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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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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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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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La Republica nuovamente ritrovata, del governo dell'isola: MORE, Thomas (1478-1535).

Item Description: Kl.-8vo (150 x 95 mm). With large woodcut printer's device on title (Zappella LXXXII, fig. 446). [60] leaves [A-G8, H4]. 17th century red morocco on six raised bands, with concentric frame of triple gilt fillets around sides, ornaments in corners, elaborately gilt spine with lettering 'Republich' in head compartment, gilt inside dentelles, all edges gilt. Venice, [Aurelio Pincio for Anton Francesco Doni], 1548. Äusserst seltene erste italienische Ausgabe von Thomas Mores Utopia, mit der das Genre in der litalienischen Literatur Einzug hielt. Es ist eine ebenso bemerkenswerte als auch überraschende Tatsache, dass Thomas Mores staatsphilosophisches Buch in Italien nicht von Humanisten verbreitet wurde, sondern im Gegenteil, von deren schärfsten Kritikern. "It was not taken up by the humanists at all; it was, on the contrary, taken up by their fiercest critics. It was not trumpeted as an expression of civic humanist commitments to the active life (the 'vivere civile'), liberty property, and the Roman studia humanitatis; it was embraced, rather, for its repudiation of active citizenship, its abolition of private property, its dismantling of the Roman cult of glory, and its fierce assault on Ciceronian humanism" (Eric Nelson). Die beiden 'poligrafi' Ortensio Lando (1508/12-1553) und Anton Francesco Doni (1513-1574) unternahmen die Aufgabe, Mores 1516 erstmals gedrucktes Werk in italienischer Übersetzung - nach der 1524 durch Johann Bebel gedruckten deutschen Ausgabe, erst die zweite nichtlateinische Edition - zu veröffentlichen. Lando, der den Text seit 1535 kannte, nachdem ihm Vincenzo Buonvisi, der Bruder von Antonio Buonvisi aus Lucca, der den im Tower von London gefangenen Thomas More noch vor dessen Hinrichtung besucht hatte, ein Exemplar zeigen konnte, übersetzte aus dem Lateinischen und Doni, der auch mit allen Erfordernissen der Buchproduktion vertraut war, edierte das Buch mit einer Widmung an Gierolam Fava. Die Edition markiert den Beginn der Rezeption von Mores Utopia als Werk des Staatsrechts südlich der Alpen. Stark beeinflusst wurde auch das Schreiben der beiden Poligrafi, von Lado erschien noch im Herbst desselben Jahres eine utopische Schrift (Commentario delle piu notabili et mostruose cose d'Italia et altri luoghi), worin nicht ein Europäer Utopia besucht sondern ein Utopier durch Italien reist, und Anton Francesco Doni publizierte 1552 seinen satirischen Dialog Die Neue Welt ('I Mondi'), in dem menschliche Anmassung und Eitelkeit attakiert werden. [Mitgebunden:] CONTARINI, Gasparo (1484-1542). La Republica, e i magistrati di Vinegia. LXX, [2] Bl. Venezia, Girolamo Scotto, 1544. Erste italienische Ausgabe von Contarinis berühmter Detailanalyse der Regierungsform der venezianischen Republik in der Renaissance. Geschrieben zwischen 1524 und 1535, erschien die Pariser Erstausgabe von 1543 auf Latein ("Opus de magistratibus et Republica Venetorum"), gefolgt von der vorliegenden italienischen sowie der ersten französischen Uebersetzung. - STC, (Italian), 195; CNCE (Online Kat.) 13126; DBI XXVIII, 177. [Und:] FOGLIETTA, Uberto (1518-1581). Della republica di Genova. Libri II. 76 Bl. Lyon, o. Dr., 1575. Zweite Ausgabe des zuerst in Rom 1559 aufgelegten staatstheoretischen Werks, das zu Fogliettas Verbannung und Einzug seines Besitzes führte. Erst 1576 wurde Foglietta rehabilitiert und mit der offiziellen Geschichte der Republik beauftragt, die er schliesslich 1585 vorlegte. - STC, (Italian), 271; CNCE (Online Kat.) 19322. [Und:] NARRATIONE DELLE COSE occorse nella città di Genouva, & del sollevamento del popolo contra gentilhuomini, e le contese occorse fra i novi e vecchi, & nobili; con le essentioni fatte alla plebe, & le augmentationi fatte alli tessitori di veluto, & altre persone particulari della città. 14 S., 1 leeres Bl. Lyon, ohne Drucker, 1575. Zweite Ausgabe dieses Traktats über den Aufstand der Genuesen im Jahr 1528, erstmals 1547 in Bologna durch Pellegrino Bonardo gedruckt. - STC, (Italian), 295; ICCU (Onli. Bookseller Inventory # B348169

