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De Re Militari. Opera de Facti e: VALTURIUS, Robertus.

VALTURIUS, Robertus.

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Item Description: Hard cover. Trans. by Paolo Ramusio. 313 leaves (of 314), lacking final blank, otherwise complete, including blank leaves *1 and a1. 37 lines & headline, Roman type. Numerous initials in various sizes supplied in red and blue. 96 fine woodcut illustrations. Folio (310 x 208 mm.), cont. Italian blind-tooled brown calf over wooden boards (upper cover a little defective, crack in the wood of one board repaired), compartments of spine decorated with floral stamps, covers with floral and geometrical borders, metal bosses with engraved flowers in the corners, paper label on spine "L’Arte Militare del Ramusio." Verona: Boninus de Boninis, 17 February 1483. First edition in Italian and a fine and large copy of this handsomely illustrated book on the art of war which contains the earliest technical illustrations in a printed book. The first edition, issued in 1472 in Latin, contained only 95 woodcuts. "Roberto Valturio, a native of Rimini, after having been Apostolic Secretary in Rome, became technical adviser and engineer to Sigismondo Malatesta, Lord of Rimini. He composed his book ‘On Military Matters’ about 1460. After wide circulation in manuscript, it was printed in 1472 "The historical importance of the De Re Militari lies in the fact that it is the first book printed with illustrations of a technical or scientific character depicting the progressive engineering ideas of the author’s own time. The woodcuts illustrate the equipment necessary for the military and naval engineer; they include revolving gun turrets, platforms and ladders for sieges, paddle-wheels, a diver’s suit, a lifebelt, something resembling a tank, pontoon and other bridges, a completely closed boat that could be half submerged, etc. The Verona Valturius and its reprints were the handbooks of the military leaders of the Renaissance, and Leonardo da Vinci, when acting as chief engineer to Cesare Borgia, possessed a copy and borrowed some of its designs."–Printing & the Mind of Man 10–(1st ed. of 1472). This is one of the rare copies which contains the additional six unsigned leaves at the beginning (the first is a blank) with a dedicatory letter from Ramusio to Roberto de Aragonia. The printer Bonino de Boninis (1454-1528), a cleric from Ragusa (today Croatia), had worked at Venice in 1479 with Andreas de Paltasichis, from whom he acquired his typographic knowledge. During his stay in Verona, from 1481 to 1483, Bonino printed not less than seven editions, the Italian Valturius being the last. Afterwards, he moved to Brescia, where he produced another ca. 35 editions, mainly of humanist and legal texts, before he finished his career as a bookseller and publisher in Lyon.PROVENANCE: 1. The first two end leaves contain notes and ownership inscriptions in ink by a 16th-century Italian hand, verse of Ariosto (Orl. fur., 1516-1532, XXXIII, 44), and a table of contents (in another hand); on the last flyleaf and pastedown are several pen trials and two grotesque drawings of the same time, in dark ink. The excerpted verse from Ariosto are the following: "Ecco, mal grado de la lega, prende / Milano, e accorda il giovene Sforzesco. / Ecco Borbon che la città difende / pel re di Francia dal furor tedesco. / Eccovi poi, che mentre altrove attende / ad altre magne imprese il re Francesco, / né sa quanta superbia e crudeltade / usino i suoi, gli è tolta la cittade."2. The copy belonged to Ladislao Reti, with his bookplate on pastedown. Reti (1901-73), was an Italian chemist, industrialist, scholar, and a great expert on Leonardo da Vinci. A fine and large copy with wide margins. An additional quire of five leaves bound in at the front, first leaf with manuscript index up to fol. 173. Some slight staining, marginal tears at leaves e1 and r3, some worming to covers and first and last few leaves. ? Dibner, Heralds of Science, 172–(1st ed.). Goff V-90. Klebs 1015.1. Bookseller Inventory # JHABES4799

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Omnia opera [in Greek].: PLATO

PLATO

Published by Venice, Aldus Manutius and Andreas Torresanus, September 1513 (1513)

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From: WP Watson Antiquarian Books (London, United Kingdom)

