edition of 1566; P.L. Rose, The Italian Renaissance of Mathe. Bookseller Inventory # 3075

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Opera

HORACE

Published by Germany Johann (Reinhard) Grüninger (1498)

Used Hardcover First Edition

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From: Heritage Book Shop, ABAA (Beverly Hills, CA, U.S.A.)

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Item Description: Germany Johann (Reinhard) Grüninger, 1498. The First Illustrated Edition of Horace HORACE. Opera cum quibusdam annotationibus [of Jacob Locher]. Strassburg: Johann (Reinhard) Grüninger (misspelled Gürninger), 12 March 1498. First illustrated edition of Horace and the first edition printed in Germany. Edited by the poet Jacob Locher, called Philomusus (1471-1528). It is also the first edition based on German manuscript sources, one of which was a ninth-century codex from the monastery of Lorsch. Folio (11 11/16 x 8 5/16 inches; 297 x 210 mm.). 220 leaves ([6], CCVII, [1, blank], [6] leaves). Gothic and roman types. Three columns. Seventy-four lines of commentary on either side of text. With 168 woodcut illustrations from 101 blocks by the Terence Master, put together in various combinations, including some repeats. Capital spaces with guide letters. Initials supplied in red and blue. Woodcut printer’s device (Davies 168) on verso of fol. CCVII. Eighteenth-century paste paper over pasteboard. Spine lettered in manuscript. A few leaves slightly browned, slight dampstaining in the upper corner toward the end, with some minor marginal lossa. Short tear to fol. LXXXIX, affecting foliation and just entering woodcut on recto and just touching two letters on verso, short marginal tear to fol. CLXIX, not affecting text, early paper repairs to blank verso of final leaf. Occasional early ink marginalia, early ink drawing in the margin of fol. CXXXI verso, early ink inscription (crossed out) on fol. CXXXII verso, early ink calculations on fol. [C]XLIX verso and fol. [C]L. Early ink ownership inscription at foot of title and ink inscription, dated 1498, at head of title. Leather bookplate of Eduard J. Bullrich on front pastedown. Early ink annotations on front free endpaper. Overall, an excellent copy. Housed in a black cloth clamshell case. In addition to the importance of the text, the great appeal of the book lies in its remarkable woodcut illustrations. Particularly noteworthy is the large woodcut on the title, representing the author seated at his desk, which recurs at the beginning of each of the subsequent eight books. On fol. 2 is a cut showing the Nine Muses with an enthroned Calliope crowning a kneeling Horace. The dedicatory epistle has the arms and portraits of the dedicatee, the Margrave of Baden, and of the editor, Jacob Locher. Following Locher’s treatise on metrics is a large woodcut showing the poet facing his famous patron Maecenas, with two attendants. The beginning of the second ode has a depiction of Cassius and Brutus stabbing Caesar, wearing an oriental costume, complete with scimitar and turban, as well as the Imperial crown. All of the illustrations show persons and scenes of classical Rome in costumes and surroundings of the fifteenth century. Forty-nine of the blocks were used in Grüninger’s Terence (1496), seven are from Locher’s Libri philomusi (1497), eight are from Brant’s Stultifera navis (1497), six are from the Plenarium (1498), and thirty-one are new. BMC I, p. 112. Brunet III, col. 311. Dibdin, Bibliotheca Spenceriana, II, pp. 87-95. Dibdin, Greek and Latin Classics, II, p. 89. Fairfax Murray, German, 205. Goff H-461. Hain 8898. Harvard/Walsh 182-183. Polain 1989. Proctor 485. Schäfer 167. HBS 66537. $60,000. Bookseller Inventory # 66537

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Item Description: [Basel, Johann Oporinus & Nikolaus Brylinger, 1543]., 1543. Folio (215 x 306 mm). 3 pts. in 1 volume. (28), 230, (10) pp. (8), 178 pp., 1 bl. f., 163 pp. (Bound with) II: John VI Kantakuzenos. Contra Mahometicam fidem christiana & orthodoxa assertio, Graece conscripta, nunc vero Latinitate donata, R. Gualthero interprete. Adiecta est eadem Graeca scripta. Basel, J. Oporinus, 1543. 2 pts. (12), 124, (4) pp. (8), 108, (2) pp. Contemporary half calf over wooden boards, signed and dated "PAZL 1659". First edition of the first-ever printed Quran translation. "The text of this Latin version is based upon an Arabic manuscript acquired by Pierre de Cluny and Bernard de Clairvaux in Toledo in the 12th century. Pierre de Cluny charged the Englishman Robert von Kent, also in Toledo, with translating the ms. into Latin. Four hundred years later, Martin Luther had a copy of this text, and he commissioned Theodor Bibliander to publish it. Apart from this version, Bibliander used three other mss. he had managed to discover. However, the finished print sheets as well as the set type were seized by the Basel authorities on 1 July 1542. Prolonged negotiations ensued, and Oporinus was arrested on 30 August and imprisoned briefly. It was only the emphatic intervention by Luther and Melanchthon that prevented the work from being destroyed. On 7 December, the Basel council permitted the book to be published under the condition that neither the name of the city nor that of the printer be stated. Luther was compelled to contribute a preface, and the book must be sold in Wittenberg only" (cf. Enay). The second part contains a compilation of earlier writings about Islam and the Quran, some printed in Greek and Latin parallel text, including writings by Savonarola and Nicolaus Cusanus. The third part contains writings about the Ottomans, Islam, and Tamerlane's Mongolian invasion. - II: First edition of this discussion of Islamic teachings and the life of Muhammad by Emperor John Kantakuzenos. Both works are rather clean; worming (especially near beginning and end of the volume) has been professionally repaired. Binding somewhat rubbed and bumped as well as wormed. A similar binding is described in the "Festschrift Otto Schäfer", p. 434: both bear the initials of Placidus Hieber, abbot (1640-78) of Lambach monastery and famous not only for the Baroque splendour of his rule, but also for his death (he was poisoned by his cook). Rare: the last copy in the trade was that in the Burrell collection (sold at Sotheby's, Oct 15, 1999). I: VD 16, ZV 18456. Adams M 1889 (?). BM-STC German 479. Graesse IV, 43. Cf. Göllner 1792-93 and Benzing, Luther, 2766-68 (variants); Enay 102 (2nd ed: Basel 1550). - II: VD 16 J 376. Adams J 261. IA 131.339. Göllner 802. Bookseller Inventory # 31974