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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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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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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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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 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. Catalogued by Kate Hunter. Bookseller Inventory # 72lib1182

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Item Description: Hard cover. Large woodcut printer’s device on each title & numerous woodcuts & illus. and printed tables in the text. 470, [7] pp., one blank leaf; 217, [1] pp., two leaves of dedication. Two parts in one vol. Large 4to, cont. binding from the south of France of red morocco (rather browned throughout as always with this book due to the quality of the paper, some minor worming towards end touching a few letters & carefully repaired), arms in gilt on covers of François de Rignac (1580-1663; see below), roulette border in gilt round sides, spine gilt. Frankfurt: J.G. Schönwetter, 1648. First edition of this collection of writings on the famous new star of 1572-74 (first part) and the equally famous comet of 1577 (second part); this edition, containing two of Tycho’s most important works, is rare on the market. It was his observations of these two astronomical phenomena — here printed — that compelled Tycho to abandon the Aristotelian theory of the universe and replace it with his own geoheliocentric system. This was an enormously important step in the acceptance of the Copernican doctrine. Many of Tycho’s instruments — sextants, quadrants, and various armillae — are well-illustrated here. This copy belonged to François de Rignac (1580-1663), attorney general of the Cour des Aides de Montpellier and bears his arms on the red morocco covers (Olivier-Hermal-de Rotton, pl. 1902). The binding of this superb copy is typical of the workshops of the south of France, especially that of Corberan, the binder for Peiresc. Though François de Rignac married a certain Jeanne de Fabry in 1627, she was apparently not closely related to Nicolas Fabri de Peiresc, a native of Aix, even though this copy could imply family ties. In 1682, according to Léopold Delisle, Colbert received a gift of one hundred and four manuscripts of Mr. de Rignac, councilor to the Cour des Aides de Montpellier and heir to the books of François de Rignac. In their Histoire du Languedoc Vic and Vayssète relate that in 1677, Étienne Baluze had already discovered the library of the "late Mr. de Rignac." It is most unusual to see this book is such a fine contemporary binding. In this copy, the two leaves with the dedication are bound, as is often the case, at the end of Part II (like the Harvard copy). Preserved in a box. ? Houzeau & Lancaster 2704. For de Rignac, see Guigard, II, p. 413. Bookseller Inventory # JHABES5134

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Horace. Horatius Flaccus, Quintus (65-8 B.C.)

Published by Johann Reinhard, called Grüninger, 12 March,, Strasbourg: (1498)