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Item Description: Venice, Aldus Manutius and Andreas Torresanus, September 1513, 1513. 2 parts in one vol, folio (292 x 192 mm), ff 488 [including the two blanks, 2/4 and ii4] paginated [xxxii] 502 [2, blank]; 439 [1], Greek type [with some Roman, i.e. on Greek and Latin title, Aldus' dedication to Pope Leo X, Latin table of contents, Greek and Latin colophon], initial spaces with printed guide letters, Aldine device on title and colophon; some marginal waterstaining on corners of first ten and last 20 leaves, not affecting text, otherwise a remarkably clean copy, bound in red morocco for King Charles II by Samuel Mearne, sides with gilt filleted panels with crowned royal cypher at corners, gilt panels on spine with same cyphers, 'C.[arolus] II. R.[ex]' at foot of spine, gilt edges, old repair to head and tail of spine, joints a bit rubbed, in a red-morocco-backed box. £165,000Editio princeps of Plato's Dialogues and of the other works contained, a magnificent copy bound for King Charles II by the Royal binder Samuel Mearne. Plato's dialogues and other writings are the foundation texts of Western philosophy and science and central to the intellectual development of the West. As Alfred North Whitehead remarked, all of Western philosophy can be regarded as 'a series of footnotes to Plato'.Besides the texts of Plato, the edition includes Timaeus Locrus, a Hellenistic paraphrase of the Timaeus, and Diogenes Laertius's Vita Platonis (in Greek) from Plutarch's Lives and sentences of the Philosophers.This work was edited by Marcus Musurus (ca 1470-1517), working closely with Aldus. Musurus apparently utilised manuscripts belonging to Cardinal Bessarion, along with others. Aldus dedicated this work to Pope Leo X.Charles II, upon his restoration to the throne in 1660, appointed Samuel Mearne (1624-83) Bookbinder to the King. Samuel, along with his son Charles, bound over 700 volumes for the Old Royal Library (later incorporated into the British Museum Library).Provenance: Charles II, King of England (1630-1685); British Museum, with eighteenth-century stamp 'Museum Britannicum', and 1804 duplicate stamp on title; early 1800s engraved Lowndes bookplate; tipped in note regarding the Aldine Plato sold at the Sunderland sale in 1882 for £31 but probably not referring to this copy; bookplates of Henry Arthur Bright (1830-1884) and his son Allan Heywood Bright (1862-1941)Adams P1436; Ahmanson-Murphy 97; Norman 1714; Renouard 1513.1 (62.4). Bookseller Inventory # 3879

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PIRANESI, Giovanni Battista

Published by Rome Con Licenza dei Superiori / Si Vendono Presso l'Autore nel Palazzo del Signore Conte Tomati but circa 1761 (1750)

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Item Description: Rome Con Licenza dei Superiori / Si Vendono Presso l'Autore nel Palazzo del Signore Conte Tomati but circa 1761, 1750. Large folio. (54.4 x 41.5 cm). Frontispiece portrait of Piranesi after Polanzani, printed title in red and black with engraved vignette for the Opere Varie, double-page printed title in red and black with engraved vignette for the Trofei and 50 plates, 29 double-page, all printed in black ink on thick laid paper and mounted on tabs. Sheet sizes: Single sheet: 531 x 404 mm; double sheet: c.531 x 740 mm. Full contemporary polished calf, rebacked, boards with triple-ruled borders and floral corner pieces in gilt, banded spines with gilt tooling and black leather label with gilt title in nine compartments, turn-ins tooled in gilt, marbled endpapers and edges. Repairs to edges and corners. A very good copy of Piranesi's Opera Varie dateable to 1761 and including his famous series of Carceri. The Opere Varie, is, as its title suggests, a composite album incorporating much of Piranesi's most extraordinary and finest work. The work opens with the Prima Parte showing imaginary adaptations and reconstructions on classical Roman themes and ranging in scope from designs for a museum of sculpture to the interiors and exteriors of palaces, views of colonnades, architectural ruins and so on. The Prima Parte, when first published in Rome in 1743, was the first of Piranes's collected works and included 12 plates; when forming part of the Opere Varie, Piranesi added five plates while removing another. Following these plates are the Grotteschi, four fantastic scenes published for the first time in 1750 following Piranesi's return to Venice in the late 1740s and included with the Prima Parte ' in copies of the Opere Varie. In style and subject, the Grotteschi are very much influenced by Tiepolo and his Capricci series, however unlike the Venetian master, Piranesi's fantasies suggest an additional coherence of meaning. The famous imaginary prison series, Piranesi's Carceri d'Invenzione, is also present here and these 16 plates, a remarkable product of the subconscious and an extraordinary demonstration of the engraver's skill, represent the height of Piranesi's imaginitive work. First published in 1750 when Giovanni Bouchard (Piranesi's publisher) included 14 carceri, untitled at that time, in the earliest edition of the Opere Varie. In 1761, Piranesi reissued the group as a coherent whole, entitled the Carceri d'Invenzione and under his own name with two additional plates. While Piranesi issued no further editions of the Carceri after this time, the plates were always included with the Opere Varie and the artist continued to experiment with their aesthetic character, adjusting the tonal qualities, reworking some of the detail and experimenting with the distirbution of ink during printing. Also present in this volume, and bound after the Prima Parte plates is the first edition of the Trofei series. The Trofei di Ottavio Augusto was intended by Piranesi to be of use to artists, painters and architects but it is of more importance as it serves as the starting point for another major area of his oeuvre, antiquity and archaeology and the achievements of the previous occupants of his adopted city: the Romans. The trophies depicted are the Trophies of Marius, removed from the fountainhead of the Acqua Giulia and placed on the Capitol in the late sixteenth century, together with several architectural fragments; Piranesi considered that the trophies had been erected by Augustus Caesar to celebrate his victory at Actium. The album contains very good impressions of Piranesi's etchings: this is an early Roman edition corresponding to Hind's edition B (1761 or after), and Robison's second edition (produced in 1761). This is an early issue of the second edition, second issue of the Opere Varie without the addition of the plate Acqua Giulia (According to Robison this plate was issued in 1761 and therefore attests to the volume being produced in early 1761). The Grotteschi are in second state (3 plates) or third state (1 plate); the Carceri are second edition, s. Bookseller Inventory # 92727