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Item Description: Michele Tramezzino, Venise, 1570. Demi-veau. Book Condition: Très bon. Ed. originale. 195 x 142 Mm. In-4 de (6) ff. y compris le titre, la dédicace et le portrait de l'auteur, 369 ff., (7), 28 planches numérotées gravées sur bois à pleine page. 3 premiers ff. renforcés à la gouttière, marge blanche extérieure du titre renforcée, trou de vers dans la marge intérieure des 15 derniers ff. sans atteinte au texte, deux des planches ont été légèrement rognées et placées tête en bas par le relieur. Relié en demi-veau avec le dos ancien du XVIIIe siècle réutilisé, tranches rouges. RARE EDITION ORIGINALE DU LIVRE DE GASTRONOMIE ILLUSTRE LE PLUS INTERESSANT DE LA RENAISSANCE. Cet ouvrage prodigieux est l'oeuvre du cuisinier personnel du pape Pie V. Il est dédié à Matteo Barbini, célèbre cuisinier vénitien. C'est le livre de gastronomie italien le plus détaillé du XVIe siècle. L'illustration, du plus haut interet, est composée d'un portrait de l'auteur gravé dans un médaillon et de 28 planches extrêmement détaillées représentant des intérieurs de cuisines avec toutes sortes d'aliments en préparation, ainsi qu'une grande variété d'ustensiles et de meubles de cuisine. Bon exemplaire de ce livre rare, du plus haut intérêt pour l'histoire de la gastronomie, bien complet de toutes ses planches en premier tirage. Simon, Bibliotheca Gastronomica, 1356 ; Graesse, Trésor de Livres rares et précieux, 290 ; Vicaire 771-773 ; Brunet, V, 180-181 ; Mortimer, Italian Books, 467; Wellcome 5811 (pour l'édition datée) ; Oberlé, Les Fastes de Bacchus et de Comus, n°75 (pour l'édition de 1605). ***Rare first edition of the most interesting illustrated gastronomic book from the Renaissance. It's the most detailed Italian gastronomic book from the 16th century. The illustration of the utmost interest is composed of a portrait of the author and 28 detailed plates depicting interiors of kitchens, food being prepared, kitchen utensils and furniture. A good copy of this rare work, of the highest interest for history of gastronomy, complete with all its plates in the first state.***. Bookseller Inventory # CS0188

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Item Description: Basel, Johannes Hervagius, 1544. Folio. (30,5 x 21 cm.). A very handsome set of both volumes, the Latin being in a very nice a bit later full vellum binding with visible bands and handwritten title to spine, the Greek being in an excellently executed recent binding to match, in all making up a very desireable and lovely set. [Greek part:] (8), 139; (4), 65, (3) pp. incl. the last blank. Many woodcut diagrams throughout, and a fine woodcut initial to each section. Title-page with 2 small stamps, and a stamp on verso of title-page. The first 4 leaves very lightly browned, occasionally very light marginal browning. One leaf with loss of a small portion of lower right corner, no loss of text. Otherwise very nice and clean. [Latin part:] (8), 163, (1); 68, (4) pp. Many woodcut diagrams throughout, and a fine woodcut intial to each section. Title-page with old ex-libris-inscription: "Dom. prof. Rom. Soc. Jesu. Catal. miseris. Bibliot. Comun." in neat hand. The first ab. 6 leaves with a dampstain to lower blank corner, not affecting text. A bit of brownspotting throughout, mostly very light, and mostly marginal. The Eutochius-section (last 68 pp.) with a bit more brownspotting. This section is marked with an old vellum-strip, indicating where it begins. All in all very nice. The seminal editio princeps of Archimedes' Opera, constituting the first edition of the original Greek text and the first edition of the Latin text, as well as the first printing of Eutocius' highly important commentaries, also in both Greek and Latin. The magnificent Archmedian princeps constitutes a Renaissance magnum opus that profoundly influenced the development of mathematical thought as well as the Renaissance and early modern concepts and understanding of the universe. It is in the present publication that we find the first printed statement of the Heliocentric world picture."[i]t was not until the late sixteenth century, then increasingly in the seventeenth, that Archimedes' mathematical work began to have formative influence on the development of mathematics.Of exceptional significance for the beginnings of this modern European inheritance and handing-on of the Archimedes legacy were the first edition ("editio princeps"), in 1544, of an almost complete Greek and Latin Archimedes text based on Codex A, with Latin text by Jacob Cremona". (Grattan-Guinness, p. 183) Both parts, i.e. both the Greek and Latin, were printed by Hervagius in Basle, 1544. The edition is edited by Thomas Geschauff, also called Venatorius. Including the Greek text as well as the Latin translation of both Archimedes' text and the highly important commentaries of Eutocios of Ascalon (ab. 500 A.D.), this publication is a cornerstone in the history of Western thought, marking the beginning of the Archimedean renaissance. No incunable-edition of the work of Archimedes appeared, and the present edition is only preceded by small Latin selections from his works in 1503 and 1543. Archimedes, by Plinius called "the God of mathematics", is arguably the greatest mathematician, physicist and engineer of ancient times and one of the greatest geniuses of all times. "There is no one individual whose work epitomizes the character of the Alexandrian age so well as Archimedes (287-212 B.C), the greatest mathematician in antiquity". (Morris Kline). "He gave birth to the calculus of the infinite conceived and brought to perfection successively by Kepler, Cavalieri, Fermat, Leibnitz, and Newton." (Chasles).With the commentaries of Eutocius, Renaissance thinkers read and understood the works of the Great Archimedes, and one dare say that these commentaries influenced the Renaissance as much as Archimedes' work itself. Had it not been for Eutocius' commentaries, we might not have extant all that we have of Aristotle, and it is no coincidence that these commentaries have followed almost all editions of Archimedes ever since their first appearance in print, in 1544. "The accompanying commentaries by Eutociu. Bookseller Inventory # 40220

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Item Description: London, Joannis Haviland, 1623 [later altered in manuscript to 1624]. Small folio. Bound in a lovely early 19th century full vellum binding with gilt borders to boards and gilt ornamentations and gilt title-label to spine.Lower front hinge cracked, but bidning still tight. A bit of edge wear, but overall very nice. Woodcut title-vignettes (burning heart) and woodcut initials in beginning. Text within single woodcut borders. (18), 493, (1 - errata) pp. Complete with both title-pages (no final blank). Old owner's name to title page (along with the dates 1624 and 1648), unlegible scribbles to second title-page, and "collated e perfect" in old hand to last leaf. A very nice and clean copy with good margins. The extremely rare first edition of what is arguably Bacon's main work "De Augmentis Scientiarum", in which he sets out to lay the foundations of science entirely anew and reform the process of knowledge for the advancement of learning. Bacon believes that the advancement of learning will ultimately relieve mankind from its miseries and needs, and as such he not only reformed the foundations of science, he also laid the philosophical foundations for the dawning of the Industrial age. His proposed change of the collective thought of mankind completely reshaped the entire course of science in history. The aim of the present work - to investigate and re-classify philosophy and the sciences - marks a turning point in the rhetorical and theoretical framework for science, which is still essential for our conceptions of proper methodology today.The "De Augmentis Scientarum" constitutes a greatly expanded and completely re-written version of the "Advancement of Learning" (1605). The Latin is by William Rawley, in close collaboration with Bacon himself, who oversaw the entire process. When speaking of "De Augmentis Scientiarum" one never refers the incomparable English forerunner of the work (which was only in 2 books as opposed to the 9 of the "De Augmentis Scientiarum"). The first English translation of the "De Augmentis Scientiarum" appeared in 1640 and is translated by Gilbert Wats as "Of the Advancement and Proficiencie of Learning".The "De Augmentis Scientiarum" was intended as Part 1 of Bacon's proposed, but never completed "Instauratio magna" (PMM 119). "Bacon conceived a massive plan for the reorganization of scientific method and gave purposeful thought to the relation of science to public and social life. His pronouncement "I have taken all knowledge to be my province" is the motto of his work [His] proposal was "a total reconstruction of sciences, arts and all human knowledge to extend the power and dominion of the human race over the universe". The plan for this was to be set out in six parts: (1) a complete survey of human knowledge and learning; this was expounded in the "De Augmentis Scientiarum", 1623 (a greatly extended version of "The Advancement of Learning", 1605) Of parts (3) to (5) only fragments were ever published; part (6) remained unwritten." (PMM 119 - the header being "The Advancement of Learning"). Francis Bacon's Great Instauration for learning and the sciences was thus to be introduced by his most important work, the "De Augmentis Scientiarum", which he himself considered the most fundamental for the project that caused him to be considered one of the fathers of modern science. "In "De augmentis scientiarum", which is concerned primarily with the classification of philosophy and the sciences, Bacon develops his influential view of the relation between science and theology. He distinguishes in traditional fashion between knowledge by divine revelation and knowledge by the senses, and divides the latter into natural theology, natural philosophy, and the sciences of man Having placed his project within the complete framework of knowledge in true Aristotelian fashion, Bacon proceeds to demolish all previous pretentions to natural philosophy. His aim is to lay the foundations of science entirely anew, nei. Bookseller Inventory # 48295