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Item Description: Johann Reinhard, called Grüninger, 12 March,, Strasbourg:, 1498. 298 x 222 mm. Folio: Collation: [*]6, A-V6, X-Z6, AA-II6, KK-LL8; [**]6 The Grüninger HoraceWith 5 Woodcuts Skillfully Painted by a Contemporary ArtistWith Contemporary Annotations This copy is partially rubricated and is annotated, in Latin, throughout in at least two contemporary hands. The early annotations are intact, having been spared by the binder?s knife, and consist of metrical notations, citations from other authors, and comments. There are also two glosses in Greek (leaves S6v and FF1r) as well as an apparent note in German (leaf FF6). An added manuscript index for the ?Epistolae? is bound after the final text leaf. The readers have also made corrections and a few notable additions (e.g. ?Cunnus CXXIX 3?) to the main index of words. The annotators cite more than twenty authors, both ancient and contemporary, as well as the Bible. Among the ancient authors cited are Aesop, St. Ambrose, St. Augustine, Aulus Gellius, Cicero, Ovid, Diodorus Siculus, Juvenal, Lactantius, Pliny, Plutarch, St. Jerome, Seneca, and Virgil. The contemporary and near-contemporary authors cited include: Michael Marullus, Aeneas Sylvius Piccolomini, Mantuan, Antonio Mancinelli (commentary on Juvenal), Badius Ascensius (?Sylvae?), Publio Fausto Andrelini, and Erasmus (?Adagia?).The most frequently cited authors are Juvenal (13 citations) and Badius Ascensius (12 citations from the ?Sylvae?). One reader also shows a fashionable interest in the ?Adagia? of Erasmus. He identifies 23 separate adages in the course of the text and mentions Erasmus? work by name at least three times. He also makes a reference to an epistle of Publio Fausto Andrelini of Forli (1460-1518) that might be the letter that Erasmus asked Andrelini to write as a preface to the ?Adagia? Hain 8898; Goff H 461; BMC I, 112; Polain 1989; Proctor 485; Walsh 182; Fairfax Murray (German) 205; Rosenwald Collection 188; Dibdin, Bibl. Spenceriana II, 87-95. For Grüninger, his illustrated books, and Locher?s edition of Horace, see Mark Morford, Johann Grüninger of Strasbourg in ?Syntagmatia: Essays on Neo-Latin Literature in Honour of Monique Mund-Dopchie and Gilbert Tournoy (Humanistica Lovaniensia, XXVI) 2009 Bound in 19th c. half calf and marbled boards. Illustrated with more than 160 detailed woodcuts. This is an excellent copy with large margins. A contemporary 15th or 16th c. artist has painted five of the large woodcuts with subtlety and a sophisticated use of color and shadow: 1. title page portrait of the author crowned with a laurel wreath; 2. Horace and his patron, Maecenas; 3. Julius Caesar being slain by Brutus and Cassius; 4. Virgil sailing in a ship; and 5. two pairs of lovers discoursing in a landscape. From the libraries of Georg (Franz Burkhard) Kloss (1787-1854), with his bookplate; Arthur Atherley, with his bookplate; and Etienne Reymond, with his bookplate ?Mr. & Mrs. Etienne Reymond? The German physician, philologist and Freemason George Kloss (1787-1854) was an early student of bibliographer and a collector of early books and manuscripts. This book was Lot 2046 in Kloss? sale at Sotheby?s, May 1835.) FIRST ILLUSTRATED EDITION OF HORACE and the first edition of the poet?s works to be printed in Germany. The text was edited by the poet laureate Jacob Locher, called Philomusus. The woodcuts were executed by the artist of the Grüninger Terence (November 1, 1496). Bookseller Inventory # 2614D

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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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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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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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OPERA: ALDINE IMPRINT). POLITIANUS,

ALDINE IMPRINT). POLITIANUS, ANGELUS

Published by Aldus Manutius, July, Venice (1498)