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Varia Opera Mathematica accesserunt selectae quaedam eiusdem: FERMAT, Pierre de.

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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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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HIPPOCRATES

Published by Venice Aldine Press 1526. (1526)

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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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Item Description: The collection has been assembled over a period of some 50 years by Dr. Cowden, a meticulous collector and recognized scholar in the field. He is the author two extensive musical bibliographies, the "Classical Singers" cited above and "Concert and Opera Conductors: A Bibliography of Biographical Materials" (Greenwood Press, 1985). Please note that this collection is being offered en bloc only; individual titles are not available for sale. An important and comprehensive collection. This outstanding collection consists of just over 1,050 biographies of 391 singers in all vocal categories. There are approximately 1,150 volumes dating from the late 18th to the beginning of the 21st centuries, many in their original wrappers or dustjackets, quite a few autographed, and some in limited editions. A number of items in the collection are not held in either the Library of Congress or the British Library; where copies are held, many of the items in the present collection have been determined to be in markedly better condition than those in the library collections. The material offered represents approximately 40% of the titles listed in Dr. Cowden's important bibliography, "Classical Singers of the Opera and Recital Stages: A Bibliography of Biographical Materials" (Greenwood Press, 1994). A full inventory is available upon request. Bookseller Inventory # 17583

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Fermat, Pierre de

Published by Toulouse: Jean Pech (1679)

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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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De Coelo Animato Disputatio. Leonis Allatii amici: LAGALLA, Giulio Cesare.

LAGALLA, Giulio Cesare.

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Item Description: Hard cover. 2 p.l., 44 pp. Small 4to, cont. limp vellum, arms in gilt of Cardinal Francesco Barberini on covers, panelled in gilt with round gilt flower devices in each corner, silk ties gone, a.e.g. [Heidelberg]: G. Vögelin, 1622. First edition, a gift from Cardinal Francesco Barberini to Galileo’s assistant and co-author Mario Guiducci, inscribed on the title-page "Ex dono Illustrissime Cardinalis Barberini — Marij Guiduccij liber est." This is a very rare book; I can locate only six other copies (see below). This copy represents the intersection of some of the most important dynamics of Baroque Rome. Written by Giulio Cesare Lagalla (1571-1624), medical doctor and professor of logic at the Sapienza University, in 1614, the book was seen through the press in Heidelberg by Lagalla’s former student and future Vatican librarian Leone Allacci in 1622. This copy was given by Cardinal Francesco Barberini to Galileo’s co-author Mario Guiducci in 1623. Lagalla was one of eight select friends and fellow investigators present at Galileo’s famous demonstration of his telescope on 14 April 1611 and at Cesi’s dinner in honor of Galileo which followed. Lagalla’s De Phoenomenis in Orbe Lunae Disputatio (1612) is the best record of this historic evening. Despite Lagalla’s fertile and, at times, antagonistic relationship with Galileo, he has frequently been dismissed as a mere Aristotelian. In fact, as the Coelo animato disputatio makes clear, there was nothing traditional or conservative about his work. The tract was based on an oral dispute organized by the head of the Accademia dei Lincei, Federico Cesi, between Lagalla and the theologian Francesco Diotallevi. The subject of the dispute, held in Cesi’s palace in the Borgo Vecchio in Rome, was the vexed question of the nature of celestial movement. Aristotle and Aquinas are the main authorities discussed, but Lagalla also includes references to the anathemas against Origen. The question of whether celestial bodies were moved by some form of soul was part of a larger debate, to which Lagalla devoted much of his life, on the nature of the human soul and its relationship to the body. The idea that the motions of heavenly bodies required constant intervention from an intelligence within the bodies themselves sat uneasily both with traditional Aristotelian and Christian cosmologies. Lagalla was absolutely aware of the dangerous nature of his ideas is evinced by documentation surrounding this book. In March 1620, he wrote to Galileo, saying: "I am about to have my work De Immortalitate animorum ex Aristotelis sententia printed, along with many other pieces of philosophy, among which there is where I show that the heavens are moved by an active soul (anima informante), not merely following the dogma of Aristotle, but also according to the true philosophy, so greatly reviled by the aforementioned [Jesuit] fathers, and deemed by them to be either erroneous or at least rash as a matter of faith. However, by the grace of God, it has been approved by the Holy Office of Rome as an opinion that, without the slightest scruple of error, may be held and published. Everything will be printed in the Stamperia Camerale, and as soon as they are finished I’ll send you the books in your honor."–OG, XIII, 26, 6th March 1620, Lagalla (Rome) to Galileo (Florence). Lagalla shared with Bellarmine a dissatisfaction with traditional cosmologies, and denied some of Galileo’s conclusions in the Sidereus Nuncius. In 1612, he published with the same printer an attack on Galileo’s analogy between the terrestrial and lunar worlds, which he saw as tending towards Giordano Bruno’s heresies. Lagalla’s arguments on the moon and on the nature of light were taken seriously enough by Galileo for him to prepare a response: his heavily annotated copy of Lagalla’s De Phoenomenis in Orbe Lunae Disputatio (1612) is included in Antonio Favaro’s national edition of Galileo’s works. Far from being a staunch Aristotelian, Lagalla was a supporter of Gal. Bookseller Inventory # JHABES4765