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Item Description: Venice, Gaspare Bindoni, 1599, 1599. 2 vols in one, folio (338 x 230 mm), pp. [xxxvi] 295; [iv, including blank] 386 [30, including terminal blank], woodcut devices on titles, titles printed in red and black, with 64 full-page woodcut illustrations, manuscript correction on m1 recto of vol. one as in Mortimer; wormhole in blank margin of several gatherings, only occasionally touching a letter, a few gatherings very slightly browned, overall a very fresh, crisp, unpressed copy in contemporary parchment over pasteboards, spine worn. £30,000First edition, second issue, one of the great rarities in the history of medicine and zoology. It is the first book devoted exclusively to the anatomy of an animal, and is considered comparable to Vesalius’ Fabrica, the illustrations of which strongly influenced those of Ruini. ‘In thoroughness of treatment and beauty of illustration, Ruini's study of the horse set a pattern in zoological anatomy’ (Dibner).‘Occupying an isolated position is the splendid monograph on the Anatomy of the horse by Carlo Ruini of Bologna, published posthumously in 1599. It is the product not of a physician, nor of a professional veterinary surgeon, but of a lawyer. Nevertheless, it does for equine Anatomy a similar service to that which the Fabrica of Vesalius had done for human Anatomy; its truly magnificent figures need not fear comparison with those of Vesalius and of Eustachius, by the side of which they may be placed. The text is no less admirable than the figures; the description of the eye, ear, intestines, kidneys, and bladder being especially good. Ruini gives a clear account of the structure of the heart and of the mechanism of the pulmonary circulation. His book is the first devoted to the anatomy of an animal, and is one of the finest achievements of the heroic age of Anatomy’ (Singer, The evolution of anatomy, p 153, with three plates reproduced).‘At the hands of Ruini the subject of equine anatomy jumped at a single bound from the blackest ignorance to relative perfection, the degree of which it is difficult to exaggerate’ (Sir Frederick Smith, The early history of veterinary literature).A total of 15 editions appeared between 1598 and 1769; the original blocks were only used for this first, and were then recut for the 1618 and subsequent editions. This issue differs from the first in having cancel titles dated 1599 and cancel dedication leaf. The remainder comprises the sheets of the Bologna 1598 printing. Bindoni changed dedicatée from Cardinal Aldobrandini to César, Duke of Vendôme, natural son of Henri IV.Provenance: ownership inscription (crossed out) on title dated 1634; pencil annotation on front pastedown optimistically attributing the illustrations to Titian or Leonardo!Bird 2111; Dibner 186; Durling 3991 (all this issue); Garrison and Morton 285; Mortimer 448; Norman 1858; Cole, History of comparative anatomy p 83 et seq. (with 9 plates reproduced) Language: it. Bookseller Inventory # 3692

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Opera

PLATO

Published by Venice Vernardinus de Choris, de Cremona, and Simon de Luere, for Andreas Torresanus (1491)

Used Hardcover First Edition

Quantity Available: 1

From: Heritage Book Shop, ABAA (Beverly Hills, CA, U.S.A.)

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Item Description: Venice Vernardinus de Choris, de Cremona, and Simon de Luere, for Andreas Torresanus, 1491. Second Edition of Plato's Opera and First Obtainable Edition PLATO. Opera.Venice: Bernardinus de Choris and Simon de Luere for Andreas Torresanus, August, 13 1491. [And:] FICINO, Marsilio. Platonica theologia de immortalitate animorum. Venice: 13 August 1491. Second edition of the works of Plato. Folio. 311 x 211 mm. [4], 444 leaves. Gothic type. Early 20th century Zaehnsdorf binding of quarter speckled calf over marbled boards, red morocco label on spine, gilt-stamped with five raised bands. Front and rear joints starting. Internally a clean, wide-margined copy with just a few marginal spots on the preliminary and final pages and a few short worm pinholes running through the first 17 and the last 15 leaf margins. In excellent condition overall, printed in Gothic type in double columns and with scattered early marginalia in red ink. Early ownership inscription of the Ecclesiastical College of Strassburg on title and bookplate of Kenneth Rapoport on the front paste-down. Overall, a very clean and handsome copy of the second edition and first obtainable edition of Plato's Opera. Marsilio Ficino’s Latin translation. Second editions of Ficino’s translation of Plato’s work (first published 1484), as well as his chief philosophical work, the Platonica theologia in which he attempts to illustrate the harmony between Platonism and Christian theology (first published 1482), and this edition is the first to collect both works together in one. With no complete copy of the 1484 first edition at auction since the 1940s, this edition is realistically the first obtainable edition of Plato's works. Plato was the first of the ancient philosophers to appear in print, and for nearly thirty years Ficino’s translation was the only published version available, until the appearance of the Greek 'editio princeps' in 1513. Ficino’s translation took twenty years to complete, and during this time he was assisted by members of the Platonic Academy founded by his patron, Cosimo de Medici, whose ambition was to revive the study of Platonic philosophy. "Amidst a great diversity, both of subject and treatment, the dialogues are pervaded by two dominant impulses: a love of truth and a passion for human improvement. While nowhere is a definite system laid down, it has been truly said that the germs of all ideas can be found in Plato." ("Printing and the Mind of Man" # 27, for 1484 edition). BMC V, 465 (IB. 23432); IGI 7861; Polain(B) 3190; Goff P-772; PMM 27. HBS 66374. $50,000. Bookseller Inventory # 66374

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Opera omnia). Latin trans. by Marsilio Ficino, and commentary by Simon Grynaeus.