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Item Description: Aldus Manutius, July, Venice, 1498. FIRST EDITION of the collected works. 335 x 220 mm. (13 1/4 x 8 1/2"). [452] leaves. Single column, 38 lines, roman type.Edited by Alexander Sartius. FIRST EDITION of the collected works. Original pigskin-backed wooden boards, the pigskin on the covers decorated with four foliate rolls, raised bands, apparently original hardware (two pigskin thongs with brass clasps, catch-plates, and anchor-plates) ink titling and shelf numbers on spine and fore edge. Front pastedown with early ink ownership inscription in Latin of Gervais Sopher (see below), indicating that the book was purchased on 18 October 1512 at a cost of four gold coins; occasional neat underlinings and calligraphic marginalia in two early hands. Ahmanson-Murphy 23; Renouard 17:4; Goff P-886; BMC V, 559. Pigskin trivially soiled, one corner slightly gnawed, first and last gatherings with a scattering of small wormholes, one leaf lightly foxed, four leaves with insignificant marginal stains, but A MAGNIFICENT COPY, THE TEXT ESPECIALLY FRESH, CLEAN, AND BRIGHT, THE MARGINS EXCEPTIONALLY BROAD, AND THE ORIGINAL BINDING IN OUTSTANDING CONDITION. This is an unsurpassable contemporary copy of a beautiful incunabular edition of a foundational work in the field of classical philology, written by the foremost classical scholar of the day and printed by one of the greatest humanist printers. In addition, this edition marks the first publication of the collected works of a modern author. Angelo Ambrogini Poliziano (1454-94) was the son of an Italian jurist who was killed defending the cause of the Medici. In recognition of this loyalty, Lorenzo the Magnificent took the young Poliziano under his wing, bringing him to Florence to be educated, and later making the talented young humanist a tutor to his son Piero. Poliziano was a groundbreaking scholar who had lasting influence on how we study and understand language and literature: Anthony Grafton tells us that he brought about nothing short of "a revolution in philological method" through his "conscious adoption of a new standard of accuracy and precision." Poliziano was adamant that the earliest available manuscript must be considered the most accurate, and he was scrupulous about identifying and citing sources. A significant portion of the text here represents another important innovation introduced by Poliziano: the use of lectures or essays to teach philology--a far more palatable alternative to the tedious line-by-line commentary employed by earlier scholars. Aldus Manutius did a brilliant job presenting the works of his fellow humanist in elegant roman and Greek typefaces, and the text here is notable for the first use of Hebrew type in Venice (on the recto of H8). Renouard considered this "one of the most beautiful" productions of the Aldine press. Having any 15th century artifact from Aldus' printshop is a special pleasure, and having a copy as tall and as nearly pristine as this one is a once-in-a-decade experience. The 1498 Politianus is not remarkably scarce, but it is very rarely seen textually complete, without inserted leaves, and in a contemporary binding (ABPC lists such a copy in 2005 but nothing previously until 1984). At 335 x 220 mm., our copy is larger than any we have found among various institutional copies as well as those recently in the marketplace: the Nakles copy that sold at Christie's New York (in modern morocco) for $32,900 in 2000 was 313 x 205 mm., and the contemporary copy trumpeted by Christie's as "A LARGE COPY" that sold in 2005 for a sterling price in excess of $36,000 still measured significantly smaller than ours at 324 x 210 mm. The provenance here is also of some interest. Holding an office called fiscal of the bishop, our early owner Gervais Sopher (d. 1556) represented the interests of the diocese of Strassburg and prosecuted ecclesiastical offenses. In that position, he leveled 24 charges of heresy in 1522 against Matthieu Zell, the first open proponent of Lutheranism in Strassburg. However, by 1525, Sopher's fervor had app. Bookseller Inventory # ST13030