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Item Description: R.J.B. de la Caille (printed [by Nicolas Motays] in Avranches),, Paris, 1678. 2 parts in 1 volume. 8vo. Contemporary tanned sheepskin over boards, designed by the author, sewn on 3 recessed cords to provide a smooth spine for embossing, the front board of double thickness with a hole bored in its fore-edge to hold a metal rod or gnomon (lacking) that could be inserted in any of several holes on the front and back boards to make the book into a sundial (one hole in the back board also allowed it to be inserted for use with the sundial pasted over the back paste-down when the book is open), gilt edges. The front board, back board and spine have been embossed with three different engraved plates sundials, emblems and extensive lettering. Those on the front and back boards are rectangular astrological sundials, that on the front with the unused part occupied by a circular dial with the Jesuit IHS monogram and an empty shield (perhaps intended for the owner's arms). Some served also as lunar dials. The plate for the spine includes emblems for Louis XIV (sun), the Dauphin (dolphin) and others. In a modern red morocco box. With engraved (author's?) device on title-page (a pair of compasses surrounded by astrological symbols and the motto "Ratione duce experientia comite"), a full-page engraved astrological sundial (rectangular, pasted over the back paste-down), 14 woodcuts in the text, depicting apparatus set up for laboratory experiments, astrological diagrams, etc., woodcut headpieces (1 with the French royal arms), tailpieces and decorated initials, and decorations built up from cast fleurons. 14, 111, [1 blank]; [6], 109-364 pp. Rare first edition of the collected works of the eccentric Jacques Le Royer, sieur de la Blinière (1625-post 1678) born near Mortain (Manche). He was a lawyer at the Parlement of Rouen, judge and self-styled counselor and adviser to King Louis XIV. He had previously published some of the works in the present edition separately. In 1660 he had presented the King with his little treatise Des causes du flux de la mer, des vents et des fièvres (Paris, Joannes de la Caille, 1660; a Latin edition appeared in the same year). Thinking his proposals were ignored owing to their surprising nature, he added one that must surely have been more surprising: a 1662 proposal to install a hydraulic perpetual motion machine to work the fountains at Versailles. He published his account of it in 1665. When the Duc de Roquelaure was to visit Avranches in 1674 Le Royer prepared a little work, Le baston universel. When the visit was cancelled, he had it printed and sent it to the Duke together with a Traité de l'art des arts et des sciences to be presented to the Dauphin. Still failing to secure any royal favour, he had the present collected works printed, including Le bastion, L'art des arts, and Le mouvement perpetuel hydraulique, now adding La véritable cause des comètes and his Traité des influences. The latter, dedicated to Monseigneur de Beauvais, discussed the influences of the heavens, stars and planets, and then of magnetism and the effect of trees on metals, minerals and water. For this book, printed in his home city of Avranches, he had plates engraved in Paris for the embossing of the binding. He presented the book to the King, still insisting that the installation of his hydraulic perpetual motion machine at Versailles would provide four times as much water as the present machinery at one fourth the cost.The extraordinary binding is an integral part of the book. It is more-or-less panel-stamped, from engraved intaglio plates commissioned by the author, but the plates leave little impression and were therefore inked as well (in this copy the colour differs little from the sheepskin itaself). The ink therefore sits on top of the leather, giving an embossed effect. On pp. 9-14 in the preliminaries, 29 and 360-364, Le Royer gives an "Explication des devises qui sont au couvercle de ce livre" and "Explication des figures qui sont au couvercle de ce livre" and other detailed information about the s. Bookseller Inventory # 14853

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Opera d'Architettura ossia progetto sul foro che: ANTOLINI, Giovanni (1756-1841)

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 per doctissimum Philosophum Ioannem Baptistam Memum: APOLLONIUS OF PERGA
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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

HORACE

Published by Germany Johann (Reinhard) Grüninger (1498)

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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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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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Machumetis Saracenorum principis, eiusque successorum vitae, ac: Quran].