PLATO.

Published by Basel, Hieronymus Froben (1539)

Used Hardcover

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From: Hellmut Schumann Antiquariat (Zurich 1, ., Switzerland)

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Item Description: Basel, Hieronymus Froben, 1539. With small woodcut initials, and Froben's large device on last leaf. 6 leaves, 959, (1) pp., 14 leaves. Folio (340 x 230mm). Contemporary Roman binding of olive morocco, multiple in gilt and blind forming a panel pattern; scroll, volute, etc., tooling in gilt; center ornaments of concentric circles with the initials "V S" within; same initials in corners of the panels; back with single tools in the compartements, double line dotted border, edges gilt by Niccolo Franzese (slightly restored). Provenance: Maggs (1982), and H. P. Kraus (1987). In a cloth case. Basel, Hieronymus Froben, Aug. 1539. One of the celebrated Roman Renaissance bindings from the atelier that worked for Pope Urban VIII, Pope Pius V, the Prince of Monaco Giovanni Battista Grimaldi, Matt. Bellegeri, Demetrio Canevari, the Duke of Parma Pier Luigi Farnese as well as many of the bindings made for Apollonio Filareto. Nicolas Féry, the binder of Reims (d. 1570/71, known in Italy as Niccolò Franzese) is identified here as the binder by a double volute found on the inner corners of the panels of the present binding (Hobson, A., Apollo and Pegasus (1975), p. 92, fig. 34 and pl. B). This tool was used on three Grimaldi bindings (nos. 17, 104, and 109 on Hobson's list), as well as on eight Filareto bindings and four others. Furthermore, the floral tool used by the binder is found in the central panel of this binding. Hobson records a total of 98 books from his workshop, excluding the present one. The binding is in a good condition apart from a slight discoloration on the front inner top corner. There are signs of ecclesiastical censorship internally - one can see from offsets that the title had been heavily marked over before it was removed and the name of Froben has been inked over on the last leaf, with the object of obliliterating the names of the heretical authors, editors and printers. - Title-page lacking, pp. 531-534 ink-blotted (paper restored) with loss of some words, and a few other pages stained. Very skillful minor repairs to head and tail of spine, otherwise a nice example of a precious binding. - Hobson, op. cit., pp. 76-86, 91-92, 136, 172 and 177; cf. Hobson, G. D., Maioli, Canevari and Others; cf. De Marinis, La Legatura artistica in Italia nei secoli XV e XVI; cf. Needham, Twelve centuries of bookbindings; cf. Esmerian sale I, nos. 42-44; not in BL or Adams. Bookseller Inventory # 32929-145

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Item Description: Hieronimo Frobenio Episcopio., 1563. Rilegato. Book Condition: molto buono. prima edizione. Tradotti in lingua toscana de Michelangelo Florio. In-folio, pergamena molle coeva. (xii), 542, (10) pp., 1 tavola ripiegata f.t. Insegna tipografica nel frontespizio e nell' ultima carta, capilettera ornati e 292 belle illustrazioni disegnate da H.R.M. Deutsch (1525-1571) e incise in legno da Z. Specklin (c. 1530-1576), stampate con le matrici originali. Bell' esemplare della prima traduzione italiana. Agricola studiò attentamente i procedimenti minerari e scrisse questo libro che venne pubblicato postumo in latino (De re metallica) nel 1556. Nel testo riepilogò tutto il sapere pratico che aveva ricevuto dai minatori tedeschi. Il libro è scritto con chiarezza e presenta eccellenti illustrazioni di macchine per l' estrazione mineraria. Fu la prima opera importante sui minerali che fosse mai stata scritta, e generalmente si considera alla base della scienza della mineralogia. "Agricola's De re metallica is one of the great monuments of technology by reason of the comprehensiveness of its text and the detail and intelligibility of his numerous illustrations.For two centuries De re metallica remained the chief texbook on mining and metallurgy." (Singer, History of technology, III, pp. 27-28; 324-34). "The magnificent woodcut illustrations. are a feature of this great work which remained unexcelled for generations. It marks the beginning of scientific method through observations as distinct from the purely scholastic approach of the Middle Ages." (Annan, Historic books on mining, p. 6 (4). "Agricola was the first author to compile a book in which technical descriptions and drawings were of sufficent accuracy and detail to enable machines to be made fromthe information supplied. Workshop, tools, machines and things relating to metals are excellenttly described and illustrated. He described multi-stage reciprocating mine-pumps which were driven by water-wheels; and horse-driven pumps, with rack-gears and chains, arranged in series to drain minesv with over 200 feet total lift. His use of anti-friction rollers for bearing is interesting" (Davison, Historic books on machines, 7). D.S.B., I, pp. 75-76. Warld & Carozzi, Geology emerging, 30 (ed.orig.). Kuhner & Rizzo, The Hoover collection of mining and metallurgy, 27. Dibner, Heralds of science, 88 (ed.orig.). Horblit, One hundred books famous in science, 2b (id.). Printing and the mind of man, 79 (id.). Norman library of science and medicine, 20 (id.). Ferguson, Bibliotheca chemica, I, p. 9. Zittel, History of geology and paleontology, p. 150. Darmstaedter, Georg Agricola, pp. 89-90. Dibner, Agricola on metals, passim. Il primo trattato completo sulle miniere e la matallurgia. www.libreriabrighenti.it. Bookseller Inventory # 000122