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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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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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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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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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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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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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Item Description: Folio (420 x 280 mm). Mit architektonischem Titelholzschnitt, 137 Textholzschnitten von und nach Andrea Palladio und Giuseppe Salviati (5 doppelseitig, 47 ganz- oder fast ganzseitig, davon 5 mit Ausklappteilen), 1 intakten Volvelle, ganzseitiger Holzschnitt-Druckermarke auf Schlussblatt verso sowie vielen grösseren (11zeiligen) und kleineren historisierenden Holzschnitt-Initialen. 274 S. (recte 284), [9] Bl. Rotes Maroquin des 17. Jhs. über flachem Rücken, mit Deckeleinfassung aus Dreifachfilete und mit Eckornamenten in Goldprägung, reicher Rückenvergoldung und Rückentitel, Goldschnitt (etwas fleckig). In Leinenkassette. Venezia, Francesco Marcolini, 1556. Erste Ausgabe der von Daniele Barbaro edierten italienischen Edition mit den Holzschnitten nach Andrea Palladio, in einem breitrandigen Exemplar. Seit der Editio princeps von 1487 wurde das Werk zu einem Handbuch der Renaissance-Architekten. Wichtig für die zeitgenössische Architektur wurden vor allem die italienischen Ausgaben, deren wissenschaftlich bedeutendste, aufwendigste und schönste die vorliegende ist. Barbaros um 1547/49 begonnene Edition gilt als die gewissenhafteste und durchdachteste ihrer Zeit. Sie bietet nicht nur einen wertvollen Einblick in Barbaros eigene Theorien zur Architektur sondern vor allem auch in jene von Andrea Palladio (1508-1580), dessen bedeutendster venezianischer Förderer Barbaro war. Von Palladio stammt denn auch der grösste Teil der Zeichnungsvorlagen für die Holzschnitte in diesem Buch. Weitere Vorlagen stammen von Giuseppe Porta, vor allem für die Darstellungen der Basreliefs und Statuen. Die Holzschneider bleiben unbekannt, einzig auf der Seite 265 findet sich das nicht aufgelöste Monogramm 'R'. Barbaros Wahl des Verlegers fiel nicht von ungefähr auf Francesco Marcolini, der u.a. mit Tizian, Tintoretto, Vasari und Serlio befreundet war. Seit 1534 in Venedig wirkend, hatte Marcolini, "un uomo di lettere", bereits diverse Architekturwerke verlegt. - Ein breitrandiges, schönes und komplettes Exemplar, mit allen Holzschnitten, den drei intakten und fast immer fehlenden Volvellen auf der Seite 228 sowie auf dem drittletzten und vorletzten Blatt recto, den beiden aufgezogenen Holzschnitten auf den Seiten 72 und 85 sowie mit den acht aufklappbaren Teilen. Das Blatt B3-4 als Neudruck wie im zweiten Hofer Exemplar (Mortimer S. 765). - Vorsatz und Titel geringfügig wasserrandig, wenige braune Flecken auf den Seiten 16-18, die Seiten 31-38 , 41-44, 53-59, 71-76, 135-138, 145-146, 151-154, 169-170, 179-196 papierbedingt etwas gebräunt, gelegentlich minimaler Wasserfleck. BAL IV, 3522; Millard Collection Italian, Nr. 160 und S. 499f.; Fowler 407; Mortimer 547; Cigognara 713 ("Magnifica editione"): Becker, Anmerkungen zu Barbaros Vitruv (1991). First edition of the celebrated Barbaro translation with the illustrations by Palladio. Vitruvius' text had become a manual for Renaissance architects since publication of the editio princes in 1487. Particular importance must be given to the Italian translations (of which the present work is the most significant) which were of invaluable use to contemporary architects. This Barbaro translation was the most elaborate and beautiful edition; it was preceded by a translation by Cesare Cesarino. With its extensive commentaries, the Barbaro edition provides an insight not only into the editor's own theories of architecture, but, more importantly, into those of the Venetian architect Andrea Palladio, with whom Barbaro collaborated in its preparation. Palladio was later commissioned by Barbaro to build for him the Villa Maser at Asolo, in around 1560. Barbaro's scholarship must have been of much assistance to Palladio, guiding him as it did through Vitruvius' theories of numbers, proportions, and other such problems. Perhaps as a reward for his considerable expertise, Palladio provided the illustrations for the work. Of Palladio's architectural style, Barbaro notes "the most beautiful and most hidden reasons for their. Bookseller Inventory # B344657

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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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OPERA: CYPRIANUS

CYPRIANUS

Published by Sweynheym and Pannartz, [Jan. or Feb.], Rome (1471)