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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OPERA DI M. BARTOLOMEO SCAPPI, cvoco secreto: SCAPPI

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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GERSON, Jean [eigentlich Jean Charlier aus Gerson (1363-1420)].

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Item Description: Folio (306 x 211 mm). [50] Bl. (Inventarium), [229 + 1 leeres] Bl.; [285 + 1 leeres] Bl.; [359] Bl. (ohne das letzte leere); [307 + 1 leeres] Bl. Zweispaltiger Druck in einer gotischen Type zu je 53 Zeilen. ILLUSTRATION: Mit 5 (4 wiederholten) Holzschnitten mit jeweils der Darstellung Jean Gersons als Pilger, wovon 4 koloriert sowie gold- und silbergehöht. - Beigebunden in Band I: 4 vor Bl. A1 des Inventariums gebundene Bl. mit handschriftl., alphabet. Inhaltsverz. der 4 Teile sowie 8 zwischen Bl. G8 des Inventariums und Bl. a1 des Textes gebundene Bl., wovon 3½ Bl. mit handschriftl. Verzeichnis der Predigten. Ausstattung: illuminierte Initialen auf Goldgrund mit Rankenausläufern und Wappen des Vorbesitzers auf Bl. a2r° von Bd. I, Bl. A3r° von Bdn. II und III; illuminiertes Wappen mit Goldgrund auf Bl. aa2r° sowie illuminierte Initiale auf Goldgrund mit Ausläufern und im Unterrand eine goldgehöhte Blumenrankenbordüre auf Bl. a1r° von Bd. IV. Durchgehend rubriziert mit Lombarden, Satzmajuskeln und Paragraphzeichen in Rot und Blau. - Vereinzelte Marginalien in roter und brauner Tinte und im Oberrand der Spiegel von Bd. I kurze zeitgen. Notizen zum Buchinhalt in brauner Tinte. Nussbraunes Kalbsleder mit reicher Blindprägung auf Holzdeckeln, Rücken auf 3 Doppelbünden, 4 (von 8) Schliessen. Die ersten drei Bände ähnlich gebunden, unter Verwendung des gleichen Stempelmaterials, Band IV abweichend gebunden. - Details siehe Kommentar. Durchgehend in hervorragendem Zustand, stellenweise gebräunt und vereinzelt mit Wurmlöchern, Einbände nur teilweise leicht berieben, Gelenke und Kapitale teils unmerklich angerissen, Rücken von Band IV etwas verwittert und mit Bezugsfehlstellen an Kopf und Fuss. (Strassburg, Johann Grüninger [z. T. mit Typen von Johann Prüß], 3. Juli bis 10. September 1488 [Bde. I-III] und M. Flach d. J. und M. Schürer, 3. März 1502 [Bd. IV]). Vollständig in vier Bänden vorliegendes Prachtexemplar in den ersten Einbänden. Diese erste illustrierte Gesamtausgabe der Werke des Mystikers und Kanzlers der Pariser Sorbonne, Jean Gerson erschien als Höhepunkt und bedeutendste Leistung des Kreises reformgesinnter Strassburger Kleriker um Johann Geiler von Kaysersberg, Peter Schott d. Ae. und Jakob Wimpfeling. Sie blieb mit ihren zahlreichen deutschen und französischen Nachdrucken für über zweihundert Jahre die beste, massgebende und am häufigsten gedruckte Ausgabe der Schriften Jean Gersons, des herausragenden Theologen des 14. und frühen 15. Jahrhunderts. Die drei ersten Bände wurden von Johann Geiler von Kaysersberg und Peter Schott d. Ae. nach mehrjähriger Handschriftensuche zusammen herausgegeben. Auf einer Reise nach Südfrankreich hatte Geiler von Keisersberg bereits 1484 u.a. in Lyon, wo Gerson gestorben war, Handschriften mit Werken Gersons aufgespürt. Weitere Manuskripte liess Schott in Paris durch Johannes Müller suchen. Ein zusätzlicher bedeutender Fortschritt gegenüber der vorausgegangenen ersten Gesamtausgabe (Köln 1473-84) stellt die hier erstmals vorgenommene Einteilung nach sachlichen Gesichtspunkten dar. Sie ermöglicht eine erste grobe inhaltliche Orientierung über die wesentlichen Aspekte von Gersons Schriften. Von Johann Grüninger gedruckt, lagen von den drei Bänden zuerst der zweite am 3. Juli, der dritte am 6. September und der erste am 10. September vor. Weitere Handschriftenfunde veranlassten in der Folge Jakob Wimpfeling dazu, einen vierten Band zusammenzustellen. Der am 3. März 1502 von Matthias Flach und M. Schürer fertig gedruckte Band enthält vor allem die Predigten sowie die neu aufgefundenen und bis dahin unbekannten Traktate Gersons. Die von Wimpfeling gefundenen volkssprachlichen, d.h. französisch verfassten Originalschriften Gersons liess er durch den Freiburger Theologen Johannes Sutter (Brisgoicus), der im Druck aber keine namentliche Erwähnung fand, ins Lateinische übersetzen. Ein fünfzigseitiges 'Inventarium', das zu Beginn des ersten Bandes eingebunden ist, erschliesst als detailliertes Inhal. Bookseller Inventory # B346442