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Item Description: Ac studio Aldi Manucii Romani, Venetiis, 1495. Hardcover. An Irresistible Combination: an Aldine IncunableIn an Outstanding Douglas Cockerell Binding. 314 x 197 mm (12 3/8 x 7 3/4"). 140 unnumbered leaves. (Collates as BMC copy IB. 24408). Single column, 30 lines, Greek type. Edited by Aldus Pius Manutius. Second Edition of Theocritus; EDITIO PRINCEPS of Hesiod's "Theogonia" and "Scutum Herculis," "Sententiae Septem Sapientum," Theognis of Megara's "Elegies," and "Carmina Sibyllae Erythraeae"; SPLENDID DARK GREEN MOROCCO, INLAID AND GILT, BY DOUGLAS COCKERELL FOR W. H. SMITH (stamp-signed "WHS" on rear turn-in), covers framed by interlocking gilt-rule rectangles, with complex cornerpieces comprised of three inlaid white morocco Tudor roses and clusters of brown morocco spade-shaped leaves, large central medallion of interlacing gilt lines with white Tudor rose at center surrounded by a very intricate assemblage of inlaid brown leaves and yellow acorns, the whole accented with multiple gilt and inlaid dots, and an inlaid rose inside interlocking gilt hearts above and below the central medallion; raised bands, spine compartments densely and beautifully inlaid with clusters of leaves and four ivory acorns (the binding with a total of 418 inlays), turn-ins with multiple gilt rules. In a very fine later(?) suede-lined folding box of dark green morocco with spine decorated to resemble that of the book. With woodcut headpieces and initials. Front pastedown with oval bookplate of James Patrick Ronaldson Lyell; rear pastedown with bookplate of Lord Wardington; occasional faded marginal in an early hand. Handwritten letter (dated 1907) from Douglas Cockerell to Lionel Muirhead, who apparently commissioned the binding, regarding recommendations for its design. Kallendorf & Wells 3; Renouard 1495/3; Goff T-144; BMC V, 554, IB. 24408; not in Ahmanson-Murphy. Expert renewal to substantial portions of the margins of the final (colophon) leaf (well away from the letterpress), very probably washed, at least in places (as suggested by faded marginalia on one leaf), but the paper still strong and fresh and the type clear, a bit of soiling to first and last pages as well as folios 97-100, other mild marginal foxing or smudges, but still A MOST DESIRABLE COPY, the magnificent binding unusually lustrous and entirely unworn, and the text crisp enough to crackle when the leaves are turned. This is an irresistible item that combines an early Aldine incunable, a book of considerable textual importance, and a binding executed by the outstanding English binder of the early 20th century. Perhaps the person most singly responsible for bringing down to us the literary treasures of antiquity, Aldo Manuzio (born Teobaldo Manucci, commonly called by his Latin name Aldus Manutius, 1449-1515) established his press in Venice in 1494, produced a long list of classical works, especially of Greek authors and often in first edition, and began in 1501 a series of portable editions of Latin, Greek, and Italian classics that brought widespread popularity in Italy to works that even those of modest means could afford. When Aldus died, virtually all of the important works from classical Greek had been published, and he himself had been responsible for 27 first editions as printer and often as editor as well. The present item is just the third work listed by Renouard and Kallendorf & Wells, and is sought after as a rarity of special typographical beauty. The first third of the volume contains the second printing of the works of Theocritus, a third century B.C. Greek from Sicilian Syracuse. He was known as the greatest of Greek pastoral poets, and his "Idylls" served as the model for Virgil's "Eclogues." Although the compositions vary in content (among the most famous, for example, is the spell chanted by Simaitha to force her lover's return), they typically present the world of shepherds sheltering in the shade and singing to the music of panpipes. But the works are far from rustic, being instead highly wrought compositions that. Bookseller Inventory # ST12227

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Opera Mathematica

Wallis, John

Published by Oxford: Sheldonian Theatre [University Press], 1695, 1693, 1699 (1693)

Used Hardcover First Edition

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Item Description: Oxford: Sheldonian Theatre [University Press], 1695, 1693, 1699, 1693. Hardcover. Book Condition: Fine. No Jacket. 1st Edition. FIRST EDITION of the collected works of one of Newton’s most important precursors, John Wallis, Savilian Professor (1649-1703), containing the first printed appearance of Newton’s ideas on fluxions. Opera Mathematica. Volumen primum [-Tertium – Opera quaedam miscellanea]. Oxford: Sheldonian Theatre [University Press], 1695, 1693, 1699. Four volumes, bound in three. Folio, contemporary full paneled calf rebacked to style. Complete with four engravings (on three leaves) and three portraits (Vols. I & II with the same portrait by Loggan dated 1678 and engraved by Burghers; Vol 3 by Sonmans dated 1698 and engraved by Burghers). With large bookplate inside each front cover reading “The Gift of Mr. Thomas Heatley, Citizen and Iron-monger of London, to the Mathematical School in Christ’s Hospital, Anno Dom. 1700”. A very clean copy with only occasional light browning and foxing, handsomely bound. Bookseller Inventory # ABE-10899183288

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Opera omnia anatomica & chirurgica cura Hermanni Boerhaave. & Bernhardi Siegfried Albini.

VESALIUS, Andreas

Published by Leiden, Joannes du Vivie and Joannes & Hermann Verbeek,1725 (1725)

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Item Description: Leiden, Joannes du Vivie and Joannes & Hermann Verbeek,1725, 1725. 2 vols, folio (401 x 256 mm), pp. [xlii] 572; [viii] 577-684[2] 685-1156 [51], titles in red and black and with engraved vignettes, engraved frontispiece to volume one, engraved portrait of the author, 82 engraved plates, some folding, and 38 engravings in text; one bifolium with some spotting, a few plates just touched by binderÕs knife, otherwise an exceptionally clean, fresh copy in contemporary Dutch vellum, gilt panels on spine, gilt arms of the City of Amsterdam on sides, green silk ties. £25,000An exceptionally beautiful copy, the finest I have seen, with an important provenance (see below), of the first and only collected edition of VesaliusÕs Works, Ôissued by Boerhaave and Albinus, with copperplate reproductions of the Vesalian woodblocks by Jan Wandelaar, the illustrator of AlbinusÕs anatomical atlases. It was necessary to prepare reproductions of the Vesalian woodcuts, as Boerhaave was unaware that the original blocks still existed. The editors added explanations of VesaliusÕs sixteenth-century anatomical nomenclature for their eighteenth-century readers, and prefaced the first volume with a biography of Vesalius, which Lindeboom has tentatively attributed to Boerhaave.ÔThe first volume contains a reprint of the 1555 edition of the Fabrica; the second volume contains the Epitome, the Chinaroot epistle, the spurious Chirurgia magna, FalloppioÕs letter to Manna, VesaliusÕs Examen of Fallopio, and CuneusÕs Examen (curiously, the editors did not print the venesection letter). A few preliminary copies of Vol. I were issued with a title-page dated 1724 in an effort to gain subscribers to the complete work; however, these copies consisted of only the first 358 pages of the volumeÕ (Norman catalogue).Plate 43, ÔCharta parvasÕ with accompanying letterpress descriptions of the engraved anatomical details is on a separate leaf after page 358.This work is often browned or heavily foxed; the present copy is remarkably fresh. It in an outstanding binding with very elaborate City of Amsterdam arms in gilt, elaborately gilt spines, and its green silk ties intact.Provenance: graduation prize presentation letterpress leaf bound at beginning, dated 1834, with engraved arms of the City of Amsterdam, and manuscript inscription dated 26 September to ÔJano Guilielmo van der VoortÕ, i.e. Jan Willem van der Voort, anatomist, whose disseration, Dissertatio anatomico-pathologica inauguralis de encephalomalacia seu emollitione cerebri, was published in Amsterdam in 1842; 19th-century Jesuit library stamp ÔDom. S. Aloys Jerseiensis S.J.Õ on half titles.Blake p. 473; Cushing VI.D 8; Lindeboom Bibliographia Boerhaaviana 554; Norman catalogue 2143; Waller 9917. Bookseller Inventory # 3848

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Item Description: London: And are to be sold at John Brownes shop, 1617, 1617. Folio (380 × 250 mm) in 2 parts. Contemporary calf, rebacked, relabelled to style, corners repaired. Final text leaf frayed at lower corner with loss of part of border and with hole, but with no loss of text, water-stained, occasional marginal worming, but a good copy. Without the separately printed list of subscribers, double column, first title within woodcut decorative border, with 2 additional dedication leaves to each part not mentioned in the collation given by ESTC, without the final leaf (presumed blank). First edition, John Locke's copy with his ownership inscription and press-mark to upper inside cover, the usual location for his signature. Minsheu's was the first etymological dictionary of the English language, and only the second etymological dictionary of any modern European language (after the Dutch of 1599). Minsheu spent much of the 1610s seeking funding for its publication, eventually publishing over ten lists of subscribers. (Some authorities claim this to be the first use of subscription publication in England.) Harrison & Laslett's catalogue of Locke's library (2nd ed., 1971) lists this copy in the possession of Miss M. Waller of Oxford. Harrison & Laslett 1997; STC 17944. Bookseller Inventory # 83750

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Porgy and Bess. An Opera in Three Acts. Libretto by DuBose Heyward. Lyrics by DuBose Heyward and Ira Gershwin

GERSHWIN, GEORGE.