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Item Description: Sweynheym and Pannartz, [Jan. or Feb.], Rome, 1471. EDITIO PRINCEPS. 310 x 215 mm. (12 1/4 x 8 1/2"). [183] leaves (of 186, lacking the three blanks). Single column, 38 lines, roman type. Edited by Giovanni Andrea Bussi, bishop of Aleria. EDITIO PRINCEPS. Later antique-style tan blind-stamped pigskin, covers with blind-ruled frames accented with small tools, upper cover with central panel containing rows of rosettes with arms of Cardinal Corsini at center, lower cover with large central panel decorated with a saltire of decorative rolls, raised bands, panels with rows of small tools. Lower margin of first page with small oval ecclesiastical stamp in red ink, and stamp of the Bibliotheca Corsinia Nova in black ink. Goff C-1010; BMC IV, 12; Hall "Sweynheym & Pannartz and the Origins of Printing in Italy," p. 65. Some rubbing along bottom edges and corners, a hint of soil to the pigskin, but generally the binding in extremely agreeable condition, the joints with no significant wear and the blind-stamping very sharp. A few leaves with faint discoloration in the margins (because of washing?), first and last leaf with slight overall browning (from acidic endleaf, now removed), but the text consistently fresh and clean, with ample margins. An excellent copy. This is the first edition of the writings of Saint Cyprian, which fortuitously came to press because the prototypographers of Rome needed to fill a gap in their printing schedule and to avoid having their workshop sit unprofitably idle. According to Hall, the printers were at work on their Latin Bible when they ran out of the royal folio paper required. Desperate to keep the presses productive, they turned to their friend and editor Bussi, urgently requesting "a text suitable to a smaller format." Bussi searched through his impressive personal library and found a manuscript of Cyprianus he had copied from an ancient codex during his student days at the University of Paris. The editor said he "ran rather than walked through the book," rapidly readying it for publication. Aside from Gutenberg and his immediate associates, there are no figures more important in the early history of printing than Sweynheym and Pannartz, the earliest printers outside Germany. First at Subiaco and later in Rome, they produced an imposing catalogue of first editions of ancient authors, which for the first time systematically exploited the potential of the new printing technology as a means for disseminating humanistic texts to a large audience. From a wealthy and educated pagan background, Thascius Caecilius Cyprianus (ca. 200-58) was a lawyer, orator, and teacher who converted to Christianity as an adult and gave away his fortune to the poor. He was eventually made bishop of Carthage, the place of his birth, from which position he exerted a very considerable influence far beyond his own region. He spent much time and effort mediating between the church and pagan authorities and among rival factions within the church itself; he eventually became a victim of the strife, losing his head during a period of government persecution. His writings refer to issues he had to deal with as a churchman as well as to principles of Christian conduct and points of doctrine. The most valuable of Cyprian's works today are the 81 letters that remain from his official correspondence, material that gives a view of the state of the Christian community and of the character of Cyprian himself, both of enormous value to historical research. The present item was once held by the Bibliotheca Corsinia Nova, founded by Cardinal Corsini (later Pope Clement XII), which is still in existence as Biblioteca dell'Accademia Nazionale dei Lincei e Corsiniana; librarians there have confirmed that this copy was a duplicate that was legitimately removed from the library, probably in the 18th century. Like all Sweynheym and Pannartz imprints, the Cyprianus is rare, with just three other copies recorded at auction since 1975. Even though our printers produced more than 50 different editions, their press runs wer. Bookseller Inventory # ST12929

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POLITIANUS Angelus

Published by ( In fine, f. 450 verso, colophon:) Venetiis, in aedibus Aldi Romani mense Iulio M.IID (Aldo Manuzio, 1498), (1498)