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Anatomia del cavallo, infermita, et suoi rimedii.: RUINI, Carlo

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 (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 the 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). Bookseller Inventory # 3692

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Opera: EUCLID

EUCLID

Published by Joannes Tacuinus de Tridino, Venice (1510)

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Item Description: Joannes Tacuinus de Tridino, Venice, 1510. Softcover. Book Condition: Very good. THE MOST FAMOUS MATHEMATICAL TEXTBOOK Folio, 240 unnumbered leaves. (10) A-Z8, AA-EE8, FF6, lacking last blank. Theorems in gothic letter, demonstrations in Roman, first two lines of title woodcut with rich gothic decoration, large woodcut device of St. John the Baptist signed BM beneath. First leaf of text printed in red and black with large white on black woodcut border on three sides of putti, mermen, vines vases (taken from the 1504, Legendario delli sancti), printer’s white on black device on verso of last, fine large white on black historiated and floriated initials, outer margins with printed geometrical diagrams on most pages, "nulla virtus sine labore" in contemporary hand in shield on woodcut border, some contemporary marginalia, including a manuscript diagram on B6. Lower outer corner of title a little thumbed, small worm trail in upper blank margin of first few leaves, occasional minor marginal water staining, the odd spot or ink splash. A very good copy, crisp and clean, on thick paper, in contemporary limp vellum, remains of ties, title manuscript on spine, vellum a little creased and stained. A lovely example of a beautiful and important book. "It was a translation into Latin from a Greek text by Bartolomeo Zamberti who claims that he has restored and excluded from the exposition of Theon many things that were ‘subversa et prepostere voluta’ in the version of Campanus. For example, the Pythagorean proposition becomes the 47th of the first book as we know it. Zamberti contributes a long preface on the life of Euclid. The thirteen books of the Elements are followed by the Phaenomena, Specularia etc. The volume itself is a first rate example of the Venetian book of the time. There is an elaborate title-page with the printer’s well known cut of John the Baptist at the foot. The first page of the text has a fine border, and the larger initial letters are a charming set depicting children playing. In 1510, some of the same sheets were reissued with a freshly printed last page. Both issues seem to be among the rarest of early Euclids" Thomas-Stanford pp. 5-6. In fact this issue is entirely reset after gathering O. Zamberti’s was a very significant edition. It was the first publication of a Greek based Latin ‘Elements’ as an integral whole, the Greek text he employed was essentially uncorrupted and it is the first to contain translations of a number of the minor Euclidian works. It may not be as superior to Campani’s recension (the first edition) as Zamberti claims but at least it is free of the errors of the mediaeval copyists. "Euclid's Elements of Geometry is the oldest mathematical textbook in the world still in common use today." Printing and the Mind of Man 25 on first edition. This is a lovely, fresh copy, with wonderfully clear impression of the type and woodcuts of this important work, rare in its original binding. BM STC It. p.238. Thomas-Stanford 5. Essling 284. Sander 2609. Latin. Bookseller Inventory # L1425

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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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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 30 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. See this book in 3D on our site. Bookseller Inventory # 85405

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POLIZIANO, Angelo [i.e. Angelo AMBROGINI]

Published by Venetiis, in aedibus Aldi Romani mense Iulio M.IID (1498) (1498)

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From: Victor Aizenman (SLAM / ILAB) (Buenos Aires, Argentina)