Published by New York: Random House, 1935 (1935)

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Item Description: New York: Random House, 1935, 1935. First Edition; deluxe issue of the piano and vocal score; number 11 of 250 numbered copies signed by both George and Ira Gershwin, Heyward, and director Rouben Mamoulian. Bound in publisher's full red morocco with the original leather labels; spine very slightly darkened; trivial wear; about fine in the original, but seldom present straw-covered slipcase (slightly frayed). With Joan Whitney's bookplate; inscribed to her by George Gershwin on the first page of the score, "For Joan - Admiration - From George G." Joan Whitney Payson, a patroness of the arts, was also one of the founding owners of the Mets. Her brother was a backer of many entertainment ventures, most prominently Gone With The Wind. It seems possible that Gershwin may have courted her support for this, or other productions. A towering and enduring achievement of American music and theater, Porgy & Bess was especially well-served by this tasteful, restrained and elegant book, which is rarely found either in such superb condition or inscribed. Bookseller Inventory # 19949

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Item Description: Girolamo Bordone, 1604. Couverture rigide. Book Condition: Très bon. Edition originale. 331 X 220 mm. In-folio, plein veau marbré, dos à nerfs orné, tranches rouges. Reliure italienne vers 1720. PREMIERE EDITION SOUS CE TITRE ET SECONDE EDITION REPRODUISANT CELLE DE MILANO, PICCAGLIA, 1602, AUJOURD'HUI INTROUVABLE DU PREMIER GRAND LIVRE ILLUSTRE SUR LA DANSE AU FORMAT IN-FOLIO. « Les deux ouvrages sont rares et assez recherchés» écrit Brunet. En réalité le bibliographe cite ces deux éditions comme des livres entièrement différents. Il décrit l'édition de 1602 et n'a jamais vu d'exemplaire de l'édition de 1604, d'où son erreur. Le volume dédicacé à Philippe III d'Espagne, est orné du portrait de l'auteur Cesare de Negri, à pleine page et de 58 superbes estampes à toute page à toute page de ballets, danseurs et danseuses, accompagnées de musique notée, dessinés par Mauro Rovere et gravé au burin par Leon Pallavicino. Exemplaire non lavé, conservé dans sa reliure italienne réalisée vers 1720 portant en lettres d'or sur le premier plat le nom « c da ega » et provenant de la bibliothèque napolitaine p. drayton (Naples 1857). Brunet, IV, 34 et Supplément II, 13 ; Cicognara, N°1725 ; Fétis, VI, 295 ; Eitner, VII, 166 ; Hoepli, Cento libri preziosi, etc). *** THE FIRST ILLUSTRATED BOOK ON DANCING TO BE PUBLISHED IN FOLIO. The work which is dedicated to Philip III of Spain is illustrated with the full-page portrait of the author and 58 superb full page engravings showing ballets and dancers. The present copy is unwashed and preserved in its Italian binding, produced about 1720. Bound in marbled calf. ***. Bookseller Inventory # 000031

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The Phantom of the Opera

LEROUX, Gaston

Published by Bobbs-Merrill, New York (1911)

Used Hardcover First Edition

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From: Between the Covers-Rare Books, Inc. ABAA (Gloucester City, NJ, U.S.A.)

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Item Description: Bobbs-Merrill, New York, 1911. Hardcover. First American edition. Color frontispiece and four striking two-page color illustrations by Andre Castaigne as issued. Contemporary owner name on the front fly, bottom corners a trifle bumped, near fine in a very good example of the exceptionally rare dustwrapper. The jacket has some professional internal repair, and some modest chipping at the spine ends that continues a bit onto the rear panel near the crown. The jacket art repeats the striking Castaigne image of the Phantom descending the staircase of the Paris Opera House, and wraps around onto the spine, and is overprinted in embossed gold. From an older private collection, this was long thought to be the only known jacketed copy (we remember when it last appeared in a catalogue about 20 years ago), but our research has identified two other jacketed copies. One is a variant design with identical text, type, and $1.25 price, but utilizing a different image from the book, while the third known surviving example is the same design as this copy but with significantly more chipping. Housed in a custom cloth clamshell case. Filmed several times, most indelibly with Lon Chaney as the vengeful composer, and in recent decades transformed into a successful musical play, and a less successful musical film. Some modest flaws, but try to find another. A true rarity, and perhaps the only jacketed copy that will ever appear on the market. See this book in 3D on our site. Bookseller Inventory # 85405

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Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata

JACKSON, John Baptist (c.1701-c.1780)

Published by J. Baptist Pasquali, Venice (1745)