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Item Description: ( In fine, f. 450 verso, colophon:) Venetiis, in aedibus Aldi Romani mense Iulio M.IID (Aldo Manuzio, 1498), 1498. Book Condition: molto buono. 2 vol. in-folio 8(mm.320x200), ff. 451 non num. (manca K4 bianco), impresso in carattere. romano, con passaggi in greco ed ebraico (carattere usato da Aldo per la primissima volta). Legatura moderna in pieno vitello decorata in oro, eleganti astucci mezza pelle e tela. Editio princeps delle opere latine del grande umanista e filologo fiorentino, dedicata a Marin Sanudo, curata dal bolognese Alessandro Sarti e dallo stesso Aldo Manuzio, forse il primo tentativo di edizione collettiva di un autore loro contemporaneo (il Poliziano era morto da soli 4 anni). Di notevole rarità, valore ed importanza anche tipografica, in quanto vi è contenuto il primo specimen di carattere ebraico usato da Aldo ed è una delle più belle e monumentali edizioni uscite dalla stamperia aldina. Angelo Ambrogini, detto Poliziano (1454-1494), fu discepolo di Marsilio Ficino, amico di Aldo, di Pico della Mirandola e Raffaello, istitutore in casa di Lorenzo de Medici, dal cui mecenatismo fu sempre protetto. E' considerato ancor oggi il miglior poeta del Rinascimento italiano, tra il Boccaccio e l'Ariosto, e colui che meglio d'ogni altro espresse la concezione ideologica ed estetica dell'Umanesimo. Bell'esempl. a grandi margini. BMC V,559. Goff P-886. HC 13218. Polain B 3233. Renouard, p.17: "Cette rare édition, l'une des plus belles qui soient sorties de l'imprimerie Aldine". IGI P-886. Vaticana P-429. UCLA n.23. Cat.Laurenziana 27. Bookseller Inventory # 0000000003023

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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 and 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 gray. Bookseller Inventory # 2778

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Opera.: Horatius Flaccus, Quintus

Horatius Flaccus, Quintus / Jacobus Locher (ed.)

Published by Johann (Reinhard) Grueninger 12 Mar. 1498 (1498)

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From: Yushodo Co., Ltd. (Fuefuki-shi, Yamanashi Pref., N/A, Japan)

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Item Description: Johann (Reinhard) Grueninger 12 Mar. 1498, 1498. Hardcover. Book Condition: Fine. 219 ( of 220) ff. Without final blank ff. With numerous woodcut illustrations. Modern morocco binding with 5 raised bands. Gilt decoration on cover. a.e.g. [BMC I-112; ISTC ih00461000; Goff H-461; HC 8898; Fairfax-Murray (German) 205]. Bookseller Inventory # KS12085

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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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IAMBLICHUS

Published by Venetiis, in aedibus Aldi, mense septembri 1497, (1497)

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Item Description: Venetiis, in aedibus Aldi, mense septembri 1497, 1497. Book Condition: molto buono. in-folio, ff. (185, mancando l'ult. b.), leg. settecentesca in p. vitello marrone con bordura oro sui piatti, in astuccio m. marocchino. Dedica del traduttore e curatore Marsilio Ficino al card. Giovanni de' Medici, futuro Papa Leone X; bel car. tondo, una iniz. ornata, spazi con lettera-guida per le iniz. Prima edizione di questa raccolta di 13 opere dei maggiori esponenti di quella corrente del Neoplatonismo influenzata dal misticismo magico. Oltre il ''De mysteriis'' di Iamblichus contiene:« Proclus: In Platonicum Alcibiadem de anima, atque daemone; De sacrificio et magia. Porphyrius: De divinis et daemonibus. Synesius: De somniis. Psellus: De daemonibus. Priscianus et Ficinus: In Theophrastum De sensu. Alcinous (i.e. Albinus): De doctrina Platonis. Speusippus: De Platonis definitionibus. Pythagoras: Aurea verba et symbola. Xenocrates: De morte. Ficinus: De voluptate». Tutti questi testi (tranne quello di Alcinous, apparso nel 1472 a Norimberga tradotto da Petrus Balbus, e quello di Pitagora, già apparso in greco) appaiono per la prima volta in questa edizione aldina che, ampliata, sarà ristampata presso Aldo nel 1516. Bell'esempl., a grandi margini, malgrado lieve alone al primo f. e restauri marginali all'ultimo, peraltro reversibili. Renouard 13.6: ''Première édition. Rare et beau volume''. Laurenziana 17. BMC V, 557. Goff J-216. HC 9358. IGI 5096. Klebs 529. Caillet 5489, note. Bibl. Magica Casanatense 626. Bookseller Inventory # 0000000001597

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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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