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Item Description: Venetiis, in aedibus Aldi Romani mense Iulio M.IID (1498), 1498. Encuadernación de tapa dura. Book Condition: Excelente. 1ª Edición. In-fol.- Tomo I: (232) h.- Colación: a-p8, q-r10, s-t8, A-I8, K4 (última blanca). Tomo II: (220) h.- Colación: L-P8, Q-R10, S8, T10, V6, X-Y10, Z8, &10, aa10, iterum aa8, iterum bb8, bb-hh8, ii6, kk10.- Plana entera.- 38 líneas.- Caracteres rom., gr. y hebr.- Min. p. iniciales.- Encuadernación del siglo XVIII en becerro habano pulido, lomo de cinco nervios ornado con orlas y florones dorados, tejuelo en tafilete rojo con títulos dorados, filete dorado en los cortes, cantos aladrillados.- Pequeño orificio en el compartimiento superior del tomo II y bordes con insignificantes rozamientos. HC 13218. GW, M34727. BMC V, 559. GOFF p. 886. POLAIN 3233. GRAN EJEMPLAR, CUASI PRÍSTINO, DE ESTA GRAN EDICIÓN ALDINA DE LAS OBRAS DEL POETA, FILÓLOGO Y HUMANISTA RENACENTISTA ANGELO POLIZIANO, SECRETARIO PRIVADO DE LORENZO DE MEDICIS. “L'une des plus belles editions qui soient sorties de l'imprimerie Aldine” (Renouard). LAS EDICIONES INCUNABLES DE ALDO MANUTIO SON DE EXTREMA RAREZA. Bookseller Inventory # ABE-14613707385

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Titiani Vecelii Pauli Caliarii Jacobi Robusti et: JACKSON, John Baptist

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. (23 1/3 x 18 3/4 inches). Letterpress title page. 24 chiaroscuro woodcuts, each printed in four colours. 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, cut and proofed ninety-four blocks, and 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 Marriage 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 Marriage at Cana, after Veronese, left sheet, 1740, printed from four blocks in buff, dark buff, violet-brown and dark brown, [Kainen 24]. 13. The Marriage 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 gra. Bookseller Inventory # 2778

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Hegemon eis tas glossas [graece] id est,: LOCKE, John.) MINSHEU,

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 the 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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NICOLAUS DE CUSA

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From: LIBRAIRIE CHAMONAL (Paris, France)

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Item Description: In quibus theologiæ mysteria plurima, sine spiritu Dei inaccessa, iam aliquot seculis uelata & neglecta reuelantur. Præterea nullus locorum communium theologiæ non tractatur. Item In philosophia præsertim in mathematicis, difficultates multæ, quas ante hunc autorem (ceu humanæ mentis captum excedentes) nemo prorsus aggredi fuit ausus, explicantur & demonstrantur. Postremo Ex utroque Iure de maximis Ciuilibus & Eccleciasticis rebus consilia & responsa dantur: Et inextricabiles causæ deciduntur. Librorum Catalogorum uersa pagina indicabit. Basileæ, Ex officina Henricpetrina, août 1565, 3 tomes en 2 vol. in-fol., vélin souple, renforts des nerfs par des bandes de veau brun au dos, traces de lacets de cuir, titre à l'encre en long [Rel. de l'époque], qqs mouillures marginales à la fin du premier vol., qqs rousseurs, réparation au bas de la p. 21, trous masqués par des petites gravures sur bois et des lettrines du XVIe siècle sur les pages de titre des tomes I et II et à la fin des tomes II et III. 48 ff.n.ch., 1176 pp. (pagination continue), 1 f.n.ch. d'errata, 1 f. bl., nombreuses fig. dans le texte (le tome trois est relié après le tome premier pour former le premier vol.) Adams, C-3131. VD 16, N 1545. Très importante édition des ?uvres complètes du savant, théologien et philosophe allemand Nicolas de Cuse (1401-1464), auquel le Dictionary of Scientific Biography consacre pas moins de 4 pages (t. III, pp. 512-516). De son vrai nom Nikolaus Chrifftz (c'est à dire « écrevisse), il était le fils d'un pêcheur à Kues, sur la Moselle, entre Trêves et Coblence. Remarqué pour ses dons et son intelligence, il étudia la théologie, le droit et les mathématiques avant d'être ordonné prêtre vers 1430. Il se distingua durant le Concile de Bâle où il se fit le défenseur de l'infaillibilité ponticale, ce qui lui valut d'être fait cardinal puis évêque de Brixen par Nicolas V en 1450. Esprit ?cuménique et conciliant, il fut chargé d'importantes missions, dont celle de réformer en Allemagne les abus de l'Église. Dans le De concordantia catholica (1433), il prône un juste milieu entre le pouvoir pontifical et les droits du concile. Son De pace fidei (1453) tente de montrer qu'au delà de la diversité des confessions et des rites (christianisme, islam, bouddhisme), il existe une croyance en un dieu unique. Il alla jusqu'à affirmer qu'il y a du bon dans chacune des religions et que nulle n'est parfaite, ce qui le fit parfois taxer de scepticisme. Philosophe, Nicolas de Cuse est l'auteur du De docta ignorantia (1440): la docte ignorance est celle qui est consciente de ses limites ; l'homme ne peut penser Dieu, l'infini où les contraires coïncident, que par une méthode analogique. Parce que Dieu est le centre de l'univers, et que le monde n'est qu'une manifestation de l'Essence divine, il en déduit que le cosmos est, non pas infini, car Dieu seul est infini, mais indéfini, c'est-à-dire que ses limites excèdent les capacités de l'imagination humaine. Cette doctrine fut reprise un siècle plus tard par Giordano Bruno qui appelait Nicolas de Cuse « divus Cusanus ». Descartes le cite, deux siècles plus tard comme un des précurseurs de la pensée scientifique moderne pour l'originalité de sa pensée. Les idées de N. de Cuse se sont épanouies par la suite chez Spinoza, Leibniz et Hegel. De plus, Cuse considère qu'il n'est pas possible d'établir une hiérarchie parmi les éléments qui constituent le cosmos, et qu'on ne peut donc placer la terre au centre du monde. Les conséquences de cette affirmation consistent en une critique de la cosmologie d'Aristote qui fait de Nicolas de Cuse un précurseur de Copernic. Ses travaux scientifiques autant que philosophiques en font l'une des personnalités marquantes qui font le lien entre le Moyen Âge et les temps modernes. Cette édition collective, la plus complète qu'on possède de ses ?uvres, provient des presses d'un des plus grands imprimeurs bâlois du XVIe siècle, Henricus Petri. Bookseller Inventory # 17784