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Item Description: J. Baptist Pasquali, Venice, 1745. Large folio. Expertly bound to style in quarter marbled calf with tips over period Italian patterned paper covered boards, spine with raised bands in eight compartments, red morocco lettering piece in the second compartment, the others with a repeat decoration in gilt Very rare complete set of the twenty-four chiaroscuro woodcuts which make up Jackson's masterpiece: one of the great glories of 18th-century printmaking. Jackson began the Titiani Vecelii. in 1739 with three subscribers, and despite difficulties in obtaining other subscribers due to the outbreak of war in Europe, he managed to complete the twenty-four prints depicting 17 paintings, by 1743, and the work was published in 1745. During the four and a half years Jackson was involved in this project, he included the techniques of embossing in his prints, had cut and proofed ninety-four blocks, and had brought chiaroscuro forward as a strong alternative to standard engraving as a means of reproducing paintings. In his book of 1754, An Essay on the Invention of Engraving and Printing in Chiaro Oscuro , Jackson comments on his medium; ". there is a masterly and free Drawing [in chiaroscuro], a boldness of Engraving and Relief, which pleases a true Taste more than all the little Exactness found in the Engravings in Copper plates." The set of woodcuts is as follows: 1. The Death of St. Peter Martyr, after Titian, 1739, printed from four blocks in buff, pale greenish gray, brown and dark gray. [Kainen 16]. 2. The Presentation in the Temple (The Circumcision), after Veronese, 1739, dedicated to Charles Frederick Armiger, printed from four blocks in buff, reddish gray, dark gray and dark brown, [Kainen 17]. 3. The Massacre of the Innocents, after Tintoretto, 1739, dedicated to Smart Lethieullier, printed from four blocks in buff, violet-gray, light brown and dark violet-brown, [Kainen 18]. 4. The Entombment, after Jacopo Bassano, 1739, dedicated to Jacob Faccilato, printed from four blocks in buff, light reddish tan, gray and dark brown, slight surface scuff in middle of image. [Kainen 19]. 5. Holy Family and Four Saints, after Veronese, 1740, dedicated to William Windham, printed from four blocks in light gray, light greenish gray, dark greenish gray and dark gray, [Kainen 20]. 6. The Mystic Marraige of St. Catherine, after Veronese, 1740, dedicated to William Windham, printed from four blocks in pale greenish gray, pale violet-gray, medium greenish gray and deep cold gray, [Kainen 21]. 7. The Crucifixion, after Tintoretto, left sheet, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22]. 8. The Crucifixion, after Tintoretto, center sheet, 1741, dedicated to Richard Boyle, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22]. 9. The Crucifixion, after Tintoretto, right sheet, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22]. 10. Miracle of St. Mark, after Tintoretto, left sheet, dedicated to Edward Wright, printed from four blocks in buff, light brown, dark brown and dark gray, [Kainen 23]. 11. Miracle of St. Mark, after Tintoretto, right sheet, printed from four blocks in buff, light brown, dark gray, three tears in image, [Kainen 23]. 12. The Marraige at Cana, after Veronese, left sheet, 1740, printed from four blocks in buff, dark buff, violet-brown and dark brown, [Kainen 24]. 13. The Marraige at Cana, after Veronese, right sheet, 1740, dedicated to Leopold Capell, printed from four blocks in buff, dark buff, violet-brown and dark brown. [Kainen 24]. 14. Presentation of the Virgin in the Temple, after Titian, left sheet, 1742, printed from four blocks in light grayish umber, medium brown, dark gray and dark brown, [Kainen 25]. 15. Presentation of the Virgin in the Temple, after Titian, center sheet, 1742, printed from four blocks in light gray, sienna gray, gray-brown, and dark gray, [Kainen 25]. 16. Presentation of the Virgin in the Temple, after Titian, right sheet, 1742, de. Bookseller Inventory # 2778

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L’opera de misser Giouanni Boccacio de mulieribus claris.

Boccaccio Giovanni

Published by Giovanni Tacuino da Trino 6 marzo 1506, Venezia (1506)

Used Hardcover First Edition Signed

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Item Description: Giovanni Tacuino da Trino 6 marzo 1506, Venezia, 1506. Binding: Flemish (Antwerp) mid-sixteenth century blind paneled dark brown calf over pasteboard, by the Flemish binder Claes van Doermaele, the covers paneled with blind fillets and two frames of foliated roll-tools enclosing a central panel containing a circular medallion panel-stamp of the Emperor Charles V in a richly suit of armor with sword, with the legend "CAROLVS.V. ROMA.IMP.SEMPER.AVGVST.ETAT.SVE.XLII" the imperial insignia above and below, surrounding the panel a narrow foliated roll-toll with a central escutcheon at the foot bearing the binder’s mark "CVD", spine in six compartments. In a modern cloth folding box.Provenience: Johannes Hoyel (contemporary inscription); Andrew Fletcher of Saltoun (Scottish patriot, 1653-1716).Few minor restorations to spine and corners, a little rubbed, lacking 2 fore-edge ties, overall a beautiful copy in an outstanding binding with an interesting provenience.First edition of both works. Composed between 1342 and 1343 and revised by Boccaccio himself between 1356 and 1360, the Amorosa visione is a poem in fifty cantos of terza rima that tells of a dreamer, the poet-protagonist, with a female guide, encountering five triumphs as frescoes within a castle – probably Castelnouvo of Napoli whose rooms were frescoed by Giotto; emerging into a garden landscape he eventually discovers his beloved. The poem is reminiscent of Dante and presages Petrarch; contemporaries thought the work post-dated Petrarch’s Trionfi, but it is now recognized as pre-dating that work. This edition is considered to represent Boccaccio’s own revisions, albeit with some intervention by its humanist editor Claricio who also added his own defense of Boccaccio’s poetry. Urbano, a novel which has the natural son of the Emperor Frederick I Barbarossa as protagonist, is presented here as a newly discovered text by Boccaccio but it is in fact a spurious work now variously assigned either Givanni Bonsignori or to Buonaccorsi da Ginestrata. The binder Claes van Doermaele came to Antwerp in 1533, where he was made Stadsboekbinder, following the death of Willem Vorsterman in 1543.Van Doermaele is recorded as binder of the Antwerp archive up to 1549. A binding in the National Art Library at South Kensington (Waele B.94) with the same central panel and binder’s mark, on an octavo format edition of the Opus historiarum nostro saeculo, Basel 1541, is described by E.P. Goldschmidt in his Gothic and Renaissance Bookbindings, no.184. The binding of Giannalisa Feltrinelli’s copy of Hypnerotomachia Poliphili, has the same central panel and binder’s mark. (Christie’s New York, 7 October 1997, lot 30).IA 28939-28940; IGI 1812; BMC VI, 826; GW 4502 2 works in 1 volume 4to (204x141mm), [I]:110 leaves, the last blank, woodcut ornamental initials; [II]: 34 leaves, 26 lines, roman type (1:113R), 4 lines initial spaces with guide letters. Binding: Flemish (Antwerp) mid-sixteenth century blind paneled dark brown calf over pasteboard, by the Flemish binder Claes van Doermaele, the covers paneled with blind fillets and two frames of foliated roll-tools enclosing a central panel containing a circular medallion panel-stamp of the Emperor Charles V in a richly suit of armor with sword, with the legend "CAROLVS.V. ROMA.IMP.SEMPER.AVGVST.ETAT.SVE.XLII" the imperial insignia above and below, surrounding the panel a narrow foliated roll-toll with a central escutcheon at the foot bearing the binder’s mark "CVD", spine in six compartments. In a modern cloth folding box. Provenience: Johannes Hoyel (contemporary inscription); Andrew Fletcher of Saltoun (Scottish patriot, 1653-1716).Few minor restorations to spine and corners, a little rubbed, lacking 2 fore-edge ties, overall a beautiful copy in an outstanding binding with an interesting provenience. First edition of both works. Composed between 1342 and 1343 and revised by Boccaccio himself between 1356 and 1360, the Amorosa visione is a poem in fifty cantos of terza rima that tells of a dreamer, the poet-. Bookseller Inventory # 002

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Opera (lat.). Comm. Averroes; ed. Nicoletus Vernia.

Aristotle / Averroes.