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Nuove inventioni di balli, opera vaghissima di: NEGRI

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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Item Description: paperback. Book Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Publisher: Unknown. Folio: 12 openFour Satisfaction guaranteed,or money back. Bookseller Inventory # R108679

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Opera (lat.). Comm. Averroes; ed. Nicoletus Vernia.: Aristotle / Averroes.

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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WANG WEN ZHANG ZHU BIAN

Published by Academy Press

ISBN 10: 7507732061 ISBN 13: 9787507732061

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From: liu xing (JiangSu, JS, China)

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Item Description: Academy Press. Hardcover. Book Condition: New. Language:Chinese.Author:WANG WEN ZHANG ZHU BIAN.Binding:HardCover.Publisher:Academy Press. Bookseller Inventory # A74177

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HORACE.

Published by printed by Philippus Pincius for Benedictus Fontana, 14951496, Venice, (1495)

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From: Antiquariaat FORUM BV (Houten, Netherlands)

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Item Description: printed by Philippus Pincius for Benedictus Fontana, 14951496, Venice, 1495. With large woodcut printer's device on last leaf, and numerous woodcut initials. [264] ll. With:(2) PERSIUS. [Opera] cum tribus commentariis. Venice, Giovanni Tacuino de Tridino, 1499, 4 November. With woodcut printer's device on verso of penultimate leaf, and fine woodcut on title-page. [64] ll. (3) JUVENALIS. [Opera] cum commento Ioannus Britannici. Reggio Emilia, Francesco de Mazalibus, 1503. With fine woodcut at the head of text, and some woodcut initials. [143] ll. 3 works in 1 volume. Folio. Contemporary blind-tooled vellum over wooden boards with 2 brass clasps. Superb Humanist "'Sammelband" with the collected works of three classical authors, in a fine contemporary Strasbourg binding, cf. Krisby 147. Typographicaly the three works are equally harmonious, with the text set in a well-sized Roman type, surrounded on three sides by the commentaries in a more compact type, in the first and third work including fine Greek types. The first work consists of the fifth-century pseudo-Acron scholia and the commentaries by the third-century scholar Porphyrion, and by two 15th-century humanists, Christophoro Landino and Antonio Mancinelli. The Persius appears here for the first time with the notes by three 15th-century Italians, Giovanni Britannico, Bartelomeo Fonti, and Giovanni Bonardi. The present Reggio Emilia imprint of the Juvenal is the second edition of Britannico's commentary, and is so rare that it was unknown to Schweiger. With 18th-century manuscript paper title label on spine; manuscript titles on fore-edge; 2 bifolia slightly foxed. Splendid copy, from the library of the Fürstenberg family. Ad 1: BMC V, 496; Goff H 458; Hain-Copinger 8893*; IGI 4889; Polain 1988; Proctor 5306; Oates 2072; Schweiger I, 389; ad 2: BMC VII, 1209 (dating it 1507); Essling 796; Goff P 362; Hain-Copinger 12744*; Proctor 5460; Sander 5565; Schweiger II, 706; ad 3: Essling 787 & reproduction II, 235; STC Italian p. 364; Sander 3732; not in Schweiger. Bookseller Inventory # 886

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