Published by Venice, Andreas Torresanus, de Asula, & Bartholomaeus de Blavis, de Alexandria, for Johannes de Colonia, 1 and 3 Feb. 1483. (1483)

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Item Description: Venice, Andreas Torresanus, de Asula, & Bartholomaeus de Blavis, de Alexandria, for Johannes de Colonia, 1 and 3 Feb. 1483., 1483. Tall folio (250 x 370 mm). 2 pts. (out of 6) in 1 volume. 118 ff. (a-b6, c4, d10, e6, f10, g-k6, l8, m6, n8, o-p6, q10, [*]8: q10 blank; A-C6, CC8, D-Q6: Q6 blank). With woodcut device of Johannes de Colonia, printed in red, at the end of both volumes. Late 16th-century vellum on four raised double bands. Fine incunabular edition of Aristotle's Organon and practical philosophy, including the groundbreaking commentary of Averroes. The volume contains the two parts of the six-part set of Aristotle's Works which Torresanus and de Blavis printed for Johannes de Colonia (the other four parts appeared without his woodcut device). Simultaneously, the two printers produced a small folio edition (Goff A-963; GW 2338) comprising only these present two parts (same dates and same composition, but wrapped for 50 rather than 66 lines, and thus with different page count due to reduced printing space). - Averroes, the outstanding Arab philosopher and physician of his time, is "memorable chiefly for his interpretation of Aristotle which developed into the complete philosophical system of Averroism. The central feature of this was a theory that the world is eternal, not a creation ex nihilo, but actuated by a creative power continuously at work [.] Averroism was essentially an attempt to reconcile reason and philosophy with faith and religion. Averroes was not unique in this, but he expressed it perhaps more intelligently and forcefully than others [.] Averroism deeply influenced both Christian and Jewish thought [.] and initiated the Schoolmen into the knowledge of Aristotle. The earliest editions of Aristotle were published with Averroes's commentaries (both text and commentary were Latin translations, the latter partly from the Arabic, partly from Hebrew versions) in which, and in various tracts, Averroism was adumbrated" (PMM 24). - Contains: Pt. 1) Porphyrius's Isagoge in Aristotelis Praedicamenta; Praedicamenta, De interpretatione, Analytica priora, Topica, Sophistici elenchi (tr. by Boethius); Analytica posteriora (tr. by Jacobus Veneticus). Pt. 2) Ethica ad Nicomachum (tr. by Robertus Grosseteste); Politica (tr. by Guilelmus de Moerbeka); Oeconomica (tr. by Durandus de Alvernia). - Binding rubbed and bumped at extremeties. Some waterstaining to margins; occasional slight edge defects and insignificant worming to first and final pages. From the library of the Florentine humanist scholar Giovanni Battista Ubaldini (fl. 1580), author of "Istoria della casa de gli Ubaldini" (Florence, Sermartelli, 1588), probably bound for him (his autograph table of contents and ownership on flyleaf). Extremely rare on the market: according to ABPC, no complete copies or any parts of copies have appeared at auction since at least 1975. Nearly all copies listed in ISTC are individual parts or incomplete. HC 1660*. Goff A-962. BSB-Ink A-701. GW 2337. Proctor 4701. Cf. PMM 24. Bookseller Inventory # 30909

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Opera physica anatomica: de formato foetu, de venarum ostiolis, de formatione ovi et pulli, de locutione et eius instrumentis, de brutorum loquela.

FABRICI, Girolamo (FABRICIUS AB AQUAPENDENTE, Hieronymus)

Published by Roberti Meglietti, Padua (1625)

Used Hardcover First Edition

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From: Milestones of Science Books (Ritterhude, D, Germany)

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Item Description: Roberti Meglietti, Padua, 1625. Hardcover. Book Condition: Near Fine. 1st Edition. Folio - over 12 - 15" tall. 5 parts in one volume. Folio (403 x 273 mm). General title with engraved printer¿s device, [4], 150, [2] pp, 34 plates (including unnumbered plate on verso of plate XI, 11 double page); 23 [1] pp., 8 plates (1 double page); 68, [2] pp., 7 plates (including 4 unnumbered bound at the end); 27, [5] pp., 1 plate; 27, [3] pp. In total fifty engraved copper plates of which twelve are double-page. Contemporary sprincled calf, spine with 5 raised bands gilt in compartments (binding rubbed, corners and extremities worn, joints slighty cracked), marbled pastedowns. Internally fresh, with only very minor spotting, marginal finger soiling and browning, most plates with the edges folded in, plate 8 somewhat frayed at fore-margin. Provenance: Presentation copy from the anatomist and neurologist Sir Charles Bell (1774-1842) with his inscription on first flyleaf: "George J. Bell from his uncle Sir Charles Bell." Sir Charles Bell's brother was George Joseph Bell (1770-1843), a distinguished Scottish advocate; George J. Bell was one of his sons. Presentation inscriptions by Charles Bell, possibly the most distinguished anatomist and physiologist of his time, are of considerable rarity. An outstanding association copy of one of the greatest works in the history of anatomy. ---- NLM/Krivatsy 3804/3831 ; Norman 750 ; Wellcome I, 2126 ; Waller 2886 ; Hirsch-H. II, 460 ff. ; Grolier Medicine 27b ; Franklin, « Valves in veins : An historical survey, » Proc. Roy. Soc. Medicine 21 (1927), pp.1-33 - Important first collected edition, very rare. Fabrici¿s best known and most important medical work is his classic monograph on the venous valves, De venarum ostiolis, firt published in Padua in 1603 and reissued with four other works in 1625 under the general title Opera anatomica and Opera physica anatomica, respectively. This tract, published originally as an unbound folio pamphlet consisting of 23 pages of text and 8 engr. Plates, has been described as one of the rarest and most beautiful works in the history of anatomical illustrations. Among the plates is the well-known depiction of the surface anatomy of the veins of the forearm that William Harvey adapted to illustrate his De motu cordis. Although Fabrici did not fully appreciate the functional significance of the venous valves, hist work was a crucial precursor of Harvey¿s discovery. As Harvey told the British physicist and chemist Robert Boyle, i twas his recognition of the significance of Fabrici¿s observations and his own realization of the function of the venous valves that led him to conceptualize the circulation of the blood (Grolier, Medicine, p.104). - Fabricius's De Venarum Ostiolis (On the Valves of the Veins) was the first detailed demonstration of the existence of venous valves, and it contains the first extended illustrations of them. It was the immediately significant precursor of the De Motu Cordis of William Harvey, who studied for two years at Padua where Fabricius was Professor of Anatomy; and Harvey used the great double-plate of the veins of the arm in his own book 25 years later. Apart from his importance in relation to Harvey, Fabricius has in recent years been increasingly recognized as a man of mark in his own right; and in 1933 a translation, with reduced-size facsimile, was made of the De Venarum Ostiolis by K. J. Franklin (History of Science Society, through Charles C Thomas, Springfield, Illinois). The most striking feature of the splendidly produced editio princeps is the series of full-page plates. As Franklin says: "The sumptuously printed folios which Fabricius published in 1603-1604 were issued separately, and unbound. Though they escaped Choulant's notice, they are among the rarest and most beautiful works in the history of anatomical illustration. The plates are magnificent; in fact nothing on their scale had been seen since the days of Vesalius." In addition to its significance in the history of anatomy, the De Venarum Ostiolis is a book of the hi. Bookseller Inventory # 001938